quête:one of three

Cocytus, meaning "the river of wailing , is a river in the underworld in Greek mythology. It flows into the river Acheron, across which is the underworld, the mythological abode of the dead. Dante describes Cocytus in Inferno as being the home of traitors and those who committed acts of complex fraud. The river of wailing is divided into four arms:

Antenora, after Antenor from the Iliad, traitors to country.
Judecca, after Judas Iscariot, traitors to masters and benefactors.
Caina, after the Biblical Cain, traitors to blood relatives.
Ptolomea, after Ptolemy, governor of Jericho, who murdered his guests (1 Maccabees), traitors to guests.

Based on these assumptions COT labelhead HOURS crafted three pensive tracks, one of which was reinterpreted by Brian Sanhaji.

The Tiger is back - finally on full length again! The second studio album for Tiger & Woods not only marks a desired return to a specific format, but is also a huge leap forward in their area of expertise: their brand of fun and functional dance music gets broadened by influences from electronica, italo disco and up-tempo house, while keeping a groove that is distinctly linked to what some people refer to as boogie. After travelling the world from left to right and from top to bottom with a live-set to boot and skilful DJ sets that resemble that genre melting approach, "On The Green Again" is the result of spending valuable studio time at the "Tiger's Lair" - a carefully-built new work place that plays its own part in the creative process of one of the most prolific production teams of our days, while simultaneously starting T&W Records for all sorts of adventures that are linked to Tiger & Woods, but not narrowed to a specific sound. See "Unleashed Tapes Vol. 1" for further reference. A double A-sided 12-inch that owes as much to disco as an influence as it pays homage to the funkier and brighter sides of house and techno. Honing a craft that is rooted in edit culture as an ethos, but has since long left that bumpy road dependable on samples and their clearance, T&W make "On The Green Again" work as the second album that defies the difficulty usually attached to such ventures. 10 brand-new tracks (and three previously released bonus tracks on the CD version) make up the course between peak-time prime cuts similar to "RockMeLoveMe" or "Come And Get My Lovin" and an almost heart-aching track like "Endless Affair". Mixed with bits and pieces in-between and neatly placed between a classic intro and outro segment, those tracks are testament

Zeal....Enthusiastic devotion to a cause, ideal, or goal. In our case devotion to deep, dubby, warm mirco grooves.

The label's first release comes from 'Monsieur Georget' which is an alternative alias for well-known French producer Chris Carrier, who many will recognise from his own label Adult Only Records, along with releases on other labels including Robsoul, One Records, OFF Recordings and Silver Network.

The release also features a remix from stellar German artist DeWalta, who along with a number of seminal releases on Meander, is a regular collaborator with Mike Shannon and boasts releases on other labels including Vakant, Haunt and Visionquest.

Track one titled Le Village Flottant' is the first of the three originals on the release. Setting the tone of what's to come, it has stripped back drums with delicate sprinkles of delay that are brought to life with a wonky lead synth and poignant piano stabs. The track fuses intricacy with dancefloor focused energy.

Second track called Mecrant Des Oceans' has gliding synths that line the back of the mix whilst the morphing tones and subtle squelch of an acid line provides the momentum. Murky and mysterious, there's a metallic ring to the percussion and it's a fine example of how less can often be so much more.

Third on the release is the DeWalta remix of Le Village Flottant' and keeping the originals ride, he adds his own dub Techno influence. With new synth parts he cuts the already stripped drums to a bare minimum, which gives his added synths plenty of room to breathe and creates a captivating ambience.

Finishing the EP is the third original track titled Picnic Dans Le Metro' and like the rest of this release, it twists and turns with rippling textures and deep atmospherics. Each drum hit is crafted with expert precision and every textured synth sound merges to create the perfect groove and mood.

Back in stock !

Michael Mayer is one of the leading German tastemakers in dance music and his DJ sets have influenced a generation (or two) of musicians and fans.As an artist, Mayer remains tirelessly motivated to DJing, in the studio or behind his desk at KOMPAKT, the label he co-owns. His recording career spans four albums, 23 EP's, nearly 170 remixes and the legendary DJ mixes for fabric and Immer. '&' is his third full-length, a passionate and personal album that speaks as broadly as his DJ sets - embracing his genre-busting love for music, rhythm and atmosphere - and the dancefloor in front of him. '&' is the rare manifest of an established artist who is willing to risk it all and challenge himself, and the world around him. 12 tracks, 12 single narratives coming from a group of very individual minds orchestrated by Michael Mayer - the DJ, artist, A&R but most importantly, obsessed music lover. Michael describes the process of curating and creating '&' as a constant battle between his three alter egos but 'the obsessed music lover has had the final say.' As diverse as they are, all the tracks that result from this long and winding road create a cohesive story and present the elasticity of Mayer's musical galaxy. Michael gladly leaves it to the rest of the scene to discuss the different grey shapes of club culture. For him there is only one club culture - a playful and open-minded one that's easy to comprehend after you hear ‚&'.

Remember how badly we wanted to join them and be part of those sea-faring adventures: Jack London’s The Sea-Wolf, classic TV shows based on his novel The Road, on Radu Toduran’s novels... back then, a couple decades ago, the titles of these shows alone were enough to trigger some strong gusts in our hearts, salty squalls perfect for imaginary downwind journeys we dreamed of with billowing sails. We wanted to cruise alongside albatrosses, seagulls, and fellow sailors. Floating high above a three-masted vessel, we watched our own adventures unfold far below, an imagined movie scene complete with a whole crew that worked the rigging, and all the rest. Cutting waves. Amidst the storm and stress of sounds hitting our eardrums far out in the ocean. Combined with the sounds of rotors, of tropics crossed, of marimbas and cabin wood pounded, of strange music spotted in the distance. And even though it was merely for an hour or two that we were rescued by that seal-hunting ship “Ghost,” as Jack London had it, plus, even worse, often found ourselves surrounded by villains: it was a great escape, for we’d successfully set sails – to new and exciting places.

Both around their own Weilheim shores and elsewhere, brothers Markus and Micha Acher have launched various musical vessels, bands and free-floating constellations over the past three decades – and yet: amid all these other speedboats and unlikely sonic barges, The Notwist has always remained the mother ship. This new album documents the latest live incarnation of this very band, which also features Andi Haberl, Max Punktezahl, Karl Ivar Refseth, and Cico Beck. Recorded on December 16, 2015 on the second of three consecutive, sold-out nights at UT Connewitz in Leipzig, Germany, "Superheroes, Ghost-Villains & Stuff" indeed feels like a first-hand live experience caught on triple vinyl. That’s why it’s the definitive album of The Notwist’s career.

Although there is one song that points to the early, “louder years” of The Notwist – “One Dark Love Poem” off the album Nook –, the rest of the night’s set sees the band perform all the major hits off Neon Golden, The Devil, You + Me, and Close To The Glass. However, these are different, organically enhanced versions, new interpretations and combinations that feel much more alive; thanks to Olaf Opal’s incredible mix, they sometimes even outshine the original studio recordings. Listening to "Superheroes, Ghost-Villains & Stuff" feels like watching these songs evolve and change, moving from one frame to the next, much like a baroque triptych.

What starts out like ‘wimmelbook’ imagery, the music soon folds and unfolds like a Moebius strip: Sans bottom or top, sans inside or outside, the inside becomes the outside and vice versa. It’s all about sonic interconnection, about music as entanglement, music as reconciliation. The rather majestic, cinematic (indie) pop and experimental, kraut- infused jazz, the spirit of the enlightenment and baroque playfulness, the traces of modernism and minimal music, dub leanings, hip-hop lessons, and even hints of house music: here is where they all come together, reconciled in a sound that’s both melancholy and romantic. And ultimately, the spirit of these songs is set free – and the band has released itself, is free at last.

As for the album title, it’s lifted from the song “Kong,” and encapsulates Markus Acher’s motto. Throughout the track, the water theme first appears as a dangerous threat: a force that’s strong enough to wash away an entire house; and yet the fluid state keeps transforming and eventually releases that sense of threat into something rather hopeful, a new musical beginning, a melodic departure that ultimately leads to euphoria and a renewed spirit of adventure. These are the strong gusts mentioned above, it’s the spirit of discovery, the urge to set sail together. The crew’s back at it, working the instruments, the rigging, with sails a- billow, launching the next voyage of discovery, assuming the East in the West and vice versa. And thus the adventure saga continues.

Pico Be (Das Weiße Pferd)

THE EARLY WORK OF A MUSICAL GENIUS WHICH BECAME A STAPLE OF THE MINNEAPOLIS SOUND FOR DECADES TO COME.
Formed in December 1975 by Pepe Willie (the former husband of Prince's cousin), 94 East was the Minneapolis-based funk group with which Prince first came to prominence. Willie was a key player in launching Prince's career, spotting his many talents and quickly enlisting the young maestro into 94 East (named after Interstate 94 in Minneapolis). Alongside Willie, Prince composed one song for them, "Just Another Sucker", newly remastered for this release along with "One Man Jam".

These are two of a collection of epic tracks laid down by the band between December 1975 and February 1979, with Prince's nascent musical power to the fore. Remastered versions of the complete recordings are available across three new Charly releases: CD (CHARLYF840), single LP (CHARLYL219 - purple vinyl ) and triple LP box (CHARLYL221) with bonus tracks and instrumental versions.

The band disbanded in 1979 when Prince became a star in his own right . And the rest is history. . .

With a title that suggests great things, making reference to 6 Victoria Crosses awarded to the Lancashire Regiment in World War 1, Mr Fantastic and Coherent (of Journeymen fame and much more) have set themselves a tall order. Before you have even listened to the music, the presentation points to success in this venture, with original artwork by the brilliant Stilts and marbled camouflage coloured vinyl to boot!

100 years after the press reported 'the winning of 6 VCs before breakfast' during the Gallipoli campaign in World War 1, S.O.E. (Special Operations Executive) opt for beats and rhymes rather than guns and bombs, and the resulting record is essential. The initial salvo is fired in 'Ready For Combat' which sees Mr Fantastic combine hard-hitting drums with stabbing guitar chops for Coherent to set the tone. The result is an instant smash which will have you rewinding, as I was, time and time again! From there, the duo, joined by Rola (The Numskullz/Journeymen) and Truck (also a member of The Journeymen), stage a three pronged assault over a haunting beat, spitting verse one after another like a creeping barrage before Mr Fantastic delivers the final victory courtesy of his trademark tight scratches. The concept for this EP is highly original and perfectly apt and on 'Foreign Lands', this is perfectly demonstrated as Coherent weaves tales of carnage that would sound at home on a jungle warfare documentary. 'Lyrical Assassin' once more sees Coherent dropping vocal hand grenades over double bass and electric piano skilfully fused together by his fellow soldier Mr Fantastic. Throughout, the subject matter and music is dark and 'Heavy Artillery' encapsulates this perfectly - Mr Fantastic's thumping, bass-heavy production would have sat perfectly on Show & AG's sophomore LP next to tracks like 'Night Time'. On 'Carcasses', Coherent shows the enemy why he is such a skilled MC, delivering surgical strikes with his tight metaphors and hard-hitting punch lines.

The question, then, given the highly ambitious nature of this project, is whether S.O.E. have won the battle they set out to win. With meticulous artwork, dark brooding beats and Coherent's masterful wordplay, the result is clear. They didn't just win the battle but the whole darn war!

Lowercase Life is a new record label releasing limited vinyl editions with hand made artwork covers. Label owner Colophon kicks off with the 1st EP trying to catch the spirit that once started in Detroit. Three tracks created on old analogue synths and drum machines combined with new software technologies. In addition to the original tracks Florian Kupfer (L.I.E.S.) delivers a remix with a raw, uncompromising one-take hardware recording like only he can.

THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL's long career. The trio of dance oor-oriented records formed by 2012's The Inertials, 2014's Polyphonic Beings and now THE ASSISTENZ are sensual pleasures rst and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world's clubs has been put into the creation of sounds that interface with the nervous system and emotional re- sponses with extraordinary immediacy. But there's much more too: together with the more ab- stracted album Eselsbru¨cke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named - but also the nal piece in this bigger puzzle, which unlocks untold secrets from the previous three records.

There's a deeper history, of course. CRISTIAN's productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has in uenced too. In fact, as you listen to THE ASSISTENZ, you realise that there's no point making comparisons with other elec- tronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music - dub, electro, acid, funk - owing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but some- what skewed vision.

CRISTIAN's understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specif- ic frequencies that make up speci c sounds and produce speci c effects on the human mind and body. And as a result, his own sound synthesis - increasingly done via the Kyma programming platform - is more and more able to reach beyond the 'synthetic' and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ's ghostly centrepiece 'Barefoot Agnete', in the alien radio signals of 'The Merman's Dream' or even in the subliminal 'aaah's hiding in the background of the noisy 'Vessels', but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.

And it's not just the boundary between human and non-human, or that between acoustic and synthetic, that get blurred to the point of non-existence. CRISTAN's creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised criti- cal faculties and go with it. Sometimes that can take you to places where darkness and physical- ity close in on you as on 'Vessels' or 'Telemorphosis', or into haunted spaces on the edge of the void like those of 'Snowcrunch' and 'Barefoot Agnete', but even in those, there is euphoria. And in the voluptuousness of 'Hold' or the body-rocking funk of 'Cubic Haze', all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.

So many of the science ction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where ma- chines learn, where images can't be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN's experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn't just ex- periment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.

Peng Sound Records kick off the year 2016 with their first set of 10' discs - the original dubplate format does seem rather fitting for what is perhaps one of the biggest and most in-demand cuts from Ishan Sound & Gorgon Sound in recent years, a big contribution to their unstoppable rise in soundsystem music territory. Trojan, the grime-tinged steppers is reminiscent of the seminal 'Find Jah Way' by his peers Gorgon Sound, yet it's still an unmistakeable Ishan Sound production, in the way it's sonics are laid out and presented. In perfect combination fellow Young Echo cohort Rider Shafique steps up in authoritative style, going full charge at the walls of babylon with lyrical firepower. The Ishan Instrumental and the Gorgon Remix have been staples in sets from the likes of Iration Steppas, Kahn & Neek (aka 'Gorgon Sound') Mala, Dubkasm and and of course Ishan Sound himself. The list of selectors who have played this is small but refined, this one has been kept close to the chest, in true tradition to the dubplate ethos of exclusivity. In addition to the instrumental cuts, Peng Sound Records present the burning vocal cut with Rider Shafique. Flip the disc, and the Version awaits, letting the rhythm take full control, for extended dubwise pressure. For all the selectors out there, this release comes packed with enough version excursion to keep the fire burning 'til the dance is charred and dusted by means of frequency. The second disc comes loaded with the infamous Gorgon Sound remix, sonically pretty much exactly between the sounds of Bandulu and Gorgon, with their extra overdriven low-end and amplified, multiplied kick drum pattern, their version of Trojan is arguably the most explosive of them all. The combination of Ishan, Gorgon and Dubkasm is something we've come to expect from Peng Sound now, but this is the first Record that combines all three on one plate - the final cut on this set of Trojan interpretations gives us an exclusive, brand new Dubkasm counteraction - flipping the energetic steppers on it's head in favour of an uplifting one-drop beat, giving the vocal and rhythm a brand new space and presence. If the first three cuts were there to mash down the place with unhinged, dangerous soundsystem attitude, then the Dubkasm cut could be seen as the cool and easy soundboy burial, cementing Rider Shafique's message with deadly effect.

Ben Sun returns to Delusions for his 4th release on the label including three more tracks which show the Australian via London on his best form yet. Full Moon kicks off the Tides EP at full throttle with a muscular conga-led disco house roller. Slurping 909 hats and the most twisted of synth solos courtesy of regular collaborator Fantastic Man (and his beloved Juno 60) provide the icing on this simple bass-cake which never fails to energize the dancefloor in the most special of ways.
Star Ritual drops next, going heavy on the percussion once again for a minimal stripped back drum tool which packs a mighty punch. Dubbed out vocal hits punctuate the beautifully loose groove with subtle hints of afrobeat implied by the bassline making for a warm summer track dripping with tropical vibes.
Finally we have Glass Waves bringing the EP to a glorious close, all chiming synths, bouncing moog bass and waves of chords layering on top of a heavy drum track. Ben repping an early 90's blissed out Nu Groove mood on this one and managing to sound as fresh as ever in the process.

It means Noisy Stars'' - Fergus Lawrie.

So it's coming up for the 20th anniversary of the We Are Urusei Yatsura' album, so what better time to look back at the broken Woolworths guitars, damaged eardrums and bleeding knuckles of Glasgow's lo-fi, Tokyo dreaming geek rock quartet

You could say it all began at the Glasgow Sound City event, when legendary BBC DJ John Peel came along to check out Urusei Yatsura at the 13th Note at the invitation of future Franz Ferdinand front-man Alex Kapranos. Liking the chaos that he saw, Peel invited the band to record a session for his show, asking live on air while guitarist and singer Graham Kemp was visiting the studio to talk about his Kitten Frenzy' fanzine the next day.

Peel arranged for us to record the session in Glasgow' says Kemp, We didn't have any amps or any money to get to London.' Producer Stewart Cruickshank told the band that it was the first Peel Session recorded outside of Maida Vale since the Undertones. So no pressure there then.

This began a long association with John Peel and the BBC, which saw the band record 5 Peel Sessions, 3 Evening Sessions for Steve Lamacq, play live to air for Mark Radcliffe, and appear regularly on Radio Scotland for John Cavanagh and Mark Percival. Digging through old C-90's that had been partly taped over with that week's charts, the band have pieced together a compilation of the best tunes for you, the discerning 90's indie rock aficionado.

..they sounded a bit like the Saints' - Thurston Moore, SELECT

Some of the recordings we did for the BBC, I think, are better than what eventually made it onto vinyl. We did Kewpies Like Watermelon' live in the control room for Radio Scotland and we had just learned it so it sounds really fresh and exciting. The version of Siamese' is the best we ever captured, and I love the Dice/Nae Dice' tune we wrote especially for Peel'. - Kemp

The challenge of recording and mixing four songs in a single day brought out the best in the band, and suited their impulsive, DIY rock n' roll spirit. The album, available on CD and vinyl, features 11 songs, including session versions of 6 singles, choice album tracks and live favourites from the only band who have been threatened by both the Yakuza and the Mafia (the latter incident generating the hilarious headline Nerds Threatened With Death' in the Sun newspaper'). The band have decided to call this hand-picked selection of the highlights of an eight year career', You Are My Urusei Yatsura, BBC Radio Sessions.

Other highlights of said career include, a number one indie single with a video shot in a Star Trek themed bar (Phasers On Stun), a Peel Festive Fifty placing (Kewpies Like Watermelon) an actual top 40 hit (Hello Tiger), numerous chaotic tours of Europe, UK and USA ,narrowly surviving a collapsing stage at Benecassim and a tent fire at Phoenix Festival, releasing three studio albums and 13 singles (including splits with Mogwai, the Delgados and the Blisters), taking Mogwai, Eska and Pink Kross on their first UK tours, supporting Super Furry Animals, Pavement and Teenage Fanclub, playing at Roskilde, Reading and T In The Park festivals, The CMJ festival in New York and MIDEM in Cannes.

The band consisted of the writers Fergus Lawrie (guitar and vocals) and Graham Kemp (guitar and vocals), with brother and sister rhythm section Elaine and Ian Graham on bass and drums respectively.

Celebrating the 50th anniversary of the creation of the Rocksteady music genre, 17 North Parade presents "First Class Rocksteady". The collection captures early work from some of the genre's defining artists, and here are further 24 hot tracks additionally to the tracks of the limited edition 7x7Inch box set of the same name. Available as double vinyl with deluxe printed inner sleeves featuring sleeve notes and images.

Tracklisting: Side One A1. Hold Them - Roy Shirley with Lynn Taitt & His Band A2. I Am Lonely - The Heptones with The Supersonics A3. Dance All Night - The Tartans A4. Rock Steady - Alton Ellis and The Flames A5. Ba Ba Boom - The Jamaicans with Tommy McCook & The Supersonics A6. Pata Pata Rock Steady - Patsy & The Count Ossie Band Side Two B1. You Don't Care - The Techniques with Tommy McCook & The Supersonics B2. Little Boy Blue - Pat Kelly and The Uniques with Bobby Aitken & The Carib Beats B3. I'm A Loving Pauper - Dobby Dobson with Tommy McCook & The Supersonics B4. Return Home - Alva Lewis with Lynn Taitt & His Band B5. Just Like A River - Stranger Cole & Gladdy B6. El Casino Royale - Lynn Taitt & The Jets feat. Count Sticky Side Three C1. The Beatitude - The Uniques C2. Revelation - Alva Lewis C3. A Change Is Gonna Come - Ken Parker with Bobby Aitken & The Carib Beats C4. The Big Takeover - The Overtakers C5. I Am The Upsetter - Lee Perry C6. Musically - Keith Blake with Lynn Taitt Band Side Four D1. Lonely Heartaches - The Clarendonians with The Aubrey Adams All Stars D2. Napoleon Solo - Lynn Taitt & The Jets D3. Intensified - Desmond Dekker and The Aces D4. Hold Me Tight - Johnny Nash D5. Seeing Is Knowing - Stranger Cole & Gladdy with Lynn Taitt & The Jets D6. Darling Jeboza Macoo - Stranger Cole

For the CRF012 we are proud to invite the Dutch artist, Dimi Angelis, one of our favorite Techno producer.With this release, the man offers us three solid and tasty tracks without compromise.Repetitive, minimalist, all tunes are mesmerizing, the music speaks for itself, no need to talk, the best way is to listen.

Not even a month has passed since Sierra Sam and Pascal Hetzel ´s CYRK project launched with the high impact homage 'Tribute' and they return with yet another respectfully rooted release.
Channelling the energies of Detroitian agenda-setters such as Inner City, Joey Beltram and Scott Grooves, CYRK celebrate the original template and ingredients that have gone on to inform every genre that's since passed. Easy to say... A dark art to master without repeating something that's already been done before. Safe to say that CYRK definitely have that art mastered...
Its deft ping-pong riff echoing through classic detuned synth tones and unrelenting beats refusing to stop even for the honeyed evocative tones of singer Christine Eusebio , 'Fantasy' is one of those tracks you'll feel you know but also understand its freshness instantly. The type of track that gets crowds grinning like Cheshire cats the second it pops on... Even though they've never heard it before. Rooted in history, coded in innovation, it's more proof that CYRK's three-headed formula is better than one.
Remix-wise both Pascal Hetzel and Gerome Sportelli remain in Detroit: Pascal looks towards the likes of Mills and UR's 'World Power Alliance' phase for inspiration with his heads-down, militant techno aesthetics while Gerome conjures up sensations of Cybotron and The Preps with his slinky, ice-edged electro adaptation. Both versions take Christine's surging, sensual vocals to new creative pastures... And they've invited you to do the same with the acapella version, too.
Celebrating a legacy while keeping it fresh, CYRK remind us where we've come from... And where we're heading.ind us where we've come from... And where we're heading.

Pure worries from Leipzig — three club burners steeped in Detroit traditions, distilling the explorations in collective, nervy hypnosis of KM live sets. As the music slowly unfurls, there he is at every turn, subtly tweaking its parameters, redistributing its weight, pricking its grooves into a state of utterly infectious perpetual movement.
The two visions of Chilazon track opposite pathways: the first is twelve minutes of gorgeous, dubwise, aquatic techno, spattered with kicks and razor-sharp hi-hats, and smeared with ghostly echoes, then a terse mesh of broken drums, escalating to a quiet yet feverishly intense peak. Lanthanum is calligraphic swordplay, its toms and bass stabs warily circling one another in a graceful steppers' dance, spaced-out and fathoms-deep.

They say all good things comes in threes, and with the marking of Nachtbraker's 3rd release for Heist, we can confirm this universal truth once again. Maurits Verwoerd comes back to Heist with more dancefloor muscle than ever before, and shows us great development of his sound: while keeping his unconventional drum patterns and love for the deeper side of house, he adds some filtered funk flavor along the way. 'Gotta act to react' drives on a saturated bassline, a hypnotizing guitar lick and some seriously loose hi-hats, but really delivers once those hard to place filtered hits come in. 'Pollo con Pollo' is potentially Maurits' most clear attempt at a straightforward groove, with a lovely dreamy guitar loop running throughout the track. Add his loose sense of arrangement and changeovers, and it's still anything but straightforward. The B- side gets nice and weird with 2 versions of Intermezz(l)ow, the one being a lovely textured interlude and the other a rough drum workout built around the same theme. When we asked Maurits who he wanted to have as a remixer, he suggested he'd do a remix himself. We knew better than to argue with him, and since he is who he is, we're not entirely surprised he came up with a great dubbed out acid-tinged flip of 'Gotta act to react'. This EP really shows Nachtbraker's steady rise and will most likely take him out of the shadows he so enjoys, into headline territory and we're glad to support him in this journey. Sincerely yours, Lars & Maarten

Just This is a Milan based label collective.
Just This is the expression of a social, metropolitan and underground movement we are living and going through all together.
Our Mission is to give room and importance to Art and Music which are still evolving day by day.
Just This is aimed to frame these changes, which are going to be the picture of today and the future memory of the cultural movement of this age, throughout a series of messages, images and sensation drawn inside the audience.

Furthermore, thanks to the energy, the happiness and the magic charm of our parties and events, talented and unique artists, from all over the world, use their way to interpret music to communicate people the real core of this change:
the future is changing...

Just This 's first Various Artists aims to the research of a mix of sounds by producers from different countries, to a journey into a variegated world. Melancolic vibes, deep ambient athmospheres.

The Ep is composed by three tracks. The first one, Perù, is a fine production born from the collaboration between Tom Trago and Pisetzky, a blowing wind from overseas, a shiny path into a flashing jungle, a merge of their different styles that combine in a magic theme.

Eduardo Della Calle - Mondo8 Is a constant beat that hits straight to the point with an hypnotic melody and raw vibe

Kelpe - Dry Riser -  expressing his own unique unclassified genre, it grabs you into an unspringy flow bringing the listener to a vintage ambient atmospherest

For our Seventieth release have the pleasure to welcome three creative forces from different wakes of life; Italian duo Proudly People & veteran Chicago native Halo Varga who conduct two sapient groovers - with the title track GrandFather Clock unmistakable voice of New York's Mr V. One Records Adam Shelton and Frankfurt's Einzelkind along with the help of Randy Fox and Robin Scholz opt for a housier foundation on the two remixes, leaving the sheen on V's iconic word-smithing.

Escapism, the Berlin party series, steps over the threshold into label territory after putting on quality techno nights in the German capital for more than two and a half years. Kicking off the label is the Polish born and Berlin-based Glos, who is well known for his work on Ressort Imprint. On 'Prayers' three original tracks showcase his love for Ambient music, as well as intelligent Techno and sound design. Belgian newcomer Border One (Wolfskuil, Stockholm Ltd) is in charge of remix duties, taking the slow

Raw electronix all the way from Medellin, Colombia. It's Retrograde Youth making his debut on Radio Matrix. By serving us three different kind of tunes, he shows us he is definitely an artist to keep your eyes and ears focused on. Where the first track shows his more melodic side with a grimy twist, the darkness really starts to unfold on the flip. 'Love Fantasy' will fill the room and leaves no escape with its haunting bassline, flanged hihats and Earth shattering leads. And on the B2, 'No Time' is the one for the dark basements, straight up acid for the tough kids! And this is only part 1...

Wolfgang Tillmans designed Cover with Innersleeve

How to introduce the first record by Wolfgang Tillmans Now considered one of the most significant visual artists working today, his very first passion in life lay with music. This record features on its B-side three songs recorded in 1986 in his home town of Remscheid. The A-side features two pieces recorded in 2015/2016. The 29-year gap in between were marked by Tillmans exploring music, pop and club culture from many different angles. 'Make It Up As You Go Along' is a pulsing dance track based on the recordings of a book printing press in a factory in Stuttgart. Morphed through various production stages, the press's syncopations and his Tillmans' serendipitouspenditous vocals merge into an intoxicating track that could become a summer festival early a.m. favourite. 'Triangle / Gong / What' is an experimental offering made up ofwhich combines the sounds of playing a special alloy triangle, a 999 fine gold gong and a vocal, fused through a particular gain manipulation during the recording process. The 1986 side features three songs which Tillmans wrote and recorded with collaborator Bert Leßmann. A single channel recording from the rehearsal room was all he had from back in the day. With the help of Tim and Klaus Knapp the recordings were filtered and eq'ed and then supported with precise reconstructions of the original instruments. Out of this production process spanning 30 years a unique time capsule emerged, which portraits a small town teenager with some ambition. 'Time Flows All Over' is a haunting reminiscence of the angst and energy of the mid-1980s, infused with surprising contemporary relevance.

Standing at the intersection where techno meets classical music, Ólafur Arnalds directs the newest Late Night Tales, set for release on 24th June 2016.

After releasing the breakthrough album 'And They Have Escaped The Weight Of Darkness', in 2014 he was awarded a BAFTA for best original music for the TV series Broadchurch. Arnalds' music has a quietude that seems perfectly apposite and that's evident here as each song drifts like an autumn wind towards the next.

Arnalds has enlisted the help of a few of his countrymen for the journey out west - electronic bands Samaris and Hjaltalín - and just as his records manage to combine the experimentalism and adventure of electronic music with a classical sensibility, here he weaves them perfectly, using tracks like Koreless' brilliant post-dubstep 'Last Remnants' alongside the enigmatic brilliance of Jai Paul. It's a perfect musical landscape that is eerie yet beautiful, as on Odesza's 'How Did I Get Here'.

As if Ólafur wasn't spoiling us enough, he offers up three exclusives: his own 'Kinesthesia I' and 'RGB' and 'Orgoned' by his techno side project Kiasmos. Alongside that we have the obligatory cover version (Destiny's Child's 'Say My Name') and also a Late Night Tales debut for David Tennant, reading a story by Anam Sufi, with whom Ólafur worked on Broadchurch.

When I was asked to do the next installation of the Late Night Tales series I thought "This will be fun and easy, only a couple of days work. No problem!". Six months later, I was still pulling my hair out in some kind of quest to make the perfect mix. As someone who has never really done mixes before, I learned a lot of things along the way and the whole experience was very inspiring. I decided to approach the mix in a similar way as I would one of my scores. This is the soundtrack of my life. I included songs from many of my friends and collaborators and tried to deliver a mix that represents who I am as an artist and where my influences are coming from - both personally and musically.'

"The wall is high, the ditch is deep"

Just at the right moment, Bierbeben is finally back. But no! We're supposed to say "Das Bierbeben". Of course. But we have really been living for a long time in a world abandoned by predicates. It is a world of opinions, mostly of the sort that can be bought like (day-old) bread. The world hasn't even noticed. And fighting against this bread are guilds that feel betrayed by seared dough.

Such heavy thoughts on a day (like any other) when we actually close ourselves off inside and eat the shit anyway!!! On days like this, the Hamburg/Berlin-based act Das Bierbeben launches another new single - no, an EP, with the title: 'Schwarze Spinne'. Back to the old roots, strong, clear, and good. And very, very new.

The artists apparently (in the name of the people) only caved in after much begging and pleading from the Berlin-based (back then) trend label Shitkatapult. It's not true. There is only one reason for this music: and that is us. That's how it is.

After three albums and a triple sabbatical, Das Bierbeben is back with four tracks: shaped by truth, chiseled from insight, demanded by sense,
and right on the mark. But not this punk.

Unshakable integrity, adamant dedication and multi-faceted creativity are all characteristics that define the personality of french electronic artist Marcelus. Following an already fluent relationship with music and a string of single releases on Tresor Records, Marcelus - given name Cedric Bros - thought it would be the opportune moment to dive into his most intimate inspirations and produce Vibrations, his debut album.

This full length project naturally comes at a pivotal moment for Marcelus, his experiences and knowledge coming together to create a homogenous body of work reflective of his expertise as a musician so far. Vibrations is purposefully techno oriented. It is a personal journey through his proficiency in the genre, travelling from techno to house inspired dub techno to futuristic and experimental by the end of the three vinyls.

To calculate the dark, nonetheless melancholic energy of the record, mathematical datas of Pi and Phi were deliberately measured into some parts of the composition of each track. The result is an ever-evolving web of rhythms that redefines pre-established structures.
Through its rich sonic journey Vibrations proves, from A to F, that Marcelus is undoubtedly one of today's most interesting and dexterous producer in the genre, and pertinently lands on Tresor's 25th Anniversary calendar

Raime's second album, Tooth, arrives June 10, 2016 on 2xLP, CD and digital formats. The widescreen melancholia of their 2012 debut, Quarter Turns Over A Living Line, gives way to an urgent and focussed futurism, in the shape of eight fiercely uptempo, minimal, meticulously crafted electro-acoustic rhythm tracks. The DNA of dub-techno, garage/grime and post-hardcore rock music spliced into sleek and predatory new forms.

No let-up, no hesitation. Needlepoint guitar, deftly junglist drum programming, brooding synths and lethal sub-bass drive the engine. The production is immaculate, high definition. No hiss, no obscuring drones or extraneous noise: the music of Tooth is wide-open and exposed. The seeds of its supple dancehall biomechanics can be found in the self-titled 2013 EP by Raime side-project Moin, an ahead-of-its-time synthesis of art-rock and soundsystem sensibilities, but Tooth pushes the template further, binding the disparate elements together so tightly that they become indistinguishable from one another.

If Quarter Turns was an album that confronted total loss and self-destruction, even longed for it, then Tooth is the sound of resistance and counter-attack: cunning, quick, resolute, calling upon stealth as much as brute-force. At a time when so many pay lip service to experimentation without ever fully committing themselves or their work to it, Raime return from three years of deep, dedicated studio research with a bold and original new music: staunch, rude, and way out in front.

Skam Records are very proud to release an album of unheard tracks from one of our very first artists and it feels good to have him back home.

Jega has always provided his own slant on the genre, with warm standout melodies and his always edgy solid beats driving it all. Its good to hear his machines working again after all these years.

Jega returns with a selection of the year before his seminal first release (Ska006). A collection of unreleased tracks from 1995, recorded live to Cassette Tape and DAT, and gathered 20 years later to form "1995".

This album provides a glimpse into the fledgling electronic music scene of the 90's.

Jega has released three albums on PLANET MU.

Pomalo, means 'take it easy' in Croatian Dalmatia region's slang, is the latest addition to the Burek/Barba family.

A 12" by CL Dawkins titled 'Affirmation Of Love' comes as a wonderful postcard from Detroit. Written and produced by Alex Israel, remixed by Amp Fiddler, and with a vocal contribution by Lavell Williams, the record features three different generations of Detroit artists.

Alex Israel, here debuting his CL Dawkins moniker, is a mechanical engineer and synth aficionado with a deep respect for soul music.
Since 2011, Alex has released a string of successful releases under his real name on labels such as Creme Organization, Stilove4music, Night Gallery and W.T. Records.

In tune with the mood and title of the label, Alex delivers two mid-tempo jams which are hard to ignore. 'Affirmation Of Love' is a soulful tune that works equally as the last song of the night, in your living room, or at a boat party.
Mr. Williams, whose vocals envelop the song, is vice president of the Detroit Sound Conservancy, an organisation deeply involved with Detroit's musical heritage education.

CL's second tune on the record is 'Blue Falconry', an instrumental with a subtle synth line reminiscent of Alex's previous work threading through the whole length.

Finally, Amp Fiddler contributes his take on the vocal cut. Fiddler's career connects the worlds of George Clinton, Sly and Robbie, Prince, and Brand New Heavies to artists like Moodymann, J Dilla, Theo Parrish, and A Tribe Called Quest.
A one-man musical hub, and an artist whose impressive biography would take up more space than we have here, spins the title with a dancefloor edge while retaining all the things we love about the original, a soulful Detroit house take that leaves a lasting impression...

The Roundtable & Northside Records are pleased to offer this long awaited and special Record Store Day reissue of this highly collectible Australian rare groove LP.
If you can imagine the gathering of a group of Australian session musicians channelling the sounds of Herbie Hancock Headhunter's and Marc Moulin's Placebo, recording an album out of hours at a TV studio and then releasing a privately pressed hard hitting jazz funk record then what you have is Arena, one of Australia's most revered and scarce rare groove records.
This was the name given to a pick-up group of session players led by Ted White, a veteran of the British big band jazz scene (an associate of Ted Heath and Basil Kirchin) who had immigrated to Australia in the 1960s to work in the burgeoning television industry. This one-time studio project (recorded only to test out the facilities for a new studio) barely yet thankfully saw an LP release in 1975. Pressed in minute quantities only with limited distribution, the album was subsequently forgotten and obscured by time, only to be resurrected in the 90s by DJs and collectors seeking out lost and rare records.
The album has since become one of the country's most celebrated and collectible jazz funk recordings and has proved to be a pivotal point in Australian jazz, marking a shift from the modern jazz and R&B sounds of the previous decades to the cross pollinating electric jazz funk of the 70s. Characterized by the heavy use of electronically treated saxophone, psychedelic guitar, Moog and spacey Fender Rhodes, the album is a classic of the genre.
While acknowledging the often compiled and sampled breaks track, The Long One, the complete album offers much more, exemplified by its complicated and obsessive jazz rhythms, abstract and middle-eastern horn lines and pulsing electric funk.

WEvery artistic scene is lead by their artists and kept alive by their fans, but mostly by its talents, who can look outside of the box and have a great relationship with their crowd. Junior C is a great example of how this theory comes true for a DJ and Producer.
Junior C is a very versatile artist, who consolidated his career in three columns: Technique, Feeling and Crowd-Reading, Important skills that added to his strong musical taste made him able to adapt his sets to many dance-floors, from underground to mainstream without loosing his musical identity.
As a producer, he got a lot of attention by his latest tracks Relax' and Sweet Acid Talk' released by Impact Records, produced in partnership with Wehbba and Propulse. Both tracks in just a couple of weeks hit the top 20 in tech-house at Beatport receiving compliments from: Sven Vath, 2000 and One, Karotte, Hector Couto, Joseph Capriati and many more, afterwards Sweet Acid Talk' was the best seller of Ibiza Underground 2013' released by Toolroom Records.
In this EP he has worked with H.O.S.H., Gui Boratto and Gunjah to create new approaches of his latest single Coming Over' and the result are 3 different interpretations of this dance floor timeless song, full of groove, lush harmonies and organic undertones. It doesn't take much to imagine this EP owning dance floors in the months and years to come.
Engineered to perfection by label head GUI BORATTO, it's an exciting step for the imprint and the project alike.
it's an exciting step for the imprint and the project alike.

Three cuts of heady, cerebral bliss guaranteed to push any dancefloor a little further out into the interstellar,In Russell's hands, Clay Wilson's "E4" becomes a spaced-out stepper's delight. His rework of Romans' "Coptos" lets the acidic undertones of the original run free while snappy percussion holds focus. And while we're not one to pick favorites, Russell's remix of Zemi17's "Rangda," stripped to its bare essentials, is almost a purer representation of the original than the original itself, designed to lift a willing crowd into a trance state.

The last part of the dancer's trilogy: With Border One's 'Throw' Ressort Imprint closes it's triplette on the definition of modern Techno's different sound colours. And it's getting more and more playful.

Border One might be a new name popping up here and there recently but the young Belgian DJ and producer is by no means a newbie to the scene. Knowing that it is no wonder that his debut on Ressort Imprint sounds very sophisticated and mature as his three original drafts show a very classical illustration about his passion for Techno music.

The title track 'Throw' starts of with a playful yet unobtrusive melody and shows the Ghent-based producer's ability for shifting moods with very subtile yet effective measures. 'Morphosis', on the other hand, gives a real club momentum while 'Tube' is succeeding with topping itself bar by bar. All of this is rounded up by a big room take from one of our favourites, being Thomas Hessler. It is save to say: We will hear a lot about Border One in the future.

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

+ Downloadcode!

The first Late Night Tales release of 2016 is a very special project by Sasha.

Imagine listening to music inspired by Frahm, Richter and Steve Reich, but made by one of the UK's leading house and techno DJs. Away from the hubbub of the club, the craziness of Ibiza, there's a contemplative side to everybody. Forget the beats and the sweat and the billowing anthems; this quiet, undulating, at times pastoral piece is less about songs and anthems and more about texture and atmosphere. 'Scene Delete' is a side of Sasha you've never heard before. I love post-minimalist modern classical, I love to listen to something completely different that's quite hypnotic as well. It almost purges the system.

About three years ago, my collaborators David Gardner and ThermalBear and I wrote a song called 'Bring On The Night'. I sent it to Ultraista and within a few days she sent it back with this amazing vocal on, with Nigel Goodrich playing keyboards. We tried to do club mixes but we just couldn't get it right. So it sat there doing nothing.

Tracks like this kept building up, until finally last summer my frustration boiled over. We'd made so many tunes that I couldn't remember the names of half of them: What was that thing with a bass sound and a string line It drove me mental. At the same time as we were logging these tracks, I was listening to the Jon Hopkins' Late Night Tales and I thought a lot of the music we'd been working on was in the same vibe. So I sent the music over to Late Night Tales and they really liked it.

Initially, I thought we'd just do a Late Night Tales compilation with maybe a few pieces of my own music. But as we went through everything we'd worked on in the last two years, we realised we had about 50 pieces of music. So we started editing and compiling: 'Scene Delete' is the end result.' - Sasha, January 2016

Think of 'Scene Delete' as somewhere between a mix album, an artist album and a gentle stroll through the soundtrack in your mind. Make sure you switch off the lights before you enter.

MONOS/UD is Opcion´s debut album under this moniker, released on the austrian vinyl-label for contemporary music GOD Records.

MONOS (Side A) offers three solo works of heavily processed dark ambience and swelling noises, accompanied by harsh stammering beats.

On each track of UD (Side B) Opcion joins forces with one of the guest instrumentalists Maja Osojnik (Paetzold Bass Recorder), Bernhard Loibner (E-Bass) and Kurt Bauer (Violin), to create three works based on ruptured improvisational recordings which were later edited to become fully constructed pieces.

I started this album simply writing a script, I think it is important that an album has a continuity that gives the album a cinematic sense, basically this must to tell you a story. For this time I chose the topic of: the development of human evolution in the future.'
I find it interesting to experiment with the sound and textures of the classical music, but not with the idea of how to adapt a techno track with classical instruments, I prefer to writing scores from scratch for each of the instruments and adapting synthesizers as part of that orchestra. I think that all this brings us an epic ingredient, that from the beginning I think it was the link between classical and techno music.
Besides the classical music, I have been experimented with different kinds of recording and synthesis, also I created almost all the sounds from zero. I have included different fx sounds, developed it with techniques as morphing and overlapping layers of sound, all to setup the tracks with a complex and rich textures, but with care about do not obtain something pasty.
I worked a lot with the space' in the tracks, trying to place each sound in a particular three-dimensional situation with clean reverbs, also the feeling of tension' is highly significant in this work, but ultimately the most important thing has been to build on a script written -as I said before- so that the narrative is a fundamental part of the album.

* This is the first of two 10" EP''s from the legendary G. T. Moore comprising of the album `Ganja Flower', recorded for the Jah Works label, which came on a limited edition CD in the 90's
* The title track was played on dubplate by Jah Shaka throughout the mid/late 90's.
* On this EP there are three vocals, `Ganja Flower', `Divided City' and `New Day' plus three dubs.
* Produced at Channel One UK studio by G.T. Moore and Rej Forte.
* The remaining tracks from the original album will feature on `Ganja Flower EP 2' (PRTL10009).
* Limited press 500 only.

Coming out of Amsterdam via London, Breach's Naked Naked imprint has been a platform from the globally lauded producer can launch club-ready material both from himself and his peers. Having previously released records from Maison Sky, J.Tijn and Viers - the next in an ever-reliable series welcomes back Church and 2020 Midnight Visions affiliate Lorca for his third outing on the label. Hailing from Brighton, Lorca has garnered a following behind several extolled 12s showcasing his intricate and spectral brand of UK Electronic music. His latest offering expands on this with three moody cuts that meld eyesdown melodies with sharp, lively drum structures. 'Creta Kano' kicks things off with ticking percussion scurrying over a rubbery, tape driven thud. Deft dynamics build depth in the mix as detuned and delayed synth lines interweave to stunning effect. 'Malta Kano' then sets more textures bubbling behind bright drums and powerful, melodic synth leads. The Alt version of 'Creta Kano' then brings things to a dark and purposeful close. Field recordings gently bleed in and out of focus while more glowing synthesis occupies the foreground. A warped sequence circles in towards the close bringing another insight into the chops of one of the UK's most dynamic and exciting young producers to a close".

180 gr vinyl - vinyl only release

Apes Go Bananas is the new imprint from Steve Bug and Clé, and also the moniker for his new project with long time friend and collaborator Clé. The vinyl only debut release sets out the stall in fine style - this is straight up dance floor rocking house music with a sense of fun and plenty of influence from the golden age of the art form. First up, Kerri On pays homage to one of the greatest, with Mr Chandler's signature crisp drums and deep, jazzy chords present throughout. Bug and Clé relive some classic New York deep house vibes yet retain a strongly contemporary take. Bananas is more late night in approach - the driving 909 and dirty descending synth line evokes a sweaty warehouse, complete with smoke machine and lazers. Yeah You Know fits perfectly into this three track EP - a tightly programmed rhythm track replete with a shuffling breakbeat is the foundation for a simple yet highly effective synth line and a classic cut-up house vocal. Yeah, Apes Go Bananas know house.