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Toms Due is talented duo from Etruria Beat crew , they re now back once again on their home label with two bangers ' Urania ' and ' Caliope ' and two remixes . One from Nina Kraviz´s Trip label young protégé Nikita Zabelin , the second from Micol Danieli , italian newcomer artist and owner of 030´s vinyl record label. On the A side sit the two original tracks . Urania is composed of a powerful techno groove on a simple but strong chord fitting perfectly on the climax of the middle of the track . Second comes ' Calliope ' , a Toms Due signature heavy rhythm with a happy techno synth melody , a must try for all dancefloors . On B side , Nikita Zabellin shows once again his minimal approach , pure analogue sounds with a bit of darkness. Mico Danieli´s chose to use a never ending rhythm that won´t ever leave you alone , a very elaborate arrangement . Keep an eye on this Italian lady producer !

Among the happy encounters that luck and destiny can bring, one of the most remarkable is the partnership between Jaime Além and Nair Cândia. The arranger, multi-instrumentalist, and composer teamed up with the singer to form a musical partnership that extended into their lives. The couple released two albums, the first of which was “Jaime & Nair,” from 1974. The album returns to shelves as part of the “Classics on Vinyl” collection from Polysom, under license from CID, on 180-gram vinyl.

Praised by Dori Caymmi and Edu Lobo, whose comments appear in the insert and back cover, the album was produced by Durval Ferreira and recorded at Somil Studios. Its twelve tracks are all written by Jaime, except for “Das Minas” and “Zambumba do Nego.” The duo alternates on vocals and showcases a distinctly Brazilian sound in each track. This is an essential work for lovers of national music.

Favorite Recordings proudly presents this new official album reissue of Shine the Light of Love by Googie & Tom Coppola: A beautiful soaring soul album sublimely produced with a sweet LA groove!

Thomas Wilkinson Coppola (aka Tom Coppola) is a pianist and arranger, known for being a principal member of the funky prog-jazz group Air (not to be confused with the French duo). He began working as a musician in Manhattan in the 1960s, where he met Carolyn Brooks (aka Googie Coppola). If they only released one self-titled album with Air in 1970, and Shine the Light of Love as a duo in 1980, these two amazing talents have collaborated with artists such as Herbie Mann, Lenny White, Flora Purim, Ray Barreto or Jeremy Steig to name just a few.

Shine the Light of Love was also released in 1980 on Columbia, after the couple left Air to become born-again Christian. A real lack of promotion from the label caused the record to disappear, however it was, in many ways, years ahead of their contemporaries. Googie's vocals are an absolute delight - with a Minnie Riperton-esque sort of feeling - and the overall album's got some nice jazzy touches and a sublime, sophisticated approach to the overall sound, while never falling into commercial.

An underrated masterpiece that definitely deserved more attention, which is why Favorite Recordings is deeply honored today to present it in a fully remastered version, housed in a fine gatefold sleeve including original notes.

We talked a ton about LPH co-owner and -founder Jacques Renault's debut LP, Zentrum, so let's keep things brief and cut to the chase for Off Zentrum, the first remix EP to be spun off from that record.
Four remixes, all by LPH family members, all burners. First one's by Borrowed Identity, second one's by Nicholas, third on's by Massimiliano Pagliara, fourth one's by Max McFerren. How multicultural! That's two continents and four countries represented! Hot dog!

For their latest slice of saucer-eyed Balearic perfection, Leng Records has looked to the North East of England for inspiration.
Lizards is a freshly minted project from Newcastle-based twosome Lee Forster - better known as one third of Balearic house combo Last Waltz, whose impressive releases have appeared on World Unknown, Futureboogie, Endless Flight and Is It Balearic - and long-time friend James Hadfeld of Nein Records' Elizabeth Collective. Despite writing music together on and off for the last 15 years, the duo only made their debut this month. As frst 12' singles go, their Tanni EP on Not An Animal was something of a gem, and featured two winding, ear-pleasing chunks of dreamy, sun-kissed Balearic disco loveliness. Their Leng debut is just as strong. A-side 'Frontier' sets the tone, layering bubbly, psychedelic electronics, vintage synthesizer arpeggio lines
and strummed acoustic guitar riffs over a head nodding, 102 BPM drum machine groove. By the time the jammed-out, eyes-closed electric guitars and jaunty synthesizer melodies come in, you'll be lost in the music. Flipside 'Coming In' stares at the sunset wistfully, effortlessly capturing the twilight humidity associated with lazy Croatian festivals and beautiful Bali beaches. Analogue synth lines futter in the breeze, whilst picked guitar lines,
spinetingling chords and a druggy bassline move the action forwards at a pleasingly loose and groovy pace. Go on, hug a stranger; after all, we're all friends in Lizards' baggy, melody-rich world.

Heavyweight soul providers Fat Freddy's Drop are about to take flight once again with the worldwide release of new album Blackbird on 24th June 2013. Blackbird is the third full-length release from the New Zealand band and will see Fat Freddy's Drop exceed half-a-million album sales worldwide, the result of playing over 800 shows in their career-to-date, clocking up 412 appearances in Europe, 27 Australian Tours and over 300 shows in their homeland.

Fat Freddy's Drop celebrate a decade of European touring by releasing Blackbird in East London. The already sold-out show at Village Underground attracted over 4,000 hopeful ticket ballot entries in just 24 hours for only 500 lucky spots.

Featuring nine tracks, Blackbird was written and recorded at Bays, the band's own studio, which was one of the last vinyl pressing plants in New Zealand and then an apostolic church. Fitchie says, 'What you hear on the album is the sound of Bays, the room itself, the vibe of the place and the performance we can get out of the band in there.'

'Blackbird is truer to FFD's musical philosophy than anything else we've done', says Chopper Reeds. 'The song structures are open and unruly - just like our live shows - whilst we've pushed ourselves to deliver rich and deeply layered arrangements that showcase Joe Dukie's exceptional voice. We feel totally at home melding together this unholy mix of disco, rootsy dub, blues, soul and electronic funk - it's what we do.'

Fat Freddy's Drop have released two studio albums, 'Based On A True Story' (2005) and 'Dr Boondigga & The Big BW' (2009), two live albums, 'Live At The Matterhorn' (2001) and 'Live At Roundhouse' (2010) and a stash of limited edition vinyl singles, including the now legendary 'Midnight Marauders' and 'Hope For

Solarism is the result of a common fascination for landscapes and a passion for contemplation.After two decades of an unbreakable friendship, we have finaly imaginated this protean entity to express what contemplation has offered us and how it connects us to the world, describing those experiences through music compositions, dj performances and welcoming other artists to release their art.After our strong FRANCK ROGER release TIGER IN THE HOOD, we are really happy to get one of our two label drivers, ARNO E. MATHIEU, back on Solarism. «The Earth Project » is dedicated to planet earth and Arno's feeling for nature, back in his childhood landscapes.A1 - TEARS OF THE WHALES is an epic, melodic and hypnotic trip, drived by a strong drum and bass-line groove. Directly inspired by the Whales journey, this tune evoke also how much this majestic animal have always been an example of a pacific force. Evolving in the deepness of the oceans and traveling all over the planet, whales are also a symbol of how nature suffers of the impact and polution of consumerism system.B1 - TERRA describs a melancolic and balearic long overview of Arno E. Mathieu's chilhood landscape with percussive grooves, strong melodic bass-line and anthemic synth gimics. This new Arno's track evolves in a tight structured arrangement evoking hills, lands and fields that inspired him for so long...

After his successful debut album SUPER VATO (CÓMEME CD LP 01) from two thousand eleven, his highly praised mix CD MOMENTO DRIVE (KOMPAKT CD 117) from two thousand fourteen, and all-around mayhem during his adventures as one half of the Pachanga Boys, Xalapa's finest REBOLLEDO returns with his second solo album MONDO ALTERADO: a recollection of moments and experiences from recent years, colorful mnemonics encompassing the brightest and the darkest. The result is a kind of soundtrack for a movie that doesn't exist, a sonic journey designed like a mixtape that faithfully reflects Rebolledo's background as DJ and producer. Nine tracks connect for one overarching narrative, sharing elements, motives, details as they blend together. The artist's signature can be found all over the place, roaming between straight, rock-drenched drumming, sinister atmospheres, raw synth textures, exciting peaks and foggy bottoms - but always following this kinetic flow and drive which is such a big part of Rebolledo's compelling charme.

After his manifold debut in 2009, followed by a second album "True Life / In Flames" with focus on the grand piano, Dial Records is pleased to announce Christian Naujoks's third solo album WAVE, a dedication to one of the artist's essential instruments: the electric guitar.
Inspired by The Durutti Collumn, John Fahey, Vincent Gallo, Azalia Snail and David Grubbs, and many others, Christian Naujoks breaks the boundaries between songwriting and minimalism, folk music and contemporary art. The recordings at Electric Avenue Studios were accompanied by engineering master Tobias Levin, known for his works on Kreidler, Faust, Felix Kubin, Pantha Du Prince & The Bell Laboratory, just to name a few. With WAVE Naujoks and Levin created a sound-seductive state of the art production, ten post-minimalist guitar pieces with an appearance of the artist's signature piano style on two of the songs.
Christian Naujoks recently worked on productions with his band Sky Walking (with RVDS and Lawrence) and released a piano tape on Martin Hossbach's imprint. After a series of concerts at Berlin's Berghain and HAU, the Golden Pudel Club in Hamburg, performances and collaborations around the globe including Israel, Mexico, Vietnam and the Philippines, he returned back to his studio in Hamburg in 2015 where the WAVE started.

140-gram 4xLP, heavyweight package including CD. One time pressing of 500 copies worldwide. The follow-up to highly acclaimed Sailing Off The Grid album

"Expect the story of life as a self-reinforcing structure that never reaches the perfect balance. The concept behind the album is to bring awareness that the balance is an illusion and that's why it's called 'At The Turn Of Equilibrium'. Petar Dundov

Petar Dundov, a stalwart of the Croatian scene and a fine purveyor of sophisticated melodic techno, has been a prominent and respected name within underground dance music for over two decades. Throughout his career, the gifted Croatian has achieved much praise and recognition through releasing no less than four acclaimed artist albums ('Sculptures 1-3' in 2001, 'Escapements' in 2008, 'Ideas From The Pond' in 2012 and 'Sailing Off The Grid' in 2013) and performing at some of the world's best clubs and festivals such as, I Love Techno (BE), EXIT (RS), Awakenings (NL), Berghain (DE), Womb (JP), Air (NL), Fuse (BE) and Space Ibiza (ES).

The inspirational eight-tracker, 'At The Turn Of Equilibrium', is Dundov's fifth long-player and encompasses all of the inimitable production qualities of his previous albums whilst exploring a broader set of moods and themes, delivering what feels like his most accomplished work to date. Dundov explains, "This time, in addition to using more sound textures I introduced parts with classical instruments like piano and strings. As the album is about life and how it evolves, from purely a physical body to a thinking person, the songs are sequenced from faster, simple-rhythmic, cyclic, body moving tracks to slower, more complex layered, beatless mind tracks."

The album's impassioned opener, 'Then Life', commences the release by taking us on a captivating journey of complex melodies and soothing ambient textures. The album continues by showcasing a wealth of hypnotic masterpieces such as the dark and slow-burning 'The Lattice', the thought-provoking 'Before It All Ends' and the Kraftwerk-esque 'Midnight Orchestra'.

Other highlights include, the Vangelis-influenced up-tempo groover 'Mist', the lush ambient soundscape 'New Hope', the uplifting and emotional 'Missing You' and the hugely stimulating synth-driven melodic work-of-genius 'Everlasting Love' which concludes the album.

'At The Turn Of Equilibrium' is a very absorbing and imaginative album that's been driven by Dundov's eternal quest of translating sound into emotion. Developed like a well-constructed DJ set, the album has not only been designed to invoke personal insight for music to be the catalyst for understanding but also make sense as a listen, highlighting Dundov's unparalleled talent, depth and versatility as a DJ/producer.

Following the great ep from Doomwork, Italy strike back with the duo Reform! Two guys who joined their mind together to create music, testing new electronic paths, playing with external machines to creates their own sounds, after only one release and one track on a compilation you can see that the duo have a lot to say into techno.Reform bring here with 'Chaotic dimension ' a very complete release who take from techno madness with chaotic dimension to deep techno for extremis passing by a super funky vibe for dancewear with this vocal who drives you, to end with treasure who deliver a mind blowing experience.

Warehouse Find!

Having unleashed the beast that is his debut LP Columbusing, thatmanmonkz grants a couple more heavyweight producers permission to get busy with the sonic manglers for remixes of Turn It Out and Boogie Down. First up, one of the vocalist contributors to the LP Dave Aju (known for his releases on Circus Company) takes on his own track Turn It Out, transforming the original from a backyard BBQ summer jam into some kind of mutant electro P-funk meets broken- beat fusion. A filtered bass line and bare bones 808 kicks are what this track is all about forming the perfect rhythmic union with the vocal.
Flip over for a remix of Boogie Down from talented new UK producer Laurence Guy. Laurence has been making waves the last year since dropping his Kojak EP on Church and subsequently getting played at seemingly every single Move D gig for the following six months! A slew of brilliant releases came hot on the heels on labels such as Cin Cin, Rose and Outplay. For his Boogie Down remix Laurence has opted for a sweet and laid-back affair which compliments Erik Rico's paired down vocals perfectly, conjuring up feelings of warm, balmy nights, dancing under the stars.In addition to the remixes we've included two more originals from the LP - Turn It Out and the dance-floor pleasing For Bae.

With their next carefully curated release, the Opilec Music label begins to shine a light on the roots of Italo with the reissue of an ultra rare and obscure synth Italo disco track by A. Avenue from 1984.

This is a special Record Store Day 2016 release and of course, Opilec Music has remastered the original vocal and instrumental versions and here include I-Robots reconstructions and two Flemming Dalum's reworks.

This is a track many labels wanted, but only Opilec Music have been granted official rights to this cult re-release. Originally released on Discover Records, this is the only EP

A. Avenue (aka Dario Ancona and F. Feleppa) ever put out and it now fetches high prices on Discogs. Once you hear the music, you can understand why: The lovably naive and innocent vocal version is seven minutes of cosmic and psychedelic grooves with perfectly retro melodies and pixelated chords that take you into outer space.

Mid tempo drums are full of funk and drive and the two part vocal—one crisp and clean, one filtered and dehumanised—really lend the whole thing a special robot feel that is second to none. As well as a stripped back instrumental, there is a fine I-Robots Reconstruction that is quicker and more driving.

The vocals are also more prominent, soaring up top above reflective synths and rainy xylophone style melodies. It is a real Italo disco gem that is followed by a spacious and tripped out version from Danish DJ and producer Flemming Dalum, who has been devoted to Italo all his life and works with labels like Mothball, Bordello A Parigi and Disco Modernism.

He also layers in more cowbells, punchy drums and claps that refresh it for a modern club, and buy the EP digitally and you will get a second Dalum edit that is the deepest of the lot - 100% true to the original.

This reissue will make many record collectors and Italo disco fans truly happy, and is just the start of some brilliant new projects to come.

The warm dim light of the bedside lamp conjures up a kind of shadow theatre, sends the little stars on the ceiling into a spin, and fills the bedroom with a sense of profound peace. A small music box rounds out the evening atmosphere with soft little melodies. Perched at the side of his daughter's little bed, he watches over his little beat princess' slumber and her dreams, all while enjoying with satisfaction the unencumbered lightness of being at night...

The EP Hannah by the Leipzig-based beatmaker Duktus is a musical tribute to his three-year-old daughter and a personal instrumentalization of fatherhood.

A story told from Duktus' point of view in six different pieces, we can become part of little Hannah's world, as she plays in her room and runs around the playground, goes on adventures during the day and dreams at night.

In EP Hannah, Duktus casts his musical gaze backward in two different ways - both in terms of the experience of being a father and the moments, great and small, that this involves, as well as in terms of his musical influences over the past three years. This produces an atmosphere which, however, does not waver from Duktus' musical direction between uptempo broken beats and downbeat house grooves.

The EP Hannah cover was painted by Hannah herself at the age of two. And it is being produced in a complicated silk-screen process, printed in purple - Lila's favorite color! - on uncoated paper, making for a tactile homage to the little beat princess.

It is only a matter of time before Hannah discovers the record for herself as well. She already got her own record player as a present - from her dad, of course - and is a big fan of old fairy tale records. In the eyes and ears of a DJ and beatmaker, this is all a matter of early musical education.
- I dedicate this record to my daughter Hannah'
- Duktus -

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...

Despite building their careers out of strikingly different musical places, both dBridge and Radioactive Man have taken influence from the field in which each other operate. dBridge (Darren White) was part of the iconic drum & bass outfit Bad Company and he helms one of the scene's most solid and quality imprints in Exit Records and Radioactive Man (Keith Tenniswood) was born from the acid house scene and the off kilter electronics of his Two Lone Swordsman projects (alongside Andrew Weatherall) which led him to create his decidedly UK take on Drexciyan electro. It's by no means a stretch to learn that both producers have crates that contain their favourites from each genre but they've also found a mutual respect and connection in the studio over the last few years, leading to the dBRm moniker for Craig Richards' The Nothing Special label.

Despite building their careers out of strikingly different musical places, both dBridge and Radioactive Man have taken influence from the field in which each other operate. dBridge (Darren White) was part of the iconic drum & bass outfit Bad Company and he helms one of the scene's most solid and quality imprints in Exit Records and Radioactive Man (Keith Tenniswood) was born from the acid house scene and the off kilter electronics of his Two Lone Swordsman projects (alongside Andrew Weatherall) which led him to create his decidedly UK take on Drexciyan electro. It's by no means a stretch to learn that both producers have crates that contain their favourites from each genre but they've also found a mutual respect and connection in the studio over the last few years, leading to the dBRm moniker for Craig Richards' The Nothing Special label.

The BTRAX records label is back after few years off, and we are sure that new EP will not disappointed you. We are very proud to put out 1 stunning track made by one of the label artist : Camille Rodriguez from Paris - France.Electronic music drives his life for over 10 years now, he has developed his own style incorporating all his influences. He is passionate about the live, and create that way with synthesizers, sequencers, BAR and samplers... He likes pushing himself sweating behind his machines, improvising at every moment, keeping control of every sound in order to play more intuitively, getting a better communication with the crowd...
'Andalusian 2.0' comes in two guises, the Original Mix which delivers some perfect techno keys and claps over its stomping techno beat, giving it live performance style flavor. The Traumer Remix takes it into darker warehouse territory but still retains the warmth and groove. Kaine's Remix delivering some tough dub techno workouts that still have just the right amount of funk and groove.

Incl. Trus'Me Remix! Early supported by Loco Dice, Ame, Marcell Dettmann, Ben Sims, Ben Ufo, Fred P, Dj Tennis, Reboot, DVS1, Kevin Saunderson, Marco Carola, Truncate, Osunlade & many more..
Abstract Theory is back with a great new EP from Italian bangers Dirty Channels in team with the talented Eternal Entropy, who built up two ghetto house inspired bombs. The package includes a solid techno-dub Remix from Prime Numbers boss TRUS'ME and a lovely deep version from Francesco Bonora & Marcello Arletti.
After music from Terrence Parker, Boo Williams, John Tejada, Tony Lionni, Mike Shannon and Vince Watson, with this new release Abstract Theory confirms to be one of the finest italian labels to watch this year.

Ebo Taylor is one of Ghana's fnest producer/arrangers. Taylor was heavily infuental in the unique sound that emerged from the country in the 70's; a combinaton of traditonal Ghanaian with Af-
ro-beat, jazz, and funk rhythms.
He worked with bands including Stargazers Band, Broadway Dance Band, Black Star Highlife Band (with Teddy Osei and Sol Amarfo who later joined Osibisa), Apagya Show Band and fellow musicians C.K. Mann, Gyedu-Blay Ambolley and the legendary Pat Thomas.
2016 see's Ebo celebrate his 80th birthday - stll touring! - and we are very proud to release two of his stand-out, classic albums - MY LOVE AND MUSIC and TWER NYAME, following on from the EBO TAYLORand CONFLICT re-issues.
MY LOVE AND MUSIC was originally released in 1975 on Gapophone Records, George Prah's label, hailing from Ghana. Only available in very limited quantty (reportedly 500 copies) due to the musical.

Formed by MGM A&R man Michael Viner in 1972 to supplement the soundtrack to the virtually anonymous B-Movie flm The Thing With Two Heads, 'The IBB' went from a loose studio collectve to
an instrumental pop covers consortum, interpretng classics of the day in their own inimitable percus-sive fashion.
B-Movie soundtracks, The Beatles, drummers gone bad, Frank Zappa, Kool Herc... These albums have a remarkable story behind them which is detailed in the exclusive insert included in the boxset, writen by Angus Batey.
The IBB's cover of the 'Apache' track - originally made famous by The Shadows - has become simply legendary in the worlds of hip hop and dance music. The track was a staple of Kool Herc and Grand-master Flash in the 70s as they invented the art of Djing at Bronx block partes, leading to its logical status as one of the most sampled tracks of all tme and a hip hop and breakers anthem that has stood the test of tme. It is stll revered as THE break of all original breaks, with the rhythms of the LP it was frst found on helping to coin the term 'breakbeat'.
Apache has been sampled by Missy Elliot, Coldcut, Will Smith, Goldie, Jurassic 5, Moby, Run DMC, Sugarhill Gang, Beaste Boys and Massive Atack among many others.

The Links EP is Blackhall & Bookless' latest outing for their increasingly renowned Jaunt> Records imprint. A highly personal release, the EP is a homely affair, celebrating the boys' upbringing in Whitley Bay with a gusto that's indicative of the area's unique charm.A A "Links" serves up a dreamy, atmospheric landscape - and one that reflects the location around which the EP is titled. Don Williams' interpretation goes down the rabbit hole further still, teasing the listener thanks to a range of slashing echo chords and clever sub bass techniques. The duo's second original is "Vision", aAdark techno jam that manifests into a stunning tribal hypnodrome.AClosing out the EP is "Cognition", another highly atmospheric track that keeps the listener locked thanks to its many dexterous capabilities. The striking artwork, meanwhile, showcases a black and white image of where the pair would hang out as teenagers. In that essence, the image echoes their production style, with the two sides of the links joining at the bridge and working together in unison.A JR004Ais dedicated in loving memory to Ian Blackhall.A

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.

Quartz Rec is pleased to welcome the duo Doomwork based in Rome and well known for them amazing groove, there music is emotive and immersive with melodies and riff locked into rolling rhythms and subtle atmospherics. And its with no surprise that they are coming with an outstanding ep on Quartz Rec, first track « Nihil sine sole » super trippy track with some great congas slowly and this beautiful pad building a great atmosphere. Second track « memento » getting more into deep techno with class, tracks talk for itself. We have also two remixes, first one is from Ambivalent who deliver a big stomper techno mix ready to smash the dance floor, second is from Ness who bring a driving techno track melt with the pad from the original who will make lose yourself.

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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.

COUMLTD001 is the first vinyl edition from COUM Records label. To start this limited the edition of 300 copies. Dead Sound & Videohead are in charge of Bar Brawl EP. A side is composed with two powerful offbeat tracks with industrial reminiscenses. The B side is for remixes: the Canadian duo Orphx is the first one bringing 7 minutes of rude and savage techno. To close the release, the mythy spanish industrial group from the 80's Esplendor Geometrico, remakes "Torn" to a noisy rhythm hypnotic track.

10th ANNIVERSARY EDITION / Drawing cover, UV sleeve, 2XLP, first-ever gatefold jacket / When Donuts came out, on J Dilla's birthday, February 7, 2006, it was with this drawing cover (scribbled up by Jeff Jank). As some years passed, the vinyl was eventually reissued with "the smile" photo cover, and the drawing cover eventually went out of print. Here's the 10th anniversary edition of the album. Drawing cover, new drawing on the back, UV coated sleeve, gatefold with liner notes by Jordan Ferguson, containing an excerpt from his book Donuts 33 1/3 about the making of the album.

Following two EP releases on Delusions Of Grandeur the time felt right for thatmanmonkz to get working on his debut LP. The Sheffield b-boy is no newcomer to production having been releasing music since the mid-noughties but has seen a definite rise in interest the last few years following essential releases on his own Shadeleaf label as well as remixes and productions for the likes of Classic, Kolour LTD and Kon's StarTime.
With his first musical love being Hip Hop it's easy to understand how his approach to house turns out so refreshing. Inevitably MPC's, big, bold samples, Jay Dee inspired grooves and a raw, underproduced sound all play a big part and never one to shy away from an interesting collaboration he has enlisted the skills of several vocalists including Detroit MC Ta'raach (whose credits include Slum Village and Jill Scott), Erik Rico (collabs include Ron Trent and DJ Spinna), Khalil, Dave Aju, Pete Simpson (as A Brother Is...) and Malik Ameer.
Things kick off with a low-slung soul jam entitled Air featuring Kahil Anthony complete with sparkling Rhodes arps and a dub-wise bassline underpinning a beautifully lazy groove. Jus Anutha Wunna Deez follows with a rough and ready house jam that clearly doffs its cap to those old Sound Signature and Mahogoni Music releases we know and love so much. Next up we have Boogie Down with Erik Rico rocking some Parliament inspired vocal business bringing the feelgood vibes to this rolling P-Funker. Some Ol' Nex' Ish goes for a jazz samba meets house fusion whilst A Fly New Tune goes strictly old school with a classic combo of dusty break, filtered fusion rhodes n bass sample, movie dialogue snippets and a masterful flow delivered by Ta'raach. Dave Aju steps up next on Turn It Out laying down a unison vocal refrain to compliment the bumping disco groove complete with a call and response section for some singalong party participation!
As we continue, Another Night Under The Glitterball sees thatmanmonkz back in familiar territory with a rock solid, deep jazz-house jam. On I Can Hardly Breathe we're treated to a downtempo gospel-infused affair which leads us perfectly into the most bumpy club- friendly track of the LP For Bae. Moon On The Hill is a collaboration with Italian DJ Kali and his Raw Standard crew and treats us to some distinctly mid 90's Kruder and Dorfmeister vibes to zone out to before heading off in an altogether more bonkers, psychedelic dancehall direction on Vampires. Baked is another classy thatmanmonkz take on Hip Hop featuring Malik Ameer on the mic. Take U 2 My House sounds like something Prince might have made in the mid-80's if he'd just come off a 3 day bender at Panorama Bar. And closing the show in perfect style and fashion we have For Those I've Lost Along The Way which is a blunted yet beautifully optimistic number that has echoes of Lonnie Liston Smith and a brilliant spiritual vocal sample which provides the perfect closer to an amazing debut LP.

12 stamped w/label, black sleeve, 180g Vinyl, 300 copies

Parallax 03 - This upcoming release on Parallax features two fresh cuts by Yogg on the B-side, and the first taste from his new collaboration with another Tel-Aviv based producer -Pharaoh. 460 is a 10 minute run of subtle deep atmospheres and flucuating dub sequences. For Now shows Yogg's more violent Techno style with it's accentuated offbeats & industrial leaning patterns. Oo-oO brings this one to closure on a quite but powerful note, with a more lush texture and subtle serial sequencing.

Welcome 2016 and welcome back everybody to the second Cocoon Recordings roll out. We wonder what this year will bring if the kick-off is already on such a high level Ricardo Tobar's first remix 12 comes with two stunning re-arrangements by Fairmont and Tech-House grandmaster John Tejada. The canadian minimal techno hero Fairmont remixed Tobars Angora' and gave it such a strong Border Community vibe. Dark but at the same time pushing and hedonistic. Fairmont starts off with a subtle percussion-beat-acid-combination and turns his remix into a proper and mad electronic masterpiece the longer it runs. Epic! Californian tech-house pioneer John Tejada is on remix-duty for Invierno' and he blasts us away with the result. Deeper than deep and kick-ass house with a pushing detroit and KMS vibe. This one almost appears like a lost & found alltime techno and house classic and it will hit the Zeitgeist in Berlin, London, New York and Tokyo like no other release on Cocoon Recordings lately. This is ingenious clubfood for all the innercity hipsters and musiclovers and it simply makes us wanna dance! This! Is! Tech-House! Baby!ly makes us wanna dance! This! Is! Tech-House! Baby!

Gone with the flow - after a little break the German musicians Julius Steinhoff and Abdeslam Hammouda revived their musical adventures and left all electricity untouched this time. For their new acoustic project the duo has chosen the alias Tonight Will Be Fine - a name that is familiar to those who followed their work in the past years. As Steinhoff & Hammouda they used the name for their first 12" on Smallville Records, the worldwide acclaimed house and beyond label and record store that Steinhoff co-runs. Now they reheated the phrase and chose it as the alias for a bittersweet acoustic singer/songwriter project. Their wonderful, captivating new musical venture came into life due to happenstance and old ferventness. After their trips into house music the duo parted geographically. Hammouda moved away from Hamburg while Steinhoff strengthened his label Smallville, built up a global DJ career and produced acclaimed house records on diverse labels - solo" and with his buddy Dionne as Smallpeople. In all the time Steinhoff and Hammouda never stayed out of touch, bound together through deep friendship.

At some point they met again for musical missions and started to record music that had nothing in common with their prior work. Steinhoff re-activated his self-taught guitar abilities and entered the studio of his friend Lawrence in the back of the Smallville record store to capture some steeldrums and vibraphone sounds. Hammouda brought more instruments like a banjo, a violine and tablas and they just started to record sketches and songs. Hammouda's musical backround leads to a widespread range of influences while growing up, before he got into producing hip hop and electronic music. For Steinhoff, the transformation from an electronic music producer into a singer/songwriter wasn't that new too, as his first musical steps have been routed in band music. Until his late teenage years, when he discovered house and techno, he played drums in a local indie group in Freiburg and for Tonight Will Be Fine he now also freed his old drum kit from cellar dust.

After the duo felt that their musical communication elevates into something more profound then a session thing, they provided themselves with additional instruments like new guitars, claves, an accordion, a piano and more. Initially the songs were very rough and sketchy. Musical ideas that did not have a real song structure. Then we started to arrange the tracks and added our voices and lyrics.' both reveal. Their charming singing covers almost the whole album with a characteristic sense of deep winking melancholy. Their lyrics are exercising the possibilities of words and are inspired by life, the world and all the those questions a human can ask in his time on earth. At some point both started to show their new songs to some friends and they liked it and encouraged the duo to move on. Somehow one of the tracks landed in Toshiya Kawasaki's mailbox. He instantly fell in love with it and asked if they would like to do an album for Mule Musiq. They did what was asked and after some reformatting and reinventing Tonight Will Be Fine originated 13 songs full of sweeping acoustic guitars, airy rhythms, piano melodies, gloomy accordion emotions, touching voices and a bunch of other exotic instruments, done without the help of electronics. They all form Elephant Island' - an incredibly inspirational place where impressionistic lyrics dance gently with kinetic acoustic music that comes out of plain jamming fun. The melange of a structured song base and free improvisation injects all songs a loose feeling. And shows two handsome fellas carving out their own musical utopia. It is a warming one, full of hope and musical freedom powered by an unabashed instrumental playfulness.
nstrumental playfulness.





É a5 | soliloquy

Over the course of five albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His new album Into Forever, puts the spotlight on Halsall the composer, arranger and producer. Halsall draws on a diverse range of influences from Alice Coltrane, Dorothy Ashby, Phil Cohran and Leon Thomas to the more contemporary sounds of The Cinematic Orchestra, Max Richter and Nils Frahm to deliver his most complete recording to date. Into Forever features renowned Manchester based soul poet Josephine Oniyama and rising star vocalist Bryony Jarman-Pinto (Werkha) as well as regular collaborators, flautist Lisa Mallett, harpist Rachael Gladwin, koto player Keiko Kitamura, pianist Taz Modi, bassist Gavin Barras and drummer Luke Flowers (The Cinematic Orchestra) and two percussionists Sam Bell and Chris Cruiks. The result is arguably Halsall's finest record, asublime melding of stripped back soulful funk and deep, minimalist, spiritual jazz, that will take you on a journey deep into forever!

Confirmed reviews Mojo, BBC Music Mag, Jazzwise, Record Collector Independent On Sunday, Guardian, Quietus, all main jazzy blogs, Airplay from Jamie Cullum, Gilles Peterson, 6 Music, Jazz Line-up, Patrick Forge, Ross Allen and many more

9 date national tour including Liverpool Capstone Theatre Oct 1, Bristol St Georges Oct 15, Manchester St Peter's Church Oct 23, St Mary's Hastings Oct 28 and London Union Chapel Oct 29 plus Uber Jazz Hamburg Oct 31

* This is the second of two 10" EP's from the legendary G.T. Moore, comprising of the mid 90's album `Ganja Flower', which came on a very limited edition CD on Jah Works.
*`Ganja Flower EP 2' is a 6 track vocal and dub 10" which features `Heal the Blind', `Sound of the Ghetto' and `Turn Israel'.
* Produced at Channel One UK studio by G.T. Moore and Rej Forte for the Jah Works label.
* The remaining tracks from the original album feature on `Ganja Flower EP 1' (PRTL10008).
* Limited press 500 only.

Sifu Hotman are here to remind you why you fell in love with hip hop. Known for sharp, up-tempo hip hop, the group is comprised of two-time National Slam Poetry Champion Guante, deM atlaS who also has a solo deal with Rhymesayers Entertainment and SP-1200 maestro producer Rube.

Matches follows the ground work laid out on the now sold out debut 10' the 'Self-Titled EP' released on Stashin' Records and delivers more superb quality Hip Hop in the vein of heavy Jazz sampling that will have your neck snapping in no time. Mr Fantastic's remix of Embrace the Sun on the flip samples a well-known Disco Break which is chopped and spliced with some Eastern European Funk which completely changes the feel of the original version found on the forthcoming EP coming soon on AE Productions and so gives you 2 flavours on one 7' single.

* 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.

Irgendwo zwischen Pegida und Hansa-Studio, Odyssee und Husumer Watt, Konzeptkunst und one, two, three four erzählen Turbostaat hier ein modernes Märchen. Ähnlichkeiten mit lebenden Personen und dem real existierenden grauen deutschen Herbst: explizit erwünscht. Natürlich haben Turbostaat auch bereits in der Vergangenheit das klassische Punkrock-Format gesprengt. Laufzeiten über fünf Minuten sind bei ihnen keine Seltenheit. Die Konsequenz aber, mit der auf "Abalonia" Erzählung und Musik zu einem stringenten Ganzen zusammenfinden, ist für diese Band eine Premiere. "Nachdem die Geschichte grob stand, wollten wir auch musikalisch die Popformel mit dem Standardaufbau aus Strophe, Bridge, Refrain aufbrechen, um den weiter gespannteren Texten eine musikalische Entsprechung zu verleihen", sagt Marten Ebsen, Gitarrist und Songschreiber der Band. Aufgenommen wurde "Abalonia" nach anderthalbjähriger Vorbereitung in nur fünf Tagen an historischer Stelle: Der Turbostaat-Stammproduzent Moses Schneider buchte das Berliner Hansa Studio, wo er einst sein Handwerk gelernt hatte. Pult-Legende Peter Schmidt mischte.

San Fransisco meets NYC for the third release on Fifth Interval.

Rose Bay from Federsen sets the tone for the record: drenched in tape hiss, the warm pads and delays create a richly textured environment for deeper club sets or for 2am sessions on headphones.

Dub Techno luminary Brendon Moller offers up two versions of the title track to complete the EP - one in his own name and the second under his Ecologist guise. Fans of the label will no doubt be well aware of Moller's formidable discography, which includes 10 albums under a variety of aliases, exploring the outer reaches of dub music.

Coaxing two captivating versions from his studio in upstate New York, Moller focusses on the chord stabs from the original for the Echologist Dub, pushing the stabs and percussion through the desk, twisting the tails through tape delay and creating new vistas through crafty use of panning and bona fide dub production techniques.

Closing with the outstanding Tidal Dub, Moller dons his Beat Pharmacy cap and pushes the mammoth bassline to near speaker-crushing levels to create a deeply hypnotic groove that is accentuated by waves of ferric pads and fractured percussion.

A collection of nine reworks crafted by fans and selected by Nils himself form the 'Screws Reworked' re-issue, also featuring his original 'Screws'. The 2012 album 'Screws' by Nils Frahm, was the result of inspiration from his fans and friends while he recovered from an unfortunate accident, which saw him fall from his bunk bed located directly above his studio, which resulted in a broken thumb.

These nine intimate recordings were offered to fans to download for free and in return fans thanked Nils by sending him their audio and visual reinterpretations. Fascinated by the results, Nils then publicly asked his fans to submit their reworks or any form of art that was inspired by the release and all these submissions have been collected since on a dedicated website: It gave birth to the 'Screws Reworked' project from which Nils selected nine reworks to feature on a special edition re-issue which also includes his original 'Screws'.

'Whenever you have to decide between two things, you end up favouring one over the other. In the case of this record, I had to choose nine out of hundreds of songs - but I didn't want to follow this logic, I didn't want the songs to compete against each other. I never liked music competitions, neither when I was a kid playing classical music contests nor today when the best album of 2015 is awarded.

Having been in the situation to pick my own tracks for my own records, I knew that the only way to manage this tough job is to concentrate on the cohesiveness of listening to the songs all together. Screws Reworked should sound like a record, not like a random collection of tracks.

The motivation to make such a record came with the release of Screws in 2012 as a gift to my listeners. I thought about it as a starting point for people to make their own interpretations of the songs. The feedback was overwhelming. A couple of months later, we counted over 300 contributions. Without going through a selection process, they were all available only online until now.

It seemed essential to make it a real record as I imagined how happy it must make those who would find their names - in most cases for the first time - on a real record.

Now is the time to thank you all for your numerous and beautiful contributions. In case you don't find your track here, please don't think it stands behind the others. This record means, in fact, that some of the most beautiful songs couldn't be included as they simply weren't 'good neighbours' and because there is only one rework for each of my original compositions.

However all of you opened your hearts and minds and shared your uniqueness with us and I feel incredibly blessed by each and every single rework of Screws. Thank you!' - Nils Frahm.

Warm Tapes Adjustment returns with the Second Volume once again performed by SCM a Gari Romalis.
On the A Side two raw and dusty live sample sessions from SCM.
On the B side two lo-fi disco styled house tracks from one of Detroit's finest underground producers
Four house tracks fused in a combination that makes this record unique! Vinyl Only release

Following a summer of fifth birthday celebrations, Tom Trago's Voyage Direct label returns to action with a brand new 12' from Amsterdam scene stalwart Simon Weiss.
Although a new member of the Voyage Direct family, Weiss is no newcomer to the scene. He's previously delivered high grade EPs for Rush Hour, Deepermotions and Home Taping Is Killing Music, and his contribution to First Mission, Voyage Direct's fifth anniversary compilation, was one of the undoubted highlights of that set.

It's that track - the gloriously positive 'Tele-Vision', and it's cyber-house fusion of darting synthesizer arpeggios, Detroit-influenced percussion, and thrusting acid bass - that heads up Weiss' first EP for Voyage Direct.

Dutch veteran and longtime friend of the family Dexter turns in a stunning remix, putting a well-placed boot up the backside of 'Tele-Vision' via speaker-shaking sub bass, kaleidoscopic electrofunk motifs and thumping techno rhythms. It's a stunning re-make, and one that takes Weiss' fine original to even greater heights.

Flip the record for two previously unheard Weiss productions. First up is 'Ghost', a supernatural house shuffler full of alien synths, wayward melodies, intergalactic electronics and crunchy drum machine hits. Weiss flips the script slightly on 'Super Sub', pairing his now trademark vintage synthesizer refrains and tumbling electronics with a heavyweight, bassline-driven groove. It's a sweet and evocative track, but critically also packs a punch.

Two of Londons most exciting new producers join forces for a collaborative, self titled, 4 track EP.

A seriously heavy weight release featuring house, broken, hip hop and soul living harmonioulsy under one roof (as it always did).

Vinyl Only!
We've been meaning to put out some music by our friend Harald ever since we started this wee operation five years ago. Imagine our joy now that we're ready to release not one, but two masterful records signed Mr. Björk! Solemn chord improvisations recorded in the secret gardens of Nacka pair up with a shameless yet humble cover version of a techno evergreen on this perfect little vinyl exclusive record, beautifully designed by Malin Gabriella Nordin. This 7'' single is released synchronously with the 12''/digital Fritids EP

Only 150 worldwide

After more than 10 years in the game and a string of successful
EPs to his name, Idriss D releases his first proper album on his
own Memento Records. At first conceived as a succession of
singles for his Dib 00' series (the first two being Constantine
and Alger), the project then became more of a collection of
dance floor tracks influenced by what he likes to play in his DJ
sets. The title Amalgamation' comes from the desire of
bringing together his life experiences over the last few years,
both music-wise and from a marketing and management angle,
this time exclusively focusing on himself and gathering all the
inputs in one single piece of work. Transition''s atmospheric
vibe and ethereal sounds open the LP with a blast of hazy
vocals and noises, followed by the percussive and trippy Casa
Baratas', a nod to the early 90s Acid House movement.
Karma''s pounding kick drum and stripped down arrangement
are a true example of Minimalistic Techno at its wildest. The
more personal RIP Ouarda' was composed in memory of his
grandmother who passed away: dark and hypnotic, it stands
out as one of the most experimental on the album. Title track
Amalgamation''s landscape of lush eerie synths makes it a
blissful comedown number, while Parall-el''s bouncing rhythm
speeds up the pace to high effect. Strong Hayet' is dedicated
to his mum, a source of continuos strength in Idriss' life,
both in good and difficult times: the heavy bass line and almost
obsessive looping vocals and hi-hats are icy and dramatic.
Barn''s pitch shifts and manic vocal samples swing through a
maze of rim shots and toms, its stomping groove and pulsing
beats closing off the album with a bang.

I'm in Love is back on the main label with a huge two track package. Joschka Tschirley und Sebastian Habben, together well known as Raucherecke, contribute one track each. On the A-Side you'll find an epic techno bomb - Tschirley-Style - that shows some similarities to the duo's early works... On the flip Sebastian Habben delivers a groovy techno jam matched by some really deep synths! You also got to check the yellow vinyl and it's fresh design!

Soul Jazz Records’ new album 90 Degrees of Shade features the music of the Caribbean – Mambo, Calypso, Mento, Merengue, Latin Jazz and much more. The music of Cuba, Jamaica, Haiti, Puerto Rico, Dominican Republic and more all feature in this lightning journey through the many island sounds.

This is the sound of independence, righteous and hot jump-up sounds from the 1950s and 60s, an exciting period of endless new musical styles that would travel across the world – Mento, the Jamaican precursor to reggae; mambos and descargas from Cuba, Dominican merengue, Haitian compas – and more.

This album coincides with the release of Soul Jazz Records’ massive new deluxe large format hardback book 90 Degrees of Shade: 100 Years of Photography In The Caribbean (with foreward by Paul Gilroy) featuring hundreds of fascinating and unique photographs spanning one hundred years of Caribbean history.

The new album comes as a deluxe two-CD pack complete with large outsize booklet, packed full of info and original artwork. There are also two limited edition separate heavyweight double LP vinyl editions, each one housed in gatefold sleeves complete w

Soul Jazz Records’ new album 90 Degrees of Shade features the music of the Caribbean – Mambo, Calypso, Mento, Merengue, Latin Jazz and much more. The music of Cuba, Jamaica, Haiti, Puerto Rico, Dominican Republic and more all feature in this lightning journey through the many island sounds.

This is the sound of independence, righteous and hot jump-up sounds from the 1950s and 60s, an exciting period of endless new musical styles that would travel across the world – Mento, the Jamaican precursor to reggae; mambos and descargas from Cuba, Dominican merengue, Haitian compas – and more.

This album coincides with the release of Soul Jazz Records’ massive new deluxe large format hardback book 90 Degrees of Shade: 100 Years of Photography In The Caribbean (with foreward by Paul Gilroy) featuring hundreds of fascinating and unique photographs spanning one hundred years of Caribbean history.

The new album comes as a deluxe two-CD pack complete with large outsize booklet, packed full of info and original artwork. There are also two limited edition separate heavyweight double LP vinyl editions, each one housed in gatefold sleeves complete with insert, full text and free download code. Also comes as a worldwide digital release.

To anyone with even a passing interest in the weirder end of good-time party-ready house music, Freaks should need little introduction. Luke Solomon and Justin Harris have been keeping our preferred kind of dancefloor vibrating to the cheekiest manifestations of house music since the mid- 90s, never letting up and moving in the same oscillations as the good ship Circus Company. From first emerging on Phono through to setting up their Music For Freaks label, stopping by Playhouse, Wash House and Rebirth amongst countless other labels along the way, the UK duo have constantly given the traditions of house music a tickle in the ribs without losing that fundamental funk that makes a record great to dance to. We were thrilled to welcome Luke and Justin to remix Dave Aju's 'Nu Threads' at the end of last year, and now we follow up on that connection with a special EP of gems from the extensive Freaks archives. On 'Shrunken Heads (One Pro Mix)' the rock solid foundations of filter house music collide with flamboyant synth noodlings for a truly cosmic end result, while 'Absolut Zero' finds solace in a slower, deeper groove peppered with oddball effects tweaking and disembodied vocal samples. Heading further into loose-fit, slippery territory, 'Funk You (Who Do You Trust Dub)' lets soulful sample licks wriggle and writhe through a decidedly laid-back atmosphere that shows off the range Freaks have always sported in their output since day one. In many ways this coming together of Circus Company and Freaks feels like a logical development for two bastions of the oddball house music community, not to mention a great opportunity to hear tracks that otherwise might never have seen the light of day.

Dhaze featured on Metroline Limited 76 (with Sabe) as well as on Amam, Little Helpers, Body Parts & more - Remix from Spanish producer Medu (Dissonant, Wavetech Ltd) Short info: For release number 80 we welcome back Italian producer Dhaze. Hailing from Rome, Dhaze started his self-thought experimentation with electronic music in 1996 when he bought his first sampler. His productions have seen the light of day on several undergound labels such as Amam, Little Helpers, Bla Bla, Body Parts, Inmotion and plenty more! Of course Dhaze has also already released on Metroline Limited, with fellow Italian producer Sabe, on the stunning Metroline Limited 76, Full Force EP. The EP opening is the 'explicit' Subatomic Pussy. The groove shuffles away with a clever use of drum patters and crispy hats. The mood is dark and disorienting, almost sinister with some crazy cavernous Green Velvet-esque vocal snippets that make their presence felt every now and then. And if the dark grooves of the openeing track weren't heavy enough, the following track, Waterdrip take the tension up a notch or two! The track is a relentless groovy monster, one for the darkest moments of a tech-house set but also suitable for the most obscure hours of Berghain! Not for the faint hearted! :) This time on remix duty we welcome Spanish producer Medu. Having loved his latest productions both on Dissonant and Wavetech Ltd we though about asking him to rework Subatomic Pussy and the result is excellent. Medu stripped Subatomic Pussy down to it bare elements but menaged at the same time to re-create a similarly hypnotic and driving peak time techno number! As we like our EP's to be 'all killers' and 'no fillers', to close this release in style we decided to include the incredible track 'Hardware In Love'

Ever since the debut, 'Communication EP' which also marked our 50th release, Alexander Lay-Far has a special place in the Local Talk family.Since then things have been going well with plenty more releases, tours, the launch of his label In-Beat-Ween Music plus a new full length album done.
With so many things on the go we're of course very happy to welcome Lay-Far back and with him this time, two UK house legends that need little introduction, Ashley Beedle and Darren Morris. Together the trio produced an EP that embraces the charms of both disco and house and we think it hits on every level. The A-side is dedicated to 'Doctor Feelgood', which is just as the name suggests, a delicious disco house cut that will make you feel good.Extra bonus points for the wonky bassline.
On the flip, you'll find two versions of Slope. The first one is an easy / breezy number built around jazzy drums, warm chords to catch your breath for a minute or two, lovers of rhodes should lend the track an extra ear, it's pure bliss. After those 5 minutes and 14 seconds has ended Lay-Far steps into the remix arena, turns up the tempo and sends the track straight to the dance floor. No need to fiddle around too much, he just sprinkles some extra touches of Lay-Far magic to the original and voila, it's done.

Essen's own Glenn Astro has called his first album Throwback, and the name is at once a perfect fit and not nearly the extent of the story. On the one hand, Astro has filled the double-LP with a wealth of old-school gestures and textures—the warm whoosh of analog synths, the rattle of Rhodes tines and the sizzle of jazzy drums,all held together by the comforting glue of tape hiss and vinyl crackle. If you're used to the clean sonic lines and stylistic streamlining of so much contemporary house music, then Throwback is sure to feel less like a record you just pulled out of plastic wrap than a well-seasoned one salvaged from a flea market or unfinished basement. And yet like so many Tartelet releases—particularly the label's last two full-lengths,
Max Graef's Rivers of the Red Planet and Uffe's Radio Days—it feels fresh and keenly contemporary no matter how vintage the fabric. Rather than throw back to any one moment, he's given us a collage of styles that's quite literally timeless. Astro makes brilliant work of his influences, drawing on hip-hop, house, funk and soul in such equal measure that it's hard to argue that one impulse dominates the other. The sound certainly flirts with the dance floor, with Astro applying highpressure
deep house pads on the title cut, gliding on shimmering keys for "One For Viktor," and taking us on a vibraphone-fueled workout with "Kilometer Disco," one of a pair of cuts featuring Max Graef. But Astro obviously relishes the time he spends on the sidelines absorbing the atmosphere, or at home head-nodding to the dustiest corners of his record collection. For every house beat you hear, you'll also dip into juicy, 90's-style beat science, toasty ambience and buttery chord progressions.
Expertly paced but never hustling you along, Throwback begs to be heard as a whole but explored at your own easy pace—a record for hazy mornings-after, vibey
nights in and endless summer afternoons.

- Original Motion Picture Soundtrack
- 12 new compositions by Gesaffelstein
- Pressed on two 180gram heavyweight vinyl
- Screenprinted gold on black gatefold & inner sleeves
- Musical score art print on X-Ray paper
- Limited to 1000 copies worldwide

Having changed the face of electronic music with his hard-edged and uncompromising but brilliantly persuasive sound, Gesaffelstein returns with 10 original compositions created for the motion picture soundtrack of new thriller Maryland, which also comprises three classic tracks from his discography.

Pressed on double 180-gram heavyweight vinyl, housed in screen printed gatefold and inner sleeves with one of his musical scores printed on X-Ray paper, this beautiful vinyl edition is limited to 1000 copies.

Gesaffelstein is already an electronic music icon, having conquered dance floors and festivals across the world with the sound of his outstanding 2013 album Aleph, which also spawned two incredible music videos clocking up millions of views in the process.

Acclaimed at Cannes, and starring Diane Kruger and Mathieu Schoenaerts, Maryland is set to become a cult classic.

LIMITED COPIES

Capital Bass continues to gather Russian names under one roof and expand stylistic variations. Next big thing is a three-track EP from Ponty Mython (Alex).
This is the second EP by sir Ponty Mython on Capital Bass. It has been two years since his bulletproof Jesus EP in 2013.
During these two years Ponty Mython has been working with such iconic house imprints as Arma, Quintessential, Dirt Crew and others. His new Adverbs EP is a quite eclectic thing.
Side A is a filtered house banger Gracefully - a result of sampling games with Moscow house star Lay-Far (Local Talk, In-beat-ween). Side B - Afterwards tune is a real one-loop thriller, dirty and raw, with African samples and invisible sub bass line.
On B side you can also find a psychedelic version of Afterwards by Saint Petersburg techno artist Nocow (Roots United, Fauxpas Musik). (Roots United, Fauxpas Musik)

4th studio album by their very own Dapayk Solo. Titled - #nofilter the album will be out on Oct 12, 2015. Since 1996 producer Niklas Worgt is regarded as one of the most creative and versatile protagonists of Europes club scene. Several projects for his label Mo's Ferry Prod., like the - I LOVE VINYL - Festival or the work on new Dapayk & Padberg releases have kept him busy during the last 5 years. But finally he came around to spend some - solo time in the studio. After having turned to a more melodic and gentle side on his last two album releases as part of the german electronica duo Dapayk & Padberg, - Smoke (2013) and - Smoke- The Family remixes (2014), Worgt is now being much more experimental and edgy in his productions. - I wanted the sound to be very focused - he says about his vision for album #4. More straightforward, more reduced, more analog and dirtier than - anything i have done before . On - #nofilter he combines elements from his early days in breakbeat and drum'n'bass with minimal and techhouse to his very own and very unique signature sound - far off the beaten club sound track. Worgt aims to challenge his audience, willing them to see that there is more than just one way of doing things. Well aware of the fact that: - ..some of the tracks might not be for everyone at first glance. But it's always good to do things in an unexpected way, to change the listeners perspective. Niklas Worgt also proofs his provocative and humorous side with the album title - #nofilter , statistically prooven to be one of the most commonly used hashtags. A keyword, often headlining the fact that a filter has been used.

* Jon Gurd's Birth Right EP is the first material from the Portsmouth based Techno producer in more than 2
years since his ventures on Octopus recordings, 8 Sided Dice and Quartz. The EP therefore indicates an
audible step change not just in the approach to production but also in the mindset and emotive feeling
behind each texture and layer. Having emerged unscathed from a traumatic family related drama Jon
communicates a tortuous and re-evaluated life message across all 3 tracks, and is dedicated to his brother
with a hidden meaning conveying, Tomorrow Is - Promised - To No One'.

* Dissecting the EP further the educated are blessed with field recordings, analogue rumbling and modular
synthesis exiting from almost 24 months of lab driven experimentation. No real process has been applied or
extant formulae followed and the EP's resounding success is that this now exudes what Jon feels' innately
rather than what the industry wants, therefore the journey, endless noise making and experimentation gives
a balanced and exciting offering. Jon comments seriously my process for producing this has been all over
the place, literally stumbling on shit, slipping over my own creative vomit, workflow went out the studio
window on day one'.

* Having spent two years asking himself why he makes music, I think on first listen of Birth Right EP we will all begin to empathise why. Remixes kindly provided by Messrs Dave Clarke and Ancestral Voices (new project from Liam Blackburn formerly Indigo / Akkord).

* A long time-friend and recording partner of Alan Fitzpatrick, as well as one third of Mister Woo with Dave from Reset Robot, Jon Gurd is best known for his work on the likes of Octopus Recordings, 8 Sided Dice and Quartz. Abundant with field recordings, analogue rumbling and modular synthesis, his latest signing to Derelicht is a result of almost 24 months of lab driven experimentation, and marks an auspicious return from a musical hiatus that stemmed from a personal tragedy. From the off, 'Tomorrow Is' is a driving piece of techno complete with sinister undertones and menacing atmospherics, meanwhile 'Promised' focuses on a low-slung groove as tantalising synths operate on top. The last original, 'To No One', then exhibits a deeper vibe with ebbing pads and spectral chords. Dave Clarke's decadent rendition of 'Promised' ups the tempo whilst demonstrating commanding kicks, until Ancestral Voices, the new project from Liam Blackburn (Indigo / Akkord), strips back the beats of 'To No One' for a subdued subterranean workout.

* Press / Promotion: 3 x Co-ordinated PR Campaigns (In House campaign by Derelicht, Dispersion PR and EPM Music, 100 vinyl hand-distributed to leading editors, artists and tastemakers. Key editorials through Resident Advisor, Inverted Audio, Ran$om Note, Beat Vision, Slate The Disco, Magnetic Magazine, DJ Mag, Noise Porn, Mind Grub Audio, Portals, Elevated Culture. 1 x videos produced to support Dave Clarke remix
Tiefschwarz - 'Just Beautiful!'
Alan Fitzpatrick - Yeah massively into this, will play a lot. Thanks for sending.
Dustin Zahn - Feeling the original of "To No One." the chord/pads are hitting the right spot for me this morning! The remix is also a nice take on the original
Baikal - to no one and Derelicht are dope
Kirk Degiorgio - Dave's mix for me!
Bas Mooy - yep! A1 for me mate!
Ben Sims - a1 is the cut for me, heavy and heady but still has the groove
Benjamin Damage - Thanks for sending this, top work!
Bryan Chapman - really feeling this EP, fav is the Ancestral Voices remix, that downbeat vibe
Bryan Zentz - Wonderful, moody, and emotive...LOVE it
Carlo Lio - Actually feeling all of them. Something for every time of the night. Can see myself playing a few of these for sure
Lo Shea - Tomorrow is sick! Dave Clarke's remix is dope too.

Introverted Dancefloor is Bevan Smith, a New Zealander who has released music under names like Signer and Aspen, and who has played in the Ruby Suns and Skallander throughout the last decade. His prior output has been spread over many international labels and has touched on sundry genres (like techno, IDM, folk, ambient) while featuring restraint and sophistication as compositional hallmarks.

As Introverted Dancefloor, Smith has kept those features as guiding principles while allowing a more propulsive low end to dominate the construction of this music, winding up with understated but energetic dance tracks. Gestation, too, is a prominent attribute of this music, though not necessarily an obvious one. Smith started these songs with hundreds of layers, which he then pared down to a few core elements before rebuilding again.

For Introverted Dancefloor, Smith limited himself to the use of two synthesizers, one mic, one filter, and one effects processer. This constraint is not obvious upon listening as the album works across the idioms of electro, Detroit techno, pop house, and leftfield disco, playing with the line between fluid melody and drum machine programming. Each track has a playlist as its scaffolding, Smith's goal being to filter a certain set of varied influences through just a couple of instruments. Metro Area's Miura' (Original Mix) turned into Introverted Dancefloor's Happiness is such a mess/Pipedream.' If there can be such a thing as a subtle banger, then Smith may have earned that distinction here. Take it high' seems to be a constant ascent with its climbing bass and layers of chords, relying on no hackneyed drops or releases for its crescendo. Smith's layering practices show their precision on tracks like Even if you try' and Tiger bones,' in which disparate elements contribute to pointed melodies, an unidentifiable percussive part entering the same expressive plane as a sung line.

One of the record's most striking features is Smith's inclusion of certain elements of a song in a neighboring one (vocals from Pipedream' in Happiness is such a mess,' a synth line from Even if you try' in Always turn your head') to lend a phantasmagorical effect to the procession, blurring the distinction between a track and its reprise. The result is a song cycle wrought from painstaking labor, while nonetheless retaining core values of amorphousness and motion.

Following almost two years of driving bass music promotion, in the form of compilation albums, free download round-ups, reviews, guest mixes & mix series CDs, the time has come to transcend from what first began as an online blog into our very own music label. After working with renowned artists such as El-B, Quest, BunZer0 and Phaeleh, as well as fellow promotional platforms FatKidOnFire & Deeper Vibrations - the Albion community has developed and grown to become recognised across the board of the bass music spectrum. This extension of our brand will help in pushing this music even more, enabling us to curate a fundamentally diverse sound beside the culture that we so passionately enjoy.The launch of Albion Collective Recordings is to be set in motion with In Pieces, a collaborative down-tempo effort conceived between Vaun and Jafu which is radiant in textural soundscapes. This particular piece has been doing the rounds as a clip on Deeper Vibrations' YouTube channel since 2013, inducing longing excitement for the song to finally surface.
Bristol based Daniel Brown, aka Vaun, has prospered into one of the scene's most prolific producers, covering multiple styles and turning out numerous releases for MindStep Music, Redshift-One and Soulstep Records. After recently hinting at the imminent release of an album, Brown can also reap in the keepsake of ALBION001 alongside Canadian artist James Fuller, aka Jafu, who likewise has blossomed astutely alongside his soulful Chord Marauders collective.In Pieces falls somewhere amongst immersive trip-hop and jazzy 2-step, an affectional arrangement that makes wonderful use of Marvin Gaye's a cappella in his classic Sexual Healing. The composition will certainly induce healing of the cerebral kind, with its stripped and delicate percussion work, dubbed out horns and soothing string sections. Encapsulated within Vaun & Jafu's musical offering is our label's statement of intent. That is, to champion unique music that emanates elegance such as this collaboration - and such as J.Sparrow's remix treatment. Ryan Wild aka Jack Sparrow, a Deep Medi Musik signee and one half of dubstep extraordinaire duo Author, has granted the scene with his tenacity to build profoundly stunning electronic music. Wild has the tempo notched up for his In Pieces edit but remains true to Vaun and Jafu's approach in the sense of its lavish spatial touch. The atmospherics breeze over with a soft vibrancy, as the electronic guitar solo recording from the original plays over the initial main section charmingly. This is all resulting in a simply sumptuous mix which goes right up there with his top drawer remix work for Annie Drury and De Niro & Y. To compliment J.Sparrow's sublime contribution and to also complete the package, the Black Butter Records assosciated and Bristol-based outfit Sly-One have whipped up an outright banger of a remix. Joe Cannon, Dave Constant and Oliver Read can already boast an admirable set of releases in the four years since they've joined forces, featuring on Shifting Peaks, Lost In Translation and 877 Records. Add that to a rude collaboration with fellow Bristol head & rasta emcee Buggsy and a remix for Bad Mojo on Meanbucket, Sly-One had clearly meant business from the offset - and have shown absolutely no let up for us at Albion Collective. Served with a side order of the trio's classic subtle cowbell hits, their 2-step/bassline fusion works wonders with the vamped-up vocal sample and is ready and waiting to rumble clubs & festivals for this summer and beyond. Early DJ support for the release has been noted from artists including Phaeleh, Quantum Soul, Thelem, J. Robinson, Walsh, K-Man, Nanobyte, Syte, Trashbat, Majora and D-Operation Drop & Foster. Radio airings to date stand at Sub FM on the BunZer0's legendary FOB Show, BBC Introducing showcased the release and Monki played the Sly One Remix on BBC Radio 1 Extra. The almighty
Dubstep duo Truth added the J.Sparrow Remix to their recent 'Chronicles' mixtape on Soundcloud, which was posted to their 75,000 plus following, Biscuit Factory Records owner and dubstep legend Walsh opened the edit on his latest podcast and J.Sparrow is set to showcase the version in a mix for the iconic Deep Medi label. Support is confirmed from digital publications such as FatKidOnFire,
GetDarker, Trusik and MTV Wrap up, which will involve a number of featuresm reviews, track premieres and artist spotlights. A review will also be printed in November's edition of Mixmag on Tomas Fraser's Grime/Dubstep page

Common Edit makes a thunderous return with their 10th release and to celebrate, they're going big! 5 A whole extra 5 inches to be exact, extended cuts to keep the party going !
Some of the usual suspects providing the bits and pieces on this 4 course meal. Supplies for the A Side brought to you by the winsome duo of Khotin & Dane, and their two terrifically Eastern numbers 'IMHO' and 'System'.While the one and only Eddie C and Dane team up for a cut each on the B Side. Dane hands over a familiar giant with I Want More' and Eddie ends the trip with his psychedelic guarantee in his endearingly titled 'One For Dane'. No stamps this time, Dane's wrists need a break but no expense was spared in this deluxe offering.As usual, copies given away at the release party in Edmonton, Canada at "The Common"

Entitas, is the second instalment of Jay Clarke's BLACKAXON imprint, and sees the label boss bring out the big guns in the form of three distinct and diverse cuts. First up is Entity, an autonomic monster which has sweat soaked energy written all over it. It's auspiciously one part deep, and more than double just as twisted. Things are far from linear with Entity, it's mercilessly the sum of it's own parts, and has the hallmarks of a true big room pleaser written all over it. A truly authentic demonstration of the old adage 'It's not where you are going, it's how you get there'. Entity is certain to be reached for by all of the major players on the Techno circuit for a long time to come.
On the flip, Ghosts Of Acid is the Yin to Entity's Yang. A plangent and introspective groove opens up with wispy cymbals, cleverly placed rims, hats and claps. Exploratory and evolving subaqueous acidic forays dare the listener to dive in a little deeper, with the reward being a very proficient and efficient take on the now classic Acid sound.

Existence Through Perception seeks to carry on where the previous two tracks left off. A driving groove and sinister hook lets up briefly midway to a near triumphant fanfare, only to be brought back to it's mischievous overture. A perfect late night/peak time track for DJ's looking to elevate the bar of their set just one more rung higher.

Support From:

(Phase), DVS1, Ben Klock, Answer Code Request, Luke Slater, Norman Nodge, Chris Liebing, Lucy, Oscar Mulero, Speedy J, DJ Deep, Tommy Four Seven, Cassegrain, Inigo Kennedy, Slam, Brendon Moeller, Nihad Tule, Kr!z, Psyk, Jonas Kopp, Truncate, Samuli Kemppi, Juho Kusti, Anthony Parasole, Eric Cloutier, Jereon Search, Moerbeck, Truss, Distant Echoes, Yac (I/Y), Philippe Petit, Thomas Hessler, Randomer, Volte-Face, Fundamental Interaction, Arnaud Le Texier, Ame, Angel Molina, Tensal, Kwartz, Stacey Pullen.
Credits

We were very excited indeed to see the third release from the quite promising Love Notes from Brooklyn imprint! Marco Zenin was a featured artist on the last release under his DJ Octopus guise, and this time he's featured again with his other project, the more techy/ more minimal Die Roh, who recently had an underground athem with their release on Black Venison. The duo here seemingly lean their sounds in the direction of the label's and offer two-cut EP which is their deepest effort yet to date. Surely more DJs will play the dancier A side, Behind 6000, but for us, the groovier B side and title track Genghis Kahn is the choice cut. Label owner, Nathaniel Jay, continues in the precendent he's set with each release having its own unique "Love Note", authored by him, making every one of these records collectable.

Optimo Trax 16 is a various artists EP featuring tracks from Glasgow, London, New York & Edinburgh.

First up is Glasgow dj, Beta with his debut release "Endless Plains" a broken percussive, spine tingler. 100% emo.

Next London's L/F/D/M who had the first release on Optimo Trax returns under the modified moniker Love's Flaccid Disco Muscle with something a little different. "3am at the Aqua Disco" is bass heaviness with an almost exotica-style lead line. Unique and glorious.

Side two kicks off with New York's Alex Burkat (now relocated to Philadelphia) with an 8-minute depth-charge, "Culture Full Circle" that features a mutated sample form a legendary reggae track. One to get lost in.

The EP closes out with Modini (aka Neil Landstrumm and Alan Parley) with "Ghost Seducer": bass, dub and bleeps 21st century style.

4 different artists, 4 A-sides!

Tensnake's standard In The End (I Want You To Cry) release gets not one, but seven remixes. A nod to the good old remix double pack craze of the nineties, you will find them spread out over two plates. Ranging from a classic Tiger & Woods treatment to Prins Thomas quirkiness via Lone's happiness, two versions by Shan, the timid DJ Oyster as well as Pete Herbert's & Dicky Trisco's respectful re-arrangement, this one has it all: disco, techno, jungle (alomost!), house, cheese & chocolate!

This new series on Expansion explores classic and exceptional 70s and 80s 'modern soul room' tracks making them available on 7' single for the very first time.

The Moments were a prolific sweet soul group in the 70s, signed up by Stang Records and regularly in the charts. They comprised vocalists who would later become Ray, Goodman & Brown. As The Moments their first US R&B No.1 was Love On A Two-Way Street' in 1970 and in the UK were best known for Nine Times', Dolly My Love' and Girls'. When they changed labels, a handful of songs were left unissued including the incredible Sleep Won't Come', first released as a CD bonus tracks on a 2CD Moments anthology Moments To Remember'. Interest in the songs has become high since that time resulting in an inevitable debut release on vinyl here on Expansion.

The B side is one of the group's most underrated gems.

Originally released as a strictly limited 10-inch vinyl record exclusive on Record Store Day 2012, this long sold-out must-have for fans of these two artists will finally be re-issued - this time in 12-inch format!
Erased Tapes label mates Ólafur Arnalds and Nils Frahm recorded and mixed their first collaborative record between Reyjkjavík and Berlin as a surprise release for label founder Robert Raths.
The ambient/electronic work 'Stare' is a true family effort with long-time collaborator Anne Müller joining in on cello and all graphics created by close label-friend and designer Torsten Posselt of FELD Studios.

Words by Nils Frahm: 'I heard 'Eulogy For Evolution' for the first time six years ago and I was totally captivated. Impossible to know back then that I was supposed to meet Ólafur many years later as my label mate. Later when he took me along a tour of his we also noted that we kind of like hanging out together, doing important things like cover versions of long forgotten songs or eating veggie pizza. Also he would join my live set for a jam and I would return the favour by playing along with his set.

All in all, I fell for Óli and after one memorable jam session we had in Berlin at Roter Salon in 2011, he finally proposed the idea to visit me in my studio in Berlin to work on 'some music'. I was happy and delighted about that idea, so we got together in April 2011 and after having a big pizza, I plugged in some old analogue synths and we played for four days until late in the night. Also queen Anne Müller stopped by after a show with Agnes Obel to record some cello at 5 am in the morning for 'b1'. Making music together with people is lovely!

The time I spent with Óli in Berlin made me very happy and the music wasn't like anything I have heard before. It was all very reduced and minimal and I felt like I couldn't have done this alone. So we decided to do another 4-day jam at Óli´s E7 studio in Reykjavik. So I flew there in the end of October 2011 to repeat the trick and record some out of this world ambient music. It didn't take us too long to write 'a1' and 'a2'. I can't wait for the follow up!'

Following Markus Suckut debut on the label, it's now the first time on Be As One for Eduardo de la Calle, one of the most interesting and passionate producer we've had the pleasure to work with, a master in its own craft: deep, melodic and thoughtful Techno. For this release we've picked up two very special cuts from Eduardo, pushing Eduardo's limits to the next level.

180gr! This 12" features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.
London based jazz appassionato Sean Khan, will release his second album 'Muriel' later in 2015. Dedicated to the driving force behind his musical career, his mother Muriel McGinley, the album is virtuosic free, Latin and nu-jazz experimentation, drenched in soul with the help of the vocal talents of Omar, Sabrina Malheiros and Heidi Vogel (Cinematic Orchestra).

This 12' features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.

On the A side, Henry Wu, a key member of the tight-knit label/ loose collective 22a Records (also home to the likes of Mo Kolours and Al Dobson Jr.), imbues the original track with a distinctly organic and off-kilter groove: a loose and earthy quality which is hallmark of the Wu sound and makes for a perfect complement to Khan's delicious melting pot of jazz, soul and broken beat flavours. Sturdy yet swinging with strong jazzy synth stabs and topped with a child-like, wordless, sing-along vocal, it's sure to be an underground summer club hit.

The B Side sees the mysterious Ben Hauke, whose previous releases have been courtesy of Melodica Recordings, steep Khan's 'Things to Say' in his own murky yet soul-drenched sound, one that falls somewhere between hip-hop and broken house. Not much is known about this young producer, but what we can glean from his work on this remix is a sound drenched in syrupy, slightly sinister keys and a plodding, unpredictable thump not entirely dissimilar from previous Far Out remix contributor Theo Parrish. Like the work of that Detroit innovation, these two young Londoner's contributions both look set to lend a funkily idiosyncratic and offbeat edge to all the right dance floors.

Front Left represents a very special corner in a very special spot on this planet. Every week the front left people gather together to celebrate techno music.
Techno is what brings us together and what makes us family to one another. We rejoice listening to it, produce it, talk about it, share it and mainly dance to it.
It is incredible how one physical spot creates so such magic and human connection.
This label brings the productions of the front left people to the world.
In the first release, you will find Elad Magdasi, a heavy dancer and an emotional producer. His productions are wide-ranged and loaded with a true rave spirit, combining an acid-line treatment and his melodic point of view. In the last two years Elad's productions turned to the techno side, and now he feels it's time to finally let his music out. Gathering knowledge and figuring out his style brought him to this point. His love for raving is what keeps his mojo going and brings the inspiration to his life.
Joining the first release is Matrixxman (Charlie Duff), the talented producer who's been shaking dance floor with his hit "Protocol" for already 2 years and now releasing his debut album on Ghostly. Not surprisingly, the connection between Elad and Matrixxman was also formed on the Front Left.
The first release combines a slick collection of sounds.

The final part of the SchleiBen series brings the contrast of heavyweights for a special collaborative release featuring Colin Potter (Nurse With Wound), Alessio Natalizia (Walls/Not Waving) and Guido Zen (Brain Machine), backed up on the flp by a rising name, the (another) world ambience of Cass. Emotional Response completes the SchleiBen series, bringing together the legendary Colin Potter with two of Italy's best experimental / drone / industrial producers in Alessio Natalizia and Guido Zen for a one off special recording, plus again highlighting one last Dusseldorf affiiated project, with the Osnabruck based, beautiful ambient touches of producer Niklas Rehme-Schluter aka Cass. When the idea of the split series was born, one of the aims was to get producers who have worked with the label to come together and record special pieces. However, it was not until the fial release that this fially occurred and who better in which to do this. Having seen a number of reissues come out in the last 18 months - one of which on the distant relative label, Sacred Summits, Colin Potter has brought him in to the orbit of two
artists closely associated with Emotional Response in Mr Natalizia and Mr Zen. The assimilated Parts 1 and 2 provide a perfect marriage of methods. Percussion hinting at Industial and Techno is explored, while the constant Drone inflx and disintegration grab your attention, overlapping with rhythmic repetition deeper and deeper. To end is the ambience of Cass. Taken from the limited 'Hiding Place' cassette only album, the pieces here are the perfect completion. Found sounds, loops, piano, synthesis, all intertwine and overlap to bathe you in pause, a one last time call to stop and (un)listen.

The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!! Analog Africa compiles a complete collection of Amara Touré's Afro-Cuban compositions, originally released between 1973 and 1980."Lamento Cubana and Temedy are the two finest Afro-Cuban compositions ever recorded. As if they were played in a smokey, poorly lit ballroom where dark rum was sipped ever so slowly" - Vikram Sohonie - Ostinato Records
Analog Africa to release a compilation by Amara Toure, the enigmatic Afro-Cuban musician from Guinea-Conakry, showcasing all of the 10 songs he ever released between 1973 and 1980.
"Latin music, is it really foreign to us Africans I don't think so. Listen to the drums, to the rhythm. It all seems very close to us - it feels like it's our own culture," declared enigmatic singer Amara Toure. It is the late 50s, and Senegal is going crazy to the groove of Son Montuno and Patchanga. Brought to West Africa by Cuban sailors in the early 40s, these styles were immediately adopted by a flourishing music scene that did not hesitate to embrace the Caribbean sound, mixed it with their own Folklore, and, in the process, created something new. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound - the format was reinvented. Producer Ibra Kasseì and his Miami nightclub acted as the spearheads of this movement. They brought a breath of fresh air into Dakar's nightlife, further energising one of West Africa's most exciting cities. The demand for ballroom parties and live acts exploded, attracting numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Toureì, from Guinea-Conakry. Spotted by Kasseì while performing with Dexter Johnson, Toureì was asked if he would like to be part of a new project. Little did he know that this project would become a phenomenon.Immensely important for the development of Senegalese modern music, Le Star Band de Dakar, led by Mady Konate, became a sort of musical incubator and workshop, where many musicians learned and practiced their trade before moving on to become stars in their own right. Toureì's talent on percussion was undeniable, but it was his powerful and raw voice that captivated the producer. The fascinating way Toure interpreted Cuban music was unparalleled, and it was this feature that encouraged Kasse to recruit the unknown artist.
Although already brimming with incredible talent, Amara Toure's joining of Le Star Band de Dakar in 1958 began the band's meteoric rise to the top. The band quickly became Dakar's number one orchestra, and it cemented the reputation of the Miami nightclub as the hottest spot in the country. The place was packed nightly, and Dakar was boiling.
Amara Toure's Senegalese adventure lasted for ten years when he received an irrefutable offer and in 1968, joined by a few talented Senegalese musicians, headed to Cameroon and immediately formed the Black and White ensemble. Many live gigs later and it was time for the first songs to be recorded. A total of three singles were produced between 1973 and 1976. These singles, representing the first six songs on this compilation, fully epitomise and distill the essence of what Toureì had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered - the perfect foundation for the Toureì's Cuban interpretations.
If Toure's intention was to create the most sensual music ever recorded in Africa, he might very well have reached this goal. The musicians on the recording sound like they are playing in a smokey, poorly lit juke joint, where dark rum was sipped ever so slowly, and the pulse of the music took up a life of its own. How many couples have danced, swayed, and melted together to the distinct sound of Amara Toure Nobody can say for sure ...
Amara Toureì's success poured across the borders of Cameroon, and in 1980 he went to Libreville, Gabon, to team up with the powerful Orchestre Massako. Toureì recorded an LP at that time which is hailed by many music aficionados as one of the very best African albums. The songs from that LP are the last four on this compilation. It took only ten songs for Amara Toureì to become a legend. These ten treasures, representing Toure ìs complete discography, have been carefully re-mastered from original session tapes and vinyl records, and will be released by Analog Africa on 22 June 2015. After the release of his LP in 1980, Toureì seems to have disappeared. Apparently he was last seen in Cameroon but it is unknown if he is still alive today. His music though is definitely alive.

To coincide with Expansion's release of Leon's two iconic Elektra albums, back to back on one CD, two signature tracks have been brought together here on 7' single. Outside of all the great work Leon contributed to other artists, notably Marvin Gaye, both 'Why I Came To California' and 'Rockin' You Eternally' are songs he is best remembered for as a solo artist. The love of Leon and both these songs keep Leon performing through to this dates, including nights at Ronnie Scotts in London last year. Leon continues to record beyind these 80s records, and Expansion have been honoure d to represent his music over the years with reissues, compilations and new recordings.

Etruria Beat welcome again the berlinian Dj Oliver Deutschmann! He was already featured on the label with his remix of Dast's 'Architect'. Now he offers two original tracks with a defined and aggressive sound, backed by two huge remixes from Etruria label boss Luca Agnelli and from french Techno stalwart Electric Rescue. Get ready to blow up some dance floors with those 4 hard hitting monsters. The EP opens with Agnelli's remix of Resist", this track is a muscular and stomping. He catches the originals mood and transforms it into a spectacular version that will leave the dance floor in ashes. BIG! The original version of 'Resist' it's a funky and driving technostomper with house chords that creates an obsessive and powerful rhythm, accompanied with a hypnotic vocal saying 'Resist' in132bpm! The B side continues with the original version of 'Hope' which got a melody in the best Detroit tradition and powerful 808 drums. A stripped dark atmosphere ensure a breathless pace, to the final second. Finally, Electric Rescue morphs this one into a powerful loopy journey, A synth hellfire as it's best. All of them are already Berghain approved and rocked countless other floors. Don't be stupid, buy that shit!!! Additional mix downs have been made at Caduceus Lab Geneva

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the
label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels.First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth
it, as Diego takes the crazy afro-stylings of Afrobotics and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians,
Cole M.G.N. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on Shockers is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind.
Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of Underdogs, Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in
modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr
Ruscha.

We here at Watergate Records are ecstatic to bring you the first single release 'Do Me feat. Khan', from Tiefschwarz in anticipation of their stunning new album, 'Left'. Along with a couple of carefully curated remixes by from two of the most prolific and unique remixers working today, Roman Flügel and Frank Wiedemann, the complete package is a trifecta. The original 'Do Me feat. Khan' is fully rooted in Tiefschwarz's cryptic dance floor approach, intricately balancing the serious and the absurd through the call and response of an almost comedically vocoded voice and a smooth, slick talking murmur. Khan's voice joined with a continually climbing bassline, lush percussive melodies and infectious drums result in a cut that is perfect for, and will shine, any time. Going a different direction by barely using the vocal, but staying very true to the original is Roman Flügel. Taking the original bassline and shortening the loop to 3/4 time, Flügel has devised a hypnotic tail chase that continues from beginning to end only to be accompanied by the whip of a big hi hat and wild 909 claps. Finally, it's the Frank Wiedemann Orchestra Remix, and it's pretty safe to say that this will be one of the anthems of the year. Aptly titled, the remix is a magnum opus conducted by a master. An enormous ensemble of rich strings and delicate melodies that build and swell from start to finish.

Back in 2013, Futureboogie released The Fade EP by Outboxx, a record that received critical acclaim from the who's who of music press, helping to propel Outboxx on the upward trajectory they've managed to maintain since those early releases. Unsurprisingly, Futureboogie are delighted to get the pair back for more.
Having developed their sound in the two years since, the pair has refined the raw ingredients of those records to show a combined maturity beyond their collective years. Previously the pair of producers (Matthew Lambert and Jake 'Hodge' Martin) have released music on respected independent imprints such as BRSTL, Idle Hands, Well Rounded Records and Local Talk; honing their analogue rich sound that touches on the hard edge of drum machine rhythms crafted by Hodge and the harmonic, jazz soaked embellishments from Lambert on Keys.
'Day One' opens with the sound of a string sample drifting behind warm drums to beautifully open up proceedings. As the track develops with an explosion of shuffling hi hats, the main hook enters with more than a nod to the classic Acid basslines of a 303, built to hypnotize dancers into the early hours with subtle simplicity.
The EP's title track 'Under The Lights' shows the pairs appreciation of Disco, with overdriven drums and a dotting bassline setting the feel. As the track develops, elements of Detroit enter the picture, with more string samples setting the key, and further allowing Lambert to contribute more of his signature Jazz licks as the track winds down to an unwanted close.
'Gift of Life' features the always-beautiful vocal contributions from long-term collaborator, Naomi Jeremy. Having featured on some of their most memorable releases to date, Jeremy's vocals again add a complexity often found in Jazz, but with the drum machine funk of 90's House; creating a sound that blurs the lines between sampling and original composition, uniquely, as only Outboxx can.
The record ends on the appropriately named 'Closing Titles', a track seemingly built to allow Lambert the opportunity to show his prowess and mastery of melody and harmony. Creeping basslines and warm chords mix with looped drum machine rhythms to wind down the release elegantly, showing the pairs versatility and understanding of each other's strengths.

Plenty Headroom' EP is a twisted techno release from Kahuun on Scandinavian label PLOINK with remixes from anonymous Norwegian act Vakum and label boss Thomas Urv.
PLOINK started life as a club in Bergen where it has hosted the biggest techno parties in the region. 2014 saw it expand into an imprint, supporting Norwegian artists with releases from the likes of Vakum, Nordenstam, Christian Tilt and label founder Thomas Urv. Bergen producer Kahuun has been DJing across Europe for well over two decades now and saw his first 12' on Paper Recordings in 1999 followed by a string of releases on the likes of Hi Fi Terapi, Bagpak Records and Sex Tags UFO.
'Plenty Headroom' incorporates stabbing, abrasive pads that tumble downwards over a muted, staccato bass and a 4/4 beat. 'Enlargement' then gets more frantic with a faster tempo and galloping bounce, overlayed with punchy warm synth sounds. Thomas Urv's remix of 'Plenty Headroom' delivers the darkness one would expect from the PLOINK founder, underpinned by a crunchy, compressed sub bass line. Tying everything up Vakum's rendition demonstrates a heady buzzing synth that builds a tension over a pounding four to the floor.

'We Start Over' arrived on the desks at International Feel and it felt perfect for us. Deep electronics, a lovely mood, forward thinking and a gorgeous vocal from Trudie Dawn Smith. Lots to play with from a remix perspective and a great original track in itself. Steve Cobby is a British producer, musician, composer, and DJ, based in Kingston-upon-Hull, Yorkshire. He co-founded Fila Brazillia in 1990 and released 10 critically acclaimed LP's and produced over 70 remixes for artists as diverse as Radiohead, Busta Rhymes, Black Uhuru and A Certain Ratio. Cobby now releases music via his own label Déclassé label. His latest and third solo LP 'Saudade' was released in March 2014 and received considerable critical acclaim.

The first 12" consists of the original version and on the flip a remix by Apiento & Lx (their first track together since the underground classic 'The Orange Place' ). The remix is slow trance in its purest sense, made for lasers and dark nightclubs. It's already receiving club play and has been named by Andrew Weatherall and Sean Johnston's ALFOS as "one of the records of the summer". High praise.

On the second 12" the reins have been handed to Gerd Janson & Phillip Lauer a.k.a Tuff City Kids - two people making some of the finest house at their at the moment with Janson also getting massively known globally for his DJing. Their remixes are made for the clubs. The 'Garage Dub' is classic New York house that is as deep as you like and one of those hooky ones that does everything perfectly. The other, 'Private Acid Mix ' goes heavy on the beats and drops the 303 in a fine style with the vocal looped and twisted.

As you would expect from International Feel this is classy and classic club music covered from all angles from a balearic original, a deep chug remix from Apiento & Lx and the Tuff City Kids bringing the house vibe. Deep deep deep.

Leisure System presents rising talent Will Ward's Interval One EP, the second in our 2015 GRIDLOCK series of dance floor 12"s and the British producer and DJ's most exuberant record to date. In addition to two prior solo releases, Will Ward is a member of the esteemed electronic trio Circle Traps along with Jack Wyllie and Duncan Bellamy of Portico. He has previously collaborated with the likes of My Panda Shall Fly and gained support from tastemakers such as Rob Da Bank and Gilles Peterson for dazzling productions that blur the lines between pumping house and windswept techno. The Interval One EP is a strong representation of that sleek sound, with tracks that are bursting with emotion and memorable detail. "Digital Design" is an aural kaleidoscope, with a shimmering melody line refracted in squiggly arcs next to murmured female vocals and resonant chords. It's a fittingly varied introduction, drifting between hot and cold poles. "Portion" features Circle Traps member Jack Wyllie, and subtle additions accrue to create waves of unease, while the melody line bounces energetically through a maze of ossified handclaps and buoyant chord stabs. Closing things out, the EP's title track builds from a woozy introduction to an ebullient peak, as if rolling out of bed and stepping immediately onto a throbbing dance floor. It's a cleansing and exhilarating feeling, the type of rare emotional response that Will Ward has proven himself thoroughly capable of creating with Interval One.

Kevin Saunderson's Detroit-based imprint celebrated its 25th Anniversary back in 2012, and the label's continued to cement its legacy with key vinyl reissues over the past couple of years. The recent campaign included Saunderson's Just Want Another Chance, the track which contains the "Reese" bassline—rivaled only by the Amen break as a formative element of drum & bass—as well as '90s releases from MK, Kreem (Saunderson's duo with Juan Atkins) and Chez (Damier) N (Ron) Trent.

The two remix compilations dwell on Chez N Trent versions produced during the 1993 through 1995 period, when they released enduring originals like "Morning Factory" and "The Choice." Volume One contains remixes of Sonya Blade and Miller/Scott Project while the second EP includes Damier and Trent's versions of Kreem as well as Saunderson's seminal vocal house group, Inner City. Chez N Trent's takes on Naomi Daniel's "Feel The Fire" and Essar'ay's "Forces" are also included.

secretsundaze 017 comes from London based producer Endian. Releasing just 2 EPs in a few years on Nonplus and Electric Minds, Endian has nevertheless managed to turn the heads of the likes of Steffi who used one of his tracks for her Panorama Bar compilation and Boddika who also licensed a track for a various artists EP. Sounding like a producer far more experienced than the two releases would indicate, it came as no surprise that this is far from the output of a novice but the seasoned veteran George Levings aka Commix (Metalheadz).
Endian has been a regular at secretsundaze events over the years and a friendship developed with Giles and James. The project is an outlet for him to release the more technoey and house sound that he is increasingly inspired by.
Lead and title track 'Finish Me' is a stone cold killer. Ballsy, raw and over driven in the mix, a tribal breakbeat groove builds before brassy stabs sneak in. The peak of the track sees dramatic pads cut through for a moment of serenity before the drums drop back in. Joy Orbison used 'Finish Me' in his Essential mix late last year and its also been a highlight of secretsundaze's sets over last 6 months. 'Dusty' goes deeper with a layer of fuzzy warmth enveloping the track. Driving but definitely one for the later hours or early on with its hypnotising flow and subtle musical flourishes. Last up 'Sub Tropic' is a heads down, growling, low slung techno track with its deep sub bass. This is definitely a track you can imagine hearing in the bowels of Berghain well into Sunday daytime. 'Finish Me' is arguably Endian's best work to date and it's another fine addition to the secretsundaze catalogue.

The Bunker New York is proud to announce the second EP from Mehmet Irdel, also known as Løt.te (pronounced Loat-tey), following his debut release on our label in 2014.
Løt.te's 'History of Discipline' EP features two distinct moods and detailed, industrial-inspired sound design with a firm focus on the dancefloor.

"When I discovered the heavy, dark techno coming out of the U.K. and Japan in the '90s and '00s, like Regis, Surgeon, Female, and Takaaki Itoh, it was a revelation," Irdel says. "Until then, I hadn't realized that techno could reference the grittiness and physicality of industrial music and make it work so well, and feel natural on the dancefloor." These muscular, upbeat techno artists are the perfect reference point for Løt.te's music, but Irdel takes his work one step further, featuring an emotional complexity that many other producers lack. "I'm interested in techno that feels both masculine and feminine at the same time," says Irdel. "These days, most techno feels either very intricate and clean, or very noisy and macho. What interests me is finding an in-between."

True to its name, "History of Discipline" is the darker track here. Built on a foundation of heavy, swinging kick drums and shuffling hi-hats, the track builds to an enormous climax before winding down into a rattle of metallic percussion. "A Mutable Constant" is more ambiguous, featuring a rubbery bassline and steadily-building background percussion - until a moody, longing synthesizer pad begins to take center stage. "I don't honestly know where the emotion in 'A Mutable Constant' came from. That wasn't the plan when I started working on it," recalls Irdel, "but I incorporate a mix of analog synths into my productions, like the Korg MS-20 or Doepfer Dark Energy, and their sounds sometimes surprise me. My production process begins and ends with a computer, but I love being able to have that '90s analog sound' in my work. I'm very conscious of not having any 'overly digital' sounds in my tracks."

Løt.te's latest EP embodies the spirit of techno while simultaneously pushing its sound forward. "Techno, for me, is an experiment in human perception. A way to find the fringes of perception in rhythm, melody, and emotion, to push all the way to the edge, to find the breaking point. I'm trying to push techno's boundaries without ever losing sight of 'what makes techno techno': its restraint and groove."

This is the story of C POWERS. To understand OYSTERS, you must understand the man behind it all...
THE UNITED STATES TERRITORY OF GUAM, ca. 1989
Abandoned at the island nation's only beachfront techno club as an infant, young Christoph (C POWERS) was adopted by the club's owner, Geraldo Powers. During Geraldo's time as a naval officer, he traveled the world throughout rave's formative years, secretly going to the underground parties when arriving to European ports after having originally fallen in love with early house music as a teenager in his native Chicago via roller-rink parties and the legendary Music Box headed by Ron Hardy. Rear Admiral Geraldo, outed as a gay homosexual during the discriminatory days of Ronald Reagan's U.S. military, was forced to retire, but spared a dishonorable discharge thanks to his roster of medals earning during his exemplary leadership for the invasion of Grenada in 1983.
Throughout his three year stay at the local naval base, the now 30-something Gerry Powers had been struck by the natural beauty and unsettling mysticism of Guam and its peoples and made the choice to permanently set up shop on the island after his unexpected retirement. Taking his partner and newly-crowned Supreme Butch Queen of the New York vogue circuit--Amadeus Lector--with him and financed with $6669.69 in prize money, the new era of DAS POUNDHAUS LTD. was to begin.
In 1990, Gerry founded the notorious Guamanian club DAS POUNDHAUS (the name of which was strongly influenced by a two-week long ecstasy and Polish speed-fueled bender during 1989's inaugural Love Parade in West Berlin). Located inside a decrepit lighthouse originally built during Spain's reign over the island, the club played host to a steady stream of closeted, Pacific-touring U.S. military personnel and later, the party-craving barons of the dot com bubble. Outed in private usenet circles for its off-the-charts hedonism, the club's infamous parties would inevitably lead to its perilous demise, and the eventual deportation of Gerry Powers and his family to the mainland.
But there was one thing that could never be taken away from them...
...synesthesia...
You see, young Christoph was diagnosed with the "disorder" as a pre-teen after having been exposed to nearly a decade of DAS POUNDHAUS first-hand and at such a young age. The youngster was like a fish in water during his childhood in Guam, but when the family was deported in 1999, he began to show signs of anxiety and depression. His ability to hear colors and see sounds had simply turned into a stream of incomprehensible, uncontrolled static. He was now a pariah among his peers. Shunned and admonished. Assigned to sit by himself during school lunch. One of "those" kids.
By this time, his two dads' relationship was on the rocks and would quickly unravel. Amadeus, frustrated with Gerry's incessant ramblings about bunkering in Montana because of the Clinton-Illuminati conspiracy to enslave the middle-class, decided to leave Gerry in an attempt to become a backup dancer for Madonna during her "Drowned World Tour" in 2001 (which would have provided a significant sum of financial security to the family, considering their life savings had been destroyed thanks to the toppling of the NASDAQ from its peak of 5048 in March of 2000--and thanks to those dot com baron stock tips, the Powers were all-in). However, Amadeus' unflinchingly "authentic" vogue style was considered obsolete, and he would go to die in a Reno Motel 6, a victim of drug abuse and that kind of thing apparently.
>>>>Fast-forward to the year2012ish>>>>

Record Store Day 2015 will see a special release from Gene Hunt directed and selected by label boss I-Robots.

The two track vinyl EP features unreleased material produced in the early years of the famed Chicago artist's career in the 80s and is dedicated to musical legend Frankie Knuckles who appears on the artwork in a rare picture with Gene Hunt from back in the day.

Gene has regularly produced and remixed for the label before now (including remixing Klein & M.B.O. 'Last Call' and on forthcoming I-Robots project 'Dirty Talk' ft. Donna McGhee) and has already assured his place in house history as a DJ headlining clubs like Warehouse and the Music Box as well as playing with the likes of Ron Hardy and Larry Heard.

As a producer he has been on top of his game for three decades and has released on legendary imprints such Rush Hour, Svek, Djax and many more, so is a true house icon.

His first cut here, 'Drive Yourself Nuts' is a classic bit of Chicago jack with prickly percussive patterns staying busy on top of punchy drums. Wonky bass, physical grooves and coarse claps all make this one a standout banger for the peak of the night.

On the flip of this special package, 'Wildside D Dubb' is a slow building, mania inducing tune with a lead synth line slithering about over dusty metallic drums. Eventually some acid bleeds into the mix and pans all around, adding a sense of scale to this heady, freaky, dance floor smasher. As ever, Opilec Music show others how it is done with this real and rare bit of true Chicago house history.

Drum & Bass duo The Prototypes, AKA Chris Garvey and Nick White release their much anticipated debut album 'City of Gold' on Viper Recordings. Already one of the hottest acts in the UK Drum & Bass club scene, The Prototypes are reaching new heights with their debut LP which showcases their trademark club sound, vocal anthems plus a few masterful tempo variations which will leave the listener wanting more.

This vinyl album sampler contains two of their biggest hits from last year with 'Pale Blue Dot' backed with 'Humanoid', both of which went #1 on the Beatport D&B charts.

'Pale Blue Dot'
Kicking off with a mysterious, immersive space-themed introduction, 'Pale Blue Dot' transports the rave into the far reaches of the universe. Building up the anticipation with rising synths, 'Pale Blue Dot' transforms into a dancefloor weapon. Crash landing with a stripped back, infectious melody and churning bass, the alien sounds of 'Pale Blue Dot' are sure to get the rave moving.

'Humanoid'
The B-side stays true to The Prototypes' heavy hitting, galactic-inspired sound, with the whirring 'Humanoid'. Exciting and rhythmical use of synth patterns alongside vocal interjections make this the ideal follow up to the hugely popular 'Pale Blue Dot.'