Buscar:on spec

The second chapter in the Family Matters serie marks the 10th release on the Belgian record label 9300 Records. Via electro, through house and breakbeat, all the way to New Beat, established members offer you their view on the different aspects in the spectrum of electronical music. It's a nostalgic reference to the past, through the eyes of the present. Alessandro Parisi makes his first contribution to the label with an ominous New Beat influenced track, while Betonkust joins him on the dark B-side with his well known non compromising electro. A-side consists of dance-floor approved electro/house tracks of both Intimacy & Innershades and a sober, yet sophisticated anthem by the hand of Robert D.

This record contains two stone cold classics from the rave era. If you bought any tape packs or went to any raves in 1992, these are the two staple tracks most DJs would draw upon to keep the energy levels high.


On top of that, they are written by the rave overlord – Ellis Dee. Basically, the go to guy for any promoter that wanted their rave to be up there in the top tier.
These tracks sound as fresh and as the day they were released. And that is why we have decided it needed to have another short run repress as its been 4 years since we first pressed this record. But to make them even more special we have pressed 120 units on heavyweight 180g marbled grey vinyl. And as with every Vinyl Fanatiks release it comes presented in a black paper inner sleeve within a heavyboard Vinyl Fanatiks housebag.


This is a short run so get your orders in whilst they are in stock.


Fantazia… are you ready???

Beginning a new series of Remix Packs, in which favorite artists and label affiliates are remixing tracks from different Malka Tuti back-catalogue releases. The first one includes Toulouse Low Trax and Die Orangen remixing Xen & Yovav’s critically acclaimed 7” release from 2018, as well as 2 remixes of the Tel Aviv duo Plazmot by Benedikt Frey & Borusiade. All Tracks were mixed by Gordon Pohl. This record will also be the first to present Malka Tuti’s brand new specially designed generic record sleeves.

This very special record is a collaboration between Amsterdam based stalwart, and frequent contributor to Young Marco’s Safe-Trip label, Darling, and his extremely talented daughter, Lexi. Here the producer, Darling, crayon proofs his studio and lets his 4r yr old daughter, Lexi run riot on the synths. The resulting submerged grooves, outer worldly melodies & psychedelic nursery rhymes are made up entirely of seqeunces recorded in by the outstandingly creative youngster with Dad making the edits and laying in the beats . This record was powered by Haribo.
BIG TIP!

Comes with insert.

Mysterious Sydney songstress Justine recorded one album in ’79, which was never officially released. Left Ear have chosen two tracks for a 45 RPM 12” single, which they feel best highlights Justine’s unique vocal talents and songwriting ability. Here the crafty songstress wields melancholic soul and a funky Jazz inspired number with personal and reflective lyrics, both with an intimate and honest approach.

Elusive Sydney songstress Justine (Bradley) almost entirely wrote, produced and arranged her sole LP in ’79, an album that was funded by a radio station as the beneficiary for emerging talent. The music was created specifically for radio play without any intention of being manufactured. Luckily however, a friend with ties to a pressing plant known aptly as ‘Midnite Flite’, managed to sneak into said plant one evening and press up a small number for the enjoyment of family, friends & those involved.
Left Ear have decided to release what they consider to be the two most significant tracks from this release onto a 12” single, now for the enjoyment of all. The A-Side will feature the haunting ‘Wordless Songs’, a melancholic soulful number which according to Justine explores the “capacity to comprehend a partner’s internal quest for authenticity and connection”. The B-side ‘Mama Didn’t Tell Ya’ is more uplifting in both tempo and arrangements comprising an extended outro, while the lyrics remain just as personal and reflective.

SECTION ROOTS SERIE #02
Psychoskunk are back with the second chapter of Section Roots series by Error Etica. This chapter included a original track of the label's owner Victor Martinez (Error Etica) and 3 special remixes by the Japan techno artist Hironori Takahashi (Informa-Granulart-Stroboscopic Artefacts) and Pelacha owner of Redsonja Records and founder of Stelar Booking and the famous parties in Madrid Techno Cracks ,
As a special mention the masterful reinterpretation of English techno legend Nick Dunton /65D Mavericks (Surface Records / Inceptive / Poverty is Violence/Blueprint) of the original track: Schematic Diagram thats included only in digital live version that Victor interpreted in mythical club in Barcelona "Moog".

This summer, Soundway Records will release a double vinyl compilation
from South African-raised, UK-based DJ and producer, Esa
Williams.Titled Esa Presents Amandla: Music To The People, the
compilation spans electronic music from around the globe, which feature
heavily in Esa's DJ sets and hold a special place in his record bag -
including exclusive versions and hard-to-find tracks from the last two
decades.Esa Presents Amandla will be preceded by a promotional teaser
12" out 31 May, featuring Penny Penny's 2001 impossibly rare Kwaito
House monster "Shilungu".A hypnotic, percussive, groove-driven
anthem, it features chanting in Tsonga, celebrating South African icon
Penny Penny's Shangaani roots.
On the flip is the acid-soaked "Shilungu (Esa & Mervin Granger '99 Mix)",
re-interpreting the track with key elements from the original which are
extended into a late night, Chicago House influenced chugger.Esa
Williams is an ambassador for the South African music scene within the
crowded landscape of the European nightlife - balancing a hectic DJ
schedule, a monthly radio show on Worldwide FM and various live
projects. He is currently in the midst of a long-term DJ residency at
Phonox London, where he embarks on a weekly musical expedition.

Italian maestro, Giorgio Gigli, makes his debut on Eclectic Limited with the spectacularly intelligent and timeless-to-be ''Moving Through Time EP'' which features 3 original techno gems and a special remix of the mastermind Samuli Kemppi using parts of all 3 original tracks. Techno is eternal, with this EP being yet another solid proof. 

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

After introducing the world to the elusive named Gitkin last year with the release of his debut album "5 Star Motel", Wonderwheel Recordings is back with another special 7" of two deeply funky, lo-fi globally influenced cuts from the travellin' man himself. "Saint Claude Dash" with it's 70's disco influenced drum machine undertone brings in Middle Eastern & North African vibes on the melody, while shifting into an even funkier B section reminiscent of the Meters. On the flip side, "Chicha Nola" finds Gitkin vibing on the mysteriousness of late night New Orleans (where his studio is now located) playing the South American instrument Charango & juxtaposing the NOLA bump with a just enough twang. Just a taste of the brand new album to come this year…or when the spirits will it.

Oblique Russian sound strategist Natalia Salmina’s latest forking path portfolio as Atariame, Voiceless, arose in the wake of a dissociative relocation to Moscow, where she found herself adrift amidst a manic metropolis, alone in a skyscraper staring out at trees: “It made me lose faith in my ability to communicate, in my ideas about life.” Days without speaking turned to weeks. Even in private she felt estranged from her voice, and soon ceased singing.

For solace she turned to her Waldorf Blofeld, mining its panoramic frequencies to craft a shivering suite of futurist-noir nocturnes and rhythmic noise vignettes, equal parts exorcism and manifestation, desperation and delirium. Track titles hint at the headspace – “Outside At 5 AM,” “Same Thought All Day,” “Stay Late” – mirroring the music’s mood of hoods up, headphones on, wandering empty urban tunnels under flickering streetlights. Enigmatically, Salmina slips in a sliver of spectral voice on the intro and exit songs (“Breathe Exercise” and “Deconstruction”), framing them as induction into and escape from the cryptic isolationist condition of the rest of the collection. Mastered by P. Nikolsky, Powerhouse Moscow. Design by Britt Brown.

Special coloured vinyl which is grey on one side and white on the flip, comes in a printed sleeve.

West Coast mainstay Dave Aju continues with his own varied style and pace, coming correct once again on Circus Company
with a truly special three-tracker of straight up dance floor bombs. This San Francisco DJ/producer is a master sampler, groove
innovator and jazz influenced artist who has been with this label for ten years. In that time, he has turned out plenty of timeless
LPs and EPs that have earned him a deserving reputation as a truly cultured craftsman.
Just in time for the warm summer months ahead, these pieces are fit for maximum daytime, nighttime, and after-hours pleasure
respectively. The releas kicks off with title track ‘Love In Zero Gravity’, one of those raw undefinable Dave Aju grooves, loaded
with soul and unique musicality. It builds in bass-heavy intensity, bright epic bursts and ecstatic waves like we've never heard
from him before. Next up the voodoo stylings continue on ‘Aubergine Dream’ but in a much deeper mode, where ultra-sweaty
basement funk collides with the darkest shades of purple imaginable, all laced-up with otherworldly lysergic lines. Finally,
‘Gatadu’ rounds things out with pure class, a bouncing robust house cut done-up with generous helpings of live percussion, rich
textures, and Aju's velvety vox - the perfect recipe to keep dancing long into Sunday's sun rays, all smiles and sing-a-long vibes
for the real heads and lovers. This is another superb offering from one of dance music’s most fascinating artists.

SAFT is proud to present a re-release of a sought after disco classic from 1979. Carlos Romanos' 1-2-1 is without a doubt one of the highly regarding dancefloor classics from the heydays of the genre. With a length of 5.30 this brass infused stomper is club friendly, positive and drenching with Latin influenced percussion sounds.

As the original version has been available as a 7" as well as a 12" release, the new edition will appear on a 12" record only and includes a hypnotic 'Sotofett' formula dub on the B-side that spans ten minutes and maximises the percussive nature of the original to create a psychedelic voyage that builds and builds whilst generating a threatening atmosphere around the brass, vocals and perc hits of the original.

A roaring guitar gives 1-2-1 a bizarre but signature Sotofett treatment which shouldn't be missing from any adventurous record collection. 1-2-1 including DJ Sotofett's formula dub will be available from all specialised retailers from the summer of 2019.

As with the first SchleiBen series, Emotional Response follows the success of the second set of split releases with a stand-alone album by one of the highlights, in Neil Tolliday.

Recorded over a 17-year period, the ambient, drone and noise pieces collected here offer a glimpse in to the depth of a supremely talented, thoughtful and at times, troubled musical mind.

As his love for house music and the success of his Nail moniker grew and waned during the ascent 90s boom, there followed his somewhat surprising success as one half of Balearic-pop combo Bent, propelling Tolliday in to a world of indie-charts and endless touring. The eventual unhappiness of this 'music career' and increasing need for personal escapism led him start experiment new musical forms of expression.

A thinker and oft-over drinker, success was viewed with a deep suspicion and introspection, drug use and later, depression. As his other music projects slowly imploded, this new, personal music was for many years, made purely for Tolliday's own absorption and comedowns.

Taken from an initial 4 track recording in Nottingham in 2000, more pieces were subsequently recorded around the globe on numerous devices - old portable cassette recorders, hand held digital stereos and even mobile phones. These heavily manipulated samples were slowed down, reversed, smudged and stretched before analog and modular patching, Mellotron, editing, programming and post production were added to the melting pot.

With hundreds of tracks collated, in the last few years Tolliday began putting them out via Bandcamp using different aliases, on made up record labels, with no press or mention to anyone. This would happen every 6-9 months - a new label was created with logo, band/artist names and a few albums worth of music, leaving it there for a few weeks before then deleting the lot.

Here then is a snapshot of those recordings, chosen to represent the depth of music, while trying not to think too much about in to the emotions that were used in making them. With special hand painted artwork by Sam Purcell, commissioned from the artist's own photographs taken from a adjournment at Homerton hospital, the hope is to do justice to such wonderful music and present Neil Tolliday, finally an artist, shorn of pseudonyms, in a broader light.

Platform 23 returns with the reissue of songs from Canadian project, Vini Vidi Vici. With just one privately pressed mini-album in 1989 that bridged the gap between the later years of New Wave and the early vestiges of House, the music included in this edited EP highlights a thriving Montreal scene in its heyday.

Vini Vidi Vici was created out of two different music backgrounds. Paul Klopstock was a classical pianist, while Mario Langlois was a DJ, self-taught musician and radio producer, who came together when both worked at the underground arts / club Le Lezard. Starting in 1986 the space mixed painting, drag shows and bands alongside the latest alternative sounds, from Rap to New Beat, Electro to Acid Jazz.

As House and Techno started to filter through, Mario (aka Ave Mario) and the other resident DJs laid the ground of what was to come. From this Paul and Mario collaborated from late 1987 through in to 1988 and created the mini-album, however this EP concentrates on the duo's self penned work.

Recorded at Oliver Sudden Production studio, the A side is made up the raw House of 'Club Stuff" and Native American meets avant percussion of 'Vini Vidi Vici'. Showing a confidence and experimentation beyond their years, the two tracks production and all round hypnotic danceability, highlight why original copies are so prized (and expensive).

The B side follows with two tracks recorded in Mario's home closet studio. Lo-fi to the max and improvised, the no wave / world beat experience of title cut, 'Ou Sommes Nous' and the proto-electro-wave of 'AA HHH' are like something again, a mesmerising fusion and quite unique.

Self pressed, the project ventured to live performance and (sadly unreleased) remix work, before the partners went their separate ways, however this archival document can be seen as their own special conquest.

The Second EP from Hyper On Experience gets the remaster and remix treatment for Kniteforce Records. All the tracks have been lovingly remastered, and the artwork is a riff on the original EP too. This is the second of 4 Hyper On EPs to get this special repress treatement, and then they will be followed by Lord Of The Null Lines (4 brand new remixes) and Disturbance too – plus new Hyper On Material. But for now, enjoy this classic EP from back in the day, and the brand new remix of “A Certain Emotion” By Dj Luna-C!

In a landscape increasingly dominated by surface-level sonics and a lack of true organic – man-made-machine-driven - sound, the newly found and London-based Gaia Tones project rises with an unforgiving grasp over the science of improvisation and mystery. Like a gust of wind from Mother Nature herself, the duo comprised of John Swing and David Soleil-Mon breathe a new, highly perceptible form of life into the UK’s long ‘dub and ‘bass’ dynasty.

Contrary to the consumer plastics found across much of the ‘digital’ musical spectrum, the two artists impose their own vision and aesthetic to a framework of sound that has somehow always existed but never fully explored before. Heady, stoned-out and surely emanating from physical matter, their two debut tracks are set to redefine the standards going into the next decade.

The A-side “Lychees”, stutters its own brand of dread paranoia over a sea of complex, morphing percussion that together create a whole new palette of exploratory sound, loosely tied up into a hazy, nomadic groove. On the flip, “Wonkadonk” feels like its natural extension, evolving that familiarly off-kilter assembly of drums to work around a devotedly dystopian swell of bass that pushes further and further out into the ether.

In the end, the universe tends to unfold as it should.

Label artwork by Egidio Sterpa

A cryptical presence hiding behind many different aliases spread across a range of underground labels: co-owner of LiveJam Records alongside EMG, John Swing begins producing with a live and spontaneous approach that pushes the boundaries and general conceptions of club music while digging deeper into the techniques of the past.

The production process through ananlog equipment that John Swing so strongly supports with an uncompromising attitude is the key to his underground success and esteem.
With a back catalogue of over seventy releases including collaborations with established artists such as Mr. G and Ben Sims, the London based talent has been receiving recognition by established artists including Floating Points, Gerd Janson, Levon Vincent, Theo Parrish and many others.

Inspired by London's Plastic People and it's bonding vibes, through a well refined spectrum of musical knowledge John Swing engages with the dance floor in a physical yet emotional way: the strength and power of pure house is blended with black soul music in a constant crossover between underground aesthetics and cherry-picked funk and disco. His subtle understanding of the dance floor guarantees a deep-rooted experience for the mind, body and soul.

Legs 11 collaborate with the infamous drag DJ duo Lisa & Lisa for a special, limited 10" vinyl release. They first met at a festival in a community garden, where they both performed, instantly bonding over a shared love for underground pop music and clubbing. While dancing the night away in a tiny, steamy community garden play house, the idea for a collaboration was conceived.

Lisa & Lisa joined Legs 11 for their concert at Oslo Pride in 2018, adding vocals, dancing and fabulousness. The combination of the Lisas' irresistible, rough glamour and Legs 11's catchy, club tinged synth pop brought so much joy, that the obvious next step was a studio collaboration along the lines of Eight Wonder/Pet Shop Boys. The choice of covering Bertine Zetlitz' Girl Like You was similarly obvious, being the only true Norwegian electro pop diva. Adding Edwyn Collins' similarly titled song, proved a perfect choice for a double A-side single.

The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single ‘Lo/Hi’. The Black Keys’ touring begins in North America in September, with further international dates to be announced soon.



“Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”



The “Let’s Rock” Tour will hit cities including Chicago, Nashville, New York, Los Angeles, and Austin. Special guests Modest Mouse will provide support on all dates, and Shannon & The Clams, Jimmy “Duck” Holmes, *repeat repeat, and Jessy Wilson will each open select shows on the tour. The band also headlines 2019’s Life Is Beautiful festival in Las Vegas on September 21.



Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’



Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.



Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:



Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.



Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.