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What Ever Not is the variegated music outlet from experienced Dodi Palese and Dan Mela, Italian DJs and producers supporting, selling, playing and releasing instrumental and dance music for two decades. What Ever Not tenth record, 'Galegos Bar / The Ritual', sees a split release signed by Dan Mela and Marco Erroi. Label co-founder Dan Mela inaugurates a new moniker 'Man Dela' for 'The Ritual' - the original track gets remixed by Anton Zap, with whom Mela already collaborated for a digital release on his own Ethereal Sound. Flipping on the other side, Marco Erroi, head of Common Series Ltd, continues his production career with 'XXXV Gold Fingers' for the 'Galegos Bar' side - one of the many different aliases he personifies - also contributing by realizing the artwork. 'Galegos Bar / The Ritual' offers two sides of the same coin and we can have both things with one stroke. The common denominator is the ethnical ritual. It is fully expressed in the Man Dela side with deep and hypnotic ride out turned upside down by Anton Zap with a dynamic electronic waltz. The same item, however, is magically hidden in the XXXV Gold Fingers side, where we can find it in the form of drink beer and play cards just like in most terrible bars in South of Italy.

Fideles is the joint moniker of Italian duo Daniele Aprile and Mario Roberti, who have carved out a niche for their distinctive brand of deep, techy house on noted labels such as Defected, Be As One, and Marco Resmann's Upon You, among others. Here on their first outing for Poker Flat Recordings, the duo cook up four courses of lean, focussed tech-house for Steve Bug's seminal imprint. 'Detuned' starts the journey - an edgy, tense groove exhibiting the boy's masterful sound design and use of space to create a thick, intoxicated atmosphere. 'I'm Rude' is more direct - a thumping bass drum introduces a low slung bass groove, slowly evolving and mutating into a true party-starter. 'Worthy' uses similar building blocks but delivers a different vibe altogether, revelling in a minimalist production aesthetic and cheeky bass riff. 'Ran Baran', the title track, is another lesson in great production - each element perfectly balanced to create an atmosphere of controlled mayhem - which is exactly the response this entire EP aims to instigate on dancefloors.

One month after the release of 981 Mb RSD EP, we are glad to introduce you to the new Molecule's album: 60° 43' Nord (Deluxe Edition). Some would associate the sounds of the waves to heat and relaxation and rest assured, we're part of them. That being so, some others visualize the sea as a wide playground from which they can pick up the echos to turn them into a deep sound. That is precisely the case of Molecule who decided to record the wild voices of the Atlantic Ocean aboard a 90 metres long fishing boat. The result is made of powerful and danceable techno beats ("8 ZL 40), tracks that will take you directly to the Atlantic's depths ("Abysses"), and harmonious moments of time off ("Le Jardin' or Soleil Bleu"). The whole of the tracks is captivating and flows naturally as we listen to it. You'll find the song Hébrides, present on the 981 Mb EP, as well as the original version of Rockall that you might have heard already as a live version. If you never had the chance to jump onto a 90 metres fishing boat, take your chance, Molecule is inviting you to get on his... The CD included in the LP version features the 10 tracks of the album.

ears ago he started putting together some selections for a friend of his: Luca. The intention was to pick songs to be played during car rides, and like any other kind of ritual, this too would come with strict rules. You'd have to go throw the whole selection of 100 tracks without skipping, because every single one was important. Be it the sounds, the arrangement or its creativity, each track was there for a very specific reasons. It quickly became a monthly event which for several years evolved in a deep musical research without genre boundaries: Disco and psychedelic, soundtracks, library music, exotica, electronic and dance music, italo, new wave, pop or prog. Tracks of each and any historical period and provenance had been featured in this special compilations. But it wasn't always that easy to come up with the right piece and eventually Francesco started producing a few on his own to fill in the gaps. After six tracks, it was quite clear that there was a project developing, one in which he could finally experiment freely, leaving behind the rules that often come with dance tracks. Of course, no name could have been better than the one of his friend that had inspired everything And so L.u.c.a was born. Now, while preserving the same mind set, L.u.c.a is back with an album that embraces a new-hippie vibe, strongly pervaded by a mystical naturalism. This is a whole new universe in the making, where rumbling magmatic atmospheres evolve gradually in a journey through an idealist new world, celestial interludes revealing a full take over of nature, with a pervasive library feel that dates back to the great Italian masters, carrying on Edizioni Mondo's legacy.

Taken from the acclaimed debut LP 'The Soft Bounce', Phantasy is proud to present expansive remixes of two album tracks.
Daniel Avery ramps up the atmosphere with an airy, drifting electronic mantra, pulsing with gliding motorik propulsion perfect for late night escapades.
On the flip side, BTU, an amalgamation of Phantasy producers Babe Terror and U, take album closer 'Third Mynd' and recast it as a mind opening sixteen minute collage of found sound, drone and atmosphere, a psychedelic opus befitting Jon Savage's otherworldly speech.
Two very distinct trips into the outer reaches of electronic sound. Toto, we are not in Kansas anymore...

Vinylmania: As classic disco came bounding through the late '70s and into the electronically orientated sounds of the '80s, New York was one of the undisputed frontiers for the latest developments in dance music culture, nightclubs and the art of DJing. At the center of this seminal time for vinyl culture was a store called Vinylmania, set up by Charlie Grappone in the heart of Greenwich Village, Manhattan, just as the culture of 12-inch singles and promo copies was taking hold. From supplying Levan, Tony Humphries and many more with the latest imports to championing the emergence of house music in the mid-'80s, Grappone and his staff played a significant role in New York's own dance music story. Through the '90s and up until closing in 2007, Vinylmania was a store that catered to DJs from across the complex mixture of racial, social and sexual demographics that made up New York and its legendary nightlife. Man Friday: As the NYC Peech Boys came to an end, Man Friday became Larry Levan's newest production project. Fronted by Kofi Morny and Brodie Williams, their dubut single 'Love Honey, Love heartache' was released by Vinyl Mania in 1986 with Larry Levan at the helm of the mix. Love Money: In the spirit of most dance music borrowing elements from other sources, 'Love Honey' was heaviliy inpired by another Paradise Garage & Loft classic from 1980 and its remix in 1981 by UK Outfit Funk Masters / TW Funkmasters. A dubbed out track big in the Jazz-Funk scene in the UK, it became a hit among underground Deejays in Both NYC & Chicago. Love Honey: No matter what list you look at. 'Love Honey' is always attached to Larry Levan's tenure at the Paradise Garage. All the elements of a Garage Track are here; Dub Echoes, Synth Basslines, Percussions that linger, FX -that one can only dream of hearing on a Richard Long System- and an Organ, because after all, they say the Garage was like going to Church. Remember when you'd buy a record after hearing it at the Club We miss that. As a result, We are proud to Introduce Get On Down Sound with the aim to bring back our favorite Dance 12's to a new generation of Vinyl-DJs. Re-mastered for optimal club use, these are official re-issues of some of Dance Music's most influential cuts.

Timmy P's latest outing on Dessous Recordings continues the long list of illustrious labels that have been home to his house vision. Now based in London, Timmy has a string of emphatic releases under his belt, not least on influential imprints such as Local Talk, Extended Play, Dirt Crew and MadTech. With Safety First, Timmy's playful approach to the deeper side of house shines though. The title track mixes crisp, crunchy drums with warm, soft pads and a bubbling bass line - a deep rolling cut with plenty of punch for the floor. The fantastically named 'Grim Fandango' is a little tougher, with the snares and claps snapping tightly over a taut, un-resistible vibe. Timmy's balance of dynamics is masterful, each element perfectly complimenting each other to create a tour de force over 8 minutes. 'Bosh' is similarly crafted - the original echoing classic 90s house but feeling completely fresh for 2016, while James Dexter's remix is a robust, deep roller. This is house music made with joy and passion.

Berlin-based Marlon Hoffstadt drops 'Coach Mike', the fourth EP on his own Retrograde imprint, featuring remixes from Massimiliano Pagliara and The Friend and following a hat trick of successful releases. The four-track EP is the sophomore release from Hoffstadt on his burgeoning label, which he co-founded with Natureboy Gold and Matteo Luis in August 2015. Previously featuring the likes of Kris Wadsworth and Tuff City Kids, Retrograde provides a platform for the artists to explore music alongside other forms of expression such as art, particularly surrealism. The vinyl sleeve artwork from the first four releases, when fitted together, completes the painting 'Interaction' by surrealist Hermann Reimer. With previous releases on FFRR and Play It Down, Hoffstadt boasts a sound that is both innovative yet authentic, and 'Coach Mike' displays the sonic alchemy that the talented producer, aged only 22, has already become known for. The title track starts as a grooving acid-based cut peppered with percussion before building up suspense to a surprising yet satisfying breakdown. This is his first release without vocals, allowing him to focus entirely on creating pure soundscape. Panorama Bar resident and Live at Robert Johnson mainstay Massimiliano Pagliara's rework of the A side is a Balearic-tinged affair, starting with a solid drum and building to a crescendo of bass, pads and synths, along with the analog synth elements for which he's known. This is an undeniable summer anthem that will captivate dancefloors across the world. 'Broncos' is a club track created for the floor. An acid bassline sits alongside industrial elements and stabbing synths.

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

"2015 was probably the busiest of my career, during the course of the year I lived many hours of flights and delays at airports, stayed at hotels with wonderful views immersed in nature and others, on the contrary, very urban. I must admit that many of these scenarios were the kick start of the creative process of "Oscillators EP. This is an EP conceived strictly for the Dancefloor, and its creation was a perfect combination between air and land, as all the tracks began on a plane and were developed on land. A very important part of the creative process when youre working on a track is the mood youre in, and there is always an extra excitement before, during and after each show, the space where you work. I take advantage of that moments and translate those feelings into music." - Flug

Y-Bayani is Ghana's uprising Fanti-reggae artist. He was discovered by Philophon in Ebo Taylor's hometown Saltpond, where he survived as a clock doctor. With his song "Asembi Ara Amba" he was featured on the highly acclaimed debut "Invisible Joy" by the Polyversal Souls. The success of that song opened the door for his first release under his sonorous own name: Y-Bayani.

"Get Away" is a swinging up-tempo beat with a bouncy bass and a haunting vocal performance on top. "Obar No Ni" on the other hand brings you down with a slowly driving rub-a-dub beat. Both tunes have been produced by Max Weissenfeldt and Stibbo Spitzmüller at Berlin's Joy Sound Studios.

The first release on new Berlin-based label Per Musica Ad Astra is Mick Clarke's 'Zusammen!' LP, the follow-up after many years to his debut solo release 'Games' on German label Blubberlips in 1979. A pioneer of UK electronic music, Mick was also in legendary synth-wave band Naked Lunch, and apart from producing music under a few different aliases over the years he also finds time to run the Flight Recorder label and is a regular programmer on Intergalactic FM, hosting both the Radio Oscillations and Magic Waves shows. The music here is very much in the spirit of the label's kosmische/space Berlin-school agenda, both reflecting his earlier work and exploring new territory simultaneously. Lush orchestrations and beautiful synth pads contrast against hypnotic rhythms and delicate melodies, and while the label's mission might be electronic listening music' tracks like 'Red Bird' and 'Mistral' are surely DJ material too. The latter evokes a sound similar to vintage Basic Channel, while other parts of the album flow through sonic territories as diverse as Tangerine Dream and the Berlin school of ambient, Warp Records' classic 'Artificial Intelligence' series, deep electro and even atmospheric Italo as well. The record comes in a beautiful sleeve with notes from the label, and comes free with a nice space insert! Definitely not one to miss!

Following contributions by DJ Deep and DJ Hell, Tresor Records are proud to present the third instalment in their Kern mix-series, this time headed by Berlin based producer Objekt, his first release following his 2014 debut album Flatland for PAN. In keeping with the series mission of showcasing a more personal approach to mixing Hertz describes his process as such;

Kern Vol. 3 is made up of tracks that I know I will play and love for years to come. Some of these records have been in my bag for years; others are almost as new to me as they are to you. A handful are by lesser known artists whom I admire and who I think deserve wider recognition. Planned, recorded, embellished, reworked, tweaked and chiselled away at over a period of 6 months, the mix was gradually carved out in a way that makes use of new and old techniques alike, presenting itself primarily as a DJ mix but settling in a sweet spot between live recording and studio trickery. The tracklist spans styles, decades and BPMs in an attempt to craft a mix that's unpredictable and compelling in equal measure - one that draws from the more adventurous corners of my club sets, but above all, one that's a pleasure to listen to.

Clocking in at 75min across 36 tracks, Kern Vol. 3 delivers on Objekt's promise, stitching together everything from the playful breakbeats of Beatrice Dillon's "Halfway" to Kirk DiGiorgio's classic techno "Nebula Variation" and the lightspeed IDM of Aleksi Perälä and Ueno Masaaki without missing a beat. A descent through ambient bliss, thundering cello drones and vocal contortions (courtesy of Anna Caragnano, Yair Elazar Glotman and Senyawa's Rully Shabara respectively) give way to the stoned haze of Sensational vs Sotofett and metalwork of Machine Woman and Skarn, rounding up a highly eclectic and adventurous mix which also includes previously unreleased tracks by Bristol's Shanti Celeste, rising Brooklyn producer Via App and accomplished electro technicians Clatterbox and Polzer.

"It's the year 2024 and the planet Perth is under attack!!
The boys of SENATE Corp. are its only hope!"
Good Company Records returns for 2016 with two blasts of sci-fi Techno from the twisted minds behind last year's 'Gangstalker' cannonade for Lobster Theremin sublabel Pacific Command.
Strike one is the unrelenting, caustic hardcore of Pugilist Dub, strong enough to melt away even the toughest exoskeleton.
Into the centre hole & through the other side, it's Forza Rays - a dystopian electro stormer that will haunt your working week.
"Mission report: The Discoid invaders never stood a chance."
Select with extreme prejudice, and play without mercy: Just don't forget your gloves.

Launched in 1996, PLOINK has been a core brand in Norwegian techno for two decades now, booking the likes of Jeff Mills, Juan Atkins, Derrick May, Carl Cox, Radio Slave and Richie Hawtin, as well as launching a
record label that champions Scandinavian artists. With the likes of Prins Thomas, Mental Overdrive, Nordenstam, Mind Over MIDI and label founder Thomas Urv appearing thus far, 96-16#3 is the third and final
instalment in the 20-year celebratory releases.
One of Norway's well established electro/techno artists over the past 15 years, Skatebård begins proceedings with the sinister 'Kapitalsystemets Belastning' featuring menacing bass and otherworldly synths,
before Bergen's Kahuun demonstrates a concoction of keys, effects and atmospherics with 'Sherlock'.
Next, Kristiansand's +plattform, who's just launched his Graatone imprint, introduces powerful kicks and eerie drones in 'Reluctant', making way for the percussive and rhythmic 'Helle Farben' from analogue-loving duo Dormund. Faarikaal Records founder Henrik S' 'Phobos' then ventures into sci-fi realms with spacey aesthetics and echoing stabs until Krill Music boss Espen Lauritzen ties up the release with the intricately produced 'Tromsø'.

Arttu presents CYBLO!

The Berlin-based producer is kicking off his label with a four-track single.

While he is perhaps not as name-checked as some of the hardware hawking house heads of modern times, Arttu Snellman has been working hard at gritty box jams for a good few years now. He first appeared under his Arttu guise in 2011 with the Nuclear Funk and Fear Diluted singles on Royal Oak and Philpot respectively, and then proceeded to wheel out tunes for 4 Lux and Chiwax over the ensuing years. Prior to the tough-edged pump of his current ventures, you could find Snellman indulging in a more laptop-centric kind of practice under the name Lump. This more minimalistic, glitchy house fodder could be found on labels such as Karloff, Morris/Audio and Süd Electronic amongst many others. Back in the here and now though, Arttu was last spotted on Clone Jack For Daze earlier this year with the Rave Dogz 12', and next up he's taking matters into his own hands.

Existing fans of Arttu will be more than pleased with the heavyweight, crunchy tackle that inhabits CYBLO01. This is dynamic business with same heft found on previous releases from Snellman, mixed in with the cheeky flair that has always marked his productions out in a crowded marketplace.

O.D.D., Modini and Casio Royale team up to wreck clubs across the galaxy! I glanced at the wrinkles on my hands as they worked the controls on landing pod. I'd aged considerably since we left Earth to track the alien. Taking an extremely dangerous short cut via the rim of a black hole allowed me to get to the outer regions of the universe before I turned geriatric and was too decrepit to navigate the ship. Now, as we approached Planet Simila, excitement burned within me. It wasn't just about meeting an extra-terrestrial, I was lonely. It had been many years since I'd spoken to anyone other than the ship's computer and here I was about to meet the first known life form outside our planet. I bumped the pod down on the terra firma as gracefully as I could. Intel confirmed Simila had an almost identical atmosphere to earth and that I'd be able to breathe on it unaided. However, precautious as always, I put the large dome shaped breathing apparatus over my head and pulled on the silver safety suit. I took my first step out of a spaceship in 14 years and there it was only yards away from me; a small green creature with large white goggle eyes on the end of two spindly antennas. If you'd asked a 5-year-old earthling to draw a spaceman it would have looked exactly like the thing stood before me. I had no idea whether it could comprehend English or not but nerves made me blurt out: 'Greetings from Planet Earth, I have travelled many light years to meet you, I...
'Here, never mind that pish, ya space helmet, you got the new DABJ Allstars Vol 3 on ya, it's got new stoaters fae O.D.D, Modini and Casio Royale. I've heard it's oot o' this world.'

Nick Höppner returns to Ostgut Ton after last year's Folk album and a split release with Fort Romeau (Cin Cin, 2015). The Fantastic Planet EP sees him collaborating with Japanese DJ and producer Gonno on three bouncy, clubenabled tracks, steeped in early 90s House and UK Electronica vibes.
Höppner met Sunao Gonno on his first travels to Tokyo in 2008 where they clicked immediately: A similar musical upbringing from Post Hardcore to club music paved the way for Gonno and Nick where the language barrier would've been a stumbling block otherwise - firstly as a foundation for a personal relationship, later for an ad hoc three day stint in Höppner's studio when Gonno visited Berlin for his DJ debut at Panorama Bar. Despite the limited time together, all three pieces evolved from initial jams and sketches to tidied up tracks, not only sharing a resembling emotion but also playful and detailed musical elements.

Spocking Fivers' on A opens on a more jazzy and breakbeat note, with snapping fingers, various synth pads and percussion slowly building layer upon layer, up until a warm kick, some gentle melody and bubbling sounds take over. It's a grower, in terms of running time and track development.

Fantastic Planet' on B1 comes with a strong, continuous 4/4 bassline and organic percussion from start to end, further on dominated by hypnotic melody stabs and a swelling climax - a muscular yet detailed piece. Finally As Above, So Below' follows more romantic and dreamy motifs, by using a more mellow downbeat theme it lets all squeaky sounds mesh nicely.

After making some massive claims regarding electronic music last year which caused a stir in the dance music community, Mat Zo had a lot to live up to with his long awaited second album "Self Assemble". What didn't help was the fact that his first album, "Damage Control" was critically acclaimed by many within dance music and is now considered a modern-day masterpiece with mesmerising tracks such as The Sky and the massive Easy with Porter Robinson.Blending genres and sounds in a way only Zo can achieve, this record flows incredibly well as the tracks move from one to the other almost telling a story of the different styles of electronic music. At times the album is reminiscent of Zo's incredible Essential Mix from back in 2013 in the way that it progresses and constantly surprises the listeners. A lot funkier than Damage Control, it's no less incredible.
Beginning with the beautifully atmospheric "Order out of Chaos" which starts with an absolute wall of sound that boggles the mind in how Zo even went about designing something so complex, this sets the tone for the rest of the record in a cracking way. The melody soon crescendos and we're introduced in to the meat of the album with "The Enemy". Bringing out all the good funky vibes on this track, again Zo exhibits his insane production talents which are a staple of the album. Featuring vocals from the wonderful Sinead Egan, this is a great uplifting tune that'll no doubt have you dancing in your chair or in the club.
'Sinful" acts to continue the funky good-time vibes and transports us to a cool summertime drive. It has us yearning for happier times and again the guest vocals from I SEE MONSTAS go a long way in getting across this happy vibe. Featuring an uplifting almost french house inspired bassline and squelch synths that wouldn't look out of place on a Daft Punk or Madeon record, this is another stunning track from the record. "Patterns Emerging" feels like a bridge into the next section of the album and is unfortunately short. The orchestral element really brings out the emotion on this track and we only wish it was longer. "Killing Time" has those classic chopped up vocals that Zo uses to great effect and some nicely programmed drums that could be a nod to the drum and bass he used to put out under MRSA.'Smacked up on Jack" features some cool middle eastern sounds and a wacky vocal sample that helps to progress the album and keep the listener interested, again though we feel like it's a bit too short and are left wanting more. The next tune "Ruffneck Bad Boy VIP" is an absolute mammoth and one of our favourites off the record. Opening with an immense rhodes melodic sequence and after some nice vocals, the track rips into the electro house and dubstep infused banger that it really is. Some dirty, dirty sound design and drum production will have the dance floors going wild and shows us again why Zo is so good, it's a far cry from the funkier elements of the earlier stuff on the album and shows how Zo can show off a range of electronic sounds. "Lights Out" is a straight up hard hitting electro banger with an infectious vocal sample that only needs to be heard to be understood. Not much more needs to be said about it! Coming into the last section of the record, "Soul Food" returns us to the groove with an astonishing house beat and bass line that have us questioning how Zo makes it so hard not to smile listening to this album."Stereo no Aware" starts sounding like it's taken straight from a space movie epic and soon transforms into a goose bump inducing melody with a driving growling bass line that bring back the epic dubstep we all used to love a couple of years ago. Skrillex eat your heart out. Finishing off this record on a more emotional note, "Too Late" starts off like a guitar ballad and then transforms into something totally different. Egan's melancholic vocals enhance this track to great effect and is all backed by Zo's lovely downbeat production until we're treated to a monster of a climax around half way through the track which will surely blow the cobwebs right off you. Zo says goodbye to us with the phenomenal "The Last Transmission" and what a way this is to close out an incredible sophmore album for the English producer. The melancholic piano chords are a subtle and pleasing way to close out this journey of a record. Mat Zo really has outdone himself here and we're really looking forward to hearing some of these bombs dropped live. Surely a contender for album of the year at such an early stage, yet again it's only the best delivered by Mat Zo.
Latest album, Damage Control was Grammy-nominated for Best Dance/Electronic Album last year

Our planet... IS NEXT! Yes, this is in fact the case, at least according to one Stockholmdwelling, 30-something (wishes-he-was-a) failed pop star, real name Arvid Wretman. Just how he fell from his position as poster boy of Kärrtorp's ever-vibrant noise scene to the pill-popping, Cher-covering discotheque pleaser standing before us today, we could not tell you. What we do know is that Studio Barnhus stands ready to ride that cash train all the way 'til the bitter end! So yeah, wanna pop some pills Or do you wanna chill Varför alltid dansa och spela det ena ...and do you, or not, believe in life after love These and many other questions are posed, but never answered, on this YPIN EP, the starting point of what we hope will be a particularly lucrative bizniz venture between those two powerhouses of Scandi-tronica, Your Planet Is Next and Studio Barnhus. PS. Your Planet Is Next's live show will bring added marketing value and guaranteed customer satisfaction to your dance party

The Seven EP is coming from none other than Electric Indigo, who is pushing things forward in the electronic music scene since the early ninetees.
She also hosts the network female pressure , which tries to make female artists more visible and therefore holds a data base with information about many of them.
The A 1 track Sept is a journey through soundscapes and a club track at once. There are unbelieveably many details to discover.
Siete on A 2 is on the edge of an Ambient and Techno. A tremendous kickdrum becomes the centre of the rich atmosphere.
On B 1 Tensal hands over his interpretation of Sept . This track is up for the peak time on the big floor.
On B 2 Hagen Richter, who is running the label, also remixed Sept . This track combines melodies with a heavy snare drum.
The 12" comes with a sticker on the disco sleeve.

The sixth release on Deep'a & Biri's Black Crow label welcomes another new name into the fold: Nico Campanella has been quietly building a stellar reputations for himself over the past few years, working under a variety of aliases to explore a sound that much like Deep'a & Biri draws deeply from techno's Detroit heritage as well as the propulsive dub techno of Basic Channel. With releases for several high quality under-the-radar European techno labels, including Construct Re-form, CLFT, Monnom Black and his own label Subosc, Campanelli's Kaelan and 2030 projects in particular have won him some ardent admirers & plenty of tips as a talent to keep an eye on. It's as 2030 that he joins Black Crow, for the Timeworm EP, which is completed by remixes from FXHE's Luke Hess and the label's Tel Aviv-based founders. The EP's original track are a pair of lushly-produced classic Detroit-influenced excursions, redolent of the cascading ambient textures and string melodies found within the work of the city's first wave pioneers. A1 cut 'In aeternum' could easily be mistaken for a lost early 90s classic in the best possible sense, while the title track also draws on a similarly timeless quality. With the original track ensuring the EP package will win other home listeners, it's the remixers who shape them for the dancefloor. Luke Hess's 'In aeturnum' remix is powerful dancefloor workout that retains a softer edge, recalling the producer's recent collaboration with OB Ignitt. On the B side, Deep'a & Biri offer two of their own interpretations of the title track, pulling the track across the dub techno galaxy with their trademark dexterity. Completing a truly exceptional package is beautiful hand drawn artwork by Israeli artist Avraham Guy Barchil.

This is the remix edition of Dino Sabatini's recent second album "Omonimo" (April 2016, Outis Music).Like the recent album, this EP "Concentrica" features renowned Italian veteran pianist/accordionist Antonello Salis on the tracks "If" and "It All Ends Here", albeit here in different versions. Out of these two tracks the former is on "Concentrica" reworked by Dino Sabatini and the latter in a collaborative live variation between Salis and Dino Sabatini. Simultaneously with the announcement of "Concentrica" was it announced that Dino and Antonello are launching their new live project: Dino Sabatini & Antonello Salis present 'Electronic Opera Concentrica'. Howie B is veteran producer mainly known as a purveyor of early trip hop, having produced cuts from Tricky's debut album, Björk's "Post" and "Homogenic" as well as other major like U2.
After inaugurating the 'Opera' sub-series of his Outis Music label with the sublime 'Omonimo' double LP this April, Dino Sabatini has invited some choice allies to help define the vocabulary and expand the vision of the new imprint. The aforementioned album, which wove together Sabatini's atmospheric conjuring skill with the piano flourishes of Antonello Salis, already exhibits the label's commitment to dismantling the 'either-or' logic of contemporary genres by successfully merging a variety of supposedly irreconcilable styles, talents, and worldviews (e.g. both mythological and the technological perspectives). The follow-up EP, 'Concentrica', draws on the material from 'Omonimo' and delivers it into the hands of additional remixers in order to continue the Outis Opera voyage.

"The wall is high, the ditch is deep"

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

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

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

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

The new bomb on Echocord Colour comes from Mike
Dehnert.
Mike already released several eps on Echocord Colour, and
we are happy and proud to have him back.
This ep contains 3 powerfull Techno-Tracks with dubby
elements, typical stripped down Mike Dehnert sound,
perfect for the peak time danceoor.
Mike Dehnert is mostly known from his own Imprint, the raw
techno label Fachwerk which he has been running since
2007.
He is also releasing on other respected labels like Delsin,
Clone Basement Series and Deeply Rooted House.

02AM is an 4 track EP by the young producer Hekkla from Eindhoven in the Netherlands.
The first track is 'Sunset Strip', a slowly build house track that moves like the last waves of heat at the end of a hot summers day, walking home feeling satisfied, all ready for the night. 'Saturday Morning Sentimentality' is a hard to pinpoint track that sounds like the bastard son of a trio between the melancholic side of Cyndi Lauper, Alphaville and the echoes of a cheesy saturday morning cartoon theme song from the late 80's. On the other side 'Memories of Tau Ceti' feels like tumbling into space with only the memories left of a good time on an alien world, accelerating faster and faster but still enjoying it, even though you know that the vacuum of space will eventually kill you. Finishing with the hardest track 'No Math', because, boys and girls, it's no math...

Hand stamped artwork by Frank Koedood.

Already played & supported by Laurent Garnier, Patrik Skoog, Marko Nastic, Jamie Behan, Patrick Lindsey, Martin Landsky, Ramon Tapia,

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records' softer, more melodical and experimental side. Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time!

Maik Richter was born 02.02.1987 in Karl-Marx-Stadt / Chemnitz / Germany. He lives in Switzerland since 6 years.
In 2005 Maik Richter gets his first appearances as Live-Act... Professional Music Production is the order of Maik R. The project is going to professional song composition but in which live performance will remain further a component. The sound of Maik R budges to minimalistical domains - the contrary to beginning of its musical representation. Gentleless and deep pressure sounds are significant for Maik's musical interpretation - the music should be stimulating you for dreaming. For new inspirations Maik R. leaves himself by other artists and external influences (e.g. society, nature) to enrich.

Known from his debut on Orbis Records, Grg is back with his typical warm & analog sound, we appreciate very much!
Born and raised in the GDR, today East Germany, Grg started making music in '94 using analog Equipment.
early 1995, he already played live-sets with 2 friends as Ensemble Acid Paul and later as "grg" on his own. He released on TeKknik Experimental and EAP records.
Still producing with the amazing MPC3k, he never focused on one single Genre. "it's just Electronic Music" he told us. A modest guy.

This EP contains a full side of each Artist.
The A-Side, by Maik, shows you how beautiful and wide dub can be. If you're fan of dreamy dub, you'll love this for sure!
The B-side is a melodic beauty. No words needed. Grg pur sang!
"Leidenschaft" is very dreamy soundscape based on smooth dub rhythm. Gentle, Subtle. Amazing. An ideal track to open or close the dancefloor. A secret weapon for laid-back moments with friends and a good glass of red wine.
"Klangbaum" feels like a statement. Deep, Dark, Swiss dub. Great stuff if you like the deeper side of dubby tracks.
On the B-side, "Chroma": a track that starts as a very basic yet surprising arrangement evolves in a very clean and sharp gentle melodic danceable track. Works on the floor as well in the background having dinner with openminded and electronic enthusiastic friends.
The second track "Fuer Pe Mi" could be categorized under trance, but it isn't. It's just an amazing track full of warm feelings. A track Grg wrote to celebrate the love between his and his wife. We're very honored he's willing to share this track with the rest of the world. Big respect.

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...

The Far Out Monster Disco Orchestra is Far Out's in house Brazilian disco super group. It features the arrangements of Azymuth's late Maestro José Roberto Bertrami and the legendary Arthur Verocai alongside a host of other Brazilian musical icons. FOMDO013 is the latest in a series of vinyl only 12" remixes and edits on Far Out. Previous producers providing their re-works to the series include Theo Parrish, Marcellus Pittman, Mark Pritchard, 4hero, Isoul8, LTJ Xperience and more.

The grand opening of the new label serie Obscura Europa Sampled Artists', a various artists 12' EP serie to present darkwave bands that escapes a little from the usual electronic sound of the label. On this volume 1 we will find a 90's ultra classic darkwave hymn of the dissolved german band Behind The Scenes, uncomprehensively never pressed on vinyl to date. On the other hand, the Polish solo act Undertheskin shows with 2 cold but extremely rhythmic tracks why his acclaimed debut mini album is one of the most exciting and interesting proposals of 2015. All tracks have been analogically remastered specially for this vinyl version. Only 200 copies are available for distribution. Including Fate' of Behind The Scenes and Cold' and tRain' of Undertheskin.

Ibifornia, the new album of Cassius, will be released the 24th June. The French duet composed of Zdar & Boombass is back with its filth album. Take a piece of Ibiza ("Ibi") and another one of California ("fornia"), and you'll get all what you need to dance and dream beneath the sun of Ibifornia. For this new record, the 2 acolytes have once again managed to surround themselves with talented artists such as their old partner in crime, Pharell Williams, a totally transformed Cat Power, the great Mike D (Beastie Boys), and the over-playful guitarist Matthieu Chedid, among other names. Action", the first single that features Pharell Williams and Cat Power will be out in EP vinyl as a first teasing support, one month before the release of the album. It features as an exclusiveness the long version of the song Action", and 2 remixes that have already taken us elsewhere, as we're getting ready for the next sound jetlag...rendez-vous at Ibifornia's!

All Tracks Written and Produced by S3A
Mastered by Kuniyuki Takahashi

This house project, based on the idea that electronic music is a blend of different cultures and music, started 15 years ago when Max began jamming on analog machines and samplers with different projects from techno (FriendShip Connection) to house (S3A).
It is through this project that he expresses, among other things, his taste for soul and House music. Such as his beloved artists MCDE, Floating Points... he uses the process of sampling as a basis to color his music with sounds of all his inspirations, he always add his own touch and groove to get his own vision of electronic music: dynamic, warm, emotional and dirty.

Although he discovered electronic music in 92 through UK hardcore with DJ as Tanith or Producer, his culture is based on a solid knowledge of house music, soul, funk, hip hop, making him one of the most promising house artists of the French scene since 2009.

He first came to Paris with Zadig to realize his childhood dream: building a studio and later collaboration, Frendship Connection (All is just a matter of time has actually been playlisted by Marcel Dettmann).

His residency at Concrete helped him to confirm his DJ position since the last 4 years adding as well releases on Lazare Hoche Records, Hold Youth, Concrete Music, Local Talk, Phonogramme and Faces. With these releases, his remix for Laurent Garnier on Music Large and his booking request from the French legend to play with him for his residency at Rex club and Concrete, gave him legitimacy and visibility in all over Europe.


In 2014 he decided to make his own label Sampling As An Art Records and focus on finding new-blooded artists and release his very personal music. A perfect definition between underground quality emotional house music and dancefloor efficiency!
In 2015, he released a collaborative EP on Uncanny Valley Label with Max Graef and Cuthead (whom released S3A RECORDS 03 the same year), made his first live representations and currently continue to spread his vision of music.

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.

he second time around: fred p aka fp-oner is back on mule musiq with another record that demonstrates the many cosmic qualities of his deeper shade of soul.
it is the second part of a trilogy that features his detailed sonic landscapes that are full of mystery and power. while his last fp-oner album 5' was leaning more to the jazzier, relaxed and atmospherically side of his artistically deep house expressions, the runner-up grinds even deeper into spherical worlds that enhance deep meditative highs.
they are not made for club use only. in fact all eleven compositions work also massively without big speakers. again the new york city native that is working on his very own music for almost 20 years produced a journey inwards that is compelling, mesmerising and enchanting.
you find cosmic dust in it as well as dark entropies, percussive power, sweet seducing melodies and rolling bass power that shakes your inner and outer profoundly. the tracks are listening to names like awakening co creator', alternate reality' or adjusted perception' and the album title 6' stands for a meaning,
that fp-oner describes like this: 6 represents the number of man and his or her limitations, weakness and imperfections.
this body of work examines and looks towards one awakening. adapting to a new way of being creating an alternative and reaping a higher state of mind and being. enhanced by love and serenity, satisfaction and joy.'
all tunes are produced around the world, as he is a guy who never stops feeling in sound. that is why he caries his studio around to get up in the middle of the night or right in the morning after a sweaty party to transfer his emotions directly into sound. the result is massively powerful music with slow, intimate passages for treacly melodies, stirring synth-lines and little rhythmical quaintness.
an almost lyrical house journey that works like a musical sculpture in which organic machine grooves float along keys on air. the evolution of the each track is impeccable and their power grows with any new listening session. fp-oner himself characterizes his art like that: 'my music is designed to enhance deep meditative, or altered states, to allow the listener to personally connect to the creator of all that exists in the universe.
my music style is to first create a foundation using cyclic, polyrhythmic music, then build several layers of improvised leads and rhythms that allows you to transcend time and space... we have memories of past lives that reverberate in our hearts like echoes from ancient caves'.
there is nothing more to add, except that those who do not know fp-oner so far should know that he danced in his younger years in legendary new york city clubs like the red zone, sound factory or tunnel to dj sets of larger-than-life selectors like david morales, frankie knuckles or danny tenaglia.
during those nights he learned that sometimes less is more. and that he should rather listen to your heart and soul, then to the susurrus of the music market. most of the eps and albums that he produced under his other monikers like fred p or black jazz consortium have been released via his very own label soul people music, which exists since more then ten years.
as fred p he also dropped 12inches on jus-ed's underground quality imprint as well as on toshiya kawasaki's mule musiq label. for the latter he now is working on a trilogy under the fp-oner alias. this little paper introduces the second part of it. the final one will hit your heart and soul in an unwritten future. whatever circumstances of life will be around by then: you can be sure that fp-oner will transfigure them into a dynamic emotional and spiritual terrain.

Janette Jnett Pitruzzello is considered something of a legend in her home city of Melbourne, where she's been DJing for well over two decades. Here, she delivers her debut solo EP, featuring a quartet of tracks co-produced by Maurice Fulton. The latter also delivers a solo mix of opener Reflection", which adds a little leftfield disco sparkle and percussive sweatiness to an otherwise organ-heavy deep house groove. There's a similarly cheery, funky and disco-tinged feel to the rolling, cut-up house goodness of Swangzipani". Elsewhere, the duo gets a little stranger in pursuit of dancefloor thrills, Bubbles Away' is deliciously dark, wonky and intergalactic, while Judge Not' wanders off into head-nodding, instrumental hip-hop territory.

Powerdance is a collective formed by Luke Solomon and Nick Maurer formed as a reaction to bland soul less dance music that seems to infiltrating nightclubs the world over.
Luke and Nicks comradely stems back many many years to their association with the Classic Music Company - a label formed by Derrick Carter and Luke.
Nick Maurer was one half of the then prolific Greens Keepers.
This EP for Optimo Trax features the wigged epically funkoid gem "Mysterious Space Plane", who doesn't like songs about space On the other side is the modern hyper jacking "More Fire". Alongside these are a reprise of "Mysterious Space Plane" and a bonus beats of "More Fire" for those djs who like to / are able to get creative with their mixing.

Tresor Records proudly presents the second chapter in Mønic's musical journey on the label.

Head of Osiris Music, Mønic is an accomplished producer whose style can be defined as raw yet exceptionally refined, allowing for a certain industrial inspiration to ooze from his exquisite sound design.

'Four Sides Of Truth' opens a conversation between pristenely defined low frequencies and an infinity of fleeting, chirping synth layers. This discussion will continue throughout the record, taking additional drums into the exchange and swirling into 'Point To The Sun' in full panning effect.

On the other side, lower frequencies undoubtedly take over and win the argument in 'Self Doubt Is Worthless'. UK-based Kamikaze Space Programme contributes with a revisited version of 'Morse', initially released on the Parsons Hill EP. Preserving the abrasive textures of the original, KSP dramatically raises the track's thrilling factor.

Kevin Arnemann and Daan Kemp's Taped Artifact label clocks up its fourth release with a three track offering from Outlaw Rec boss and key part of the Italian Serendipity club, namely Matthew Oh. Matthew has previously released on his own label and others like Side Off, and eloquently marries dub, techno and house into smooth and sensuous sonic landscapes. The opening track 'Psycho Hub' is an atmospheric and spacious roller with dubbed out drums and pads, coupled with incendiary hi hats urging you along. 'Shroud' is seven minutes of slick and spaced out deep techno with liquid synths and clacking hits all racing along and making for a frictionless groove that sucks you right in. Finally, 'Get in the Fridge' slows the tempo down and becomes an even more widescreen and roomy roller with suspensory pads, smeared synths and aqueous sonic details that make you feel like you are floating in sound.

Killekill catalogue number 025 is a jubilee release:
It's KILLEKILL MEGAHITS II !!
But it's not only a jubilee release. It's also milestone and turning point in the Killekill history, because with this release Killekill closes one chapter, and opens up another.
We are constantly getting too many demos full with good music in way too many different styles to squeeze them onto one label. So finally we have come to the point where we will start a line of new labels with different profiles to give ourselves the opportunity to feature even more daring artists and release whatever we like in the most suitable outfit for it.
So far, there is this compilation, which has been carefully compiled for your pleasure. Label regulars such as Cassegrain & Tin Man, Furfriend, Alex Cortex or Eomac have delivered high quality stuff of all kinds, but we are also introducing a lot of artists who will feature on the coming labels:
Umwelt with his epic and dramatic electro, who will release an album with us later in 2016, Dez Williams with his genre-crossing sound which works on every dance floor plus Power Vacuum's Bintus who delivers his portion of electro/acid madness on Record 1.
Record 2 features the legendary Detroit Grand Pubahs, who present their electro outfit Techmarine Bottom Feeders, The Fool's Stone, which is a new project by Hard Ton, electro legend Adriano Canzian and italian queer artist Brigida plus London's underground hero Jerome Hill, who lets it jack and roll with his Memory Machine.
On Record 3 Kamikaze Space Programme surprises with some bell-driven percussive techno and what can we say It is with great pride that we include the acid techno epos by none other than the legendary 'Prince of Techno' Blake Baxter.
This compilation is a trip through a big musical universe. Enjoy!

SHMLSS consists of Bart and Michiel, two young Dutch guys who connected with each other through the Disco sound they both love. Always searching for those rare gems in dark, dusty old record stores, they often come home with the same records. Their dj sets are diverse and they have developed a particular sound. Resulting from the interesting mix of their personalities you can expect Disco cuts, Africa beats, Ambient stuff and industrial House grooves. Always carrying the latest (or oldest) vinyl's, they always find a way to surprise the audience and themselves with quality disco minded music for open minded music people.
Disco selectors at 22TRACKS Amsterdam , Releasing on Special Edition , Disco Deviance , To Rack & Ruin , Paper Disco , Because Music..

Killer LP that mixes elements of zouk and tropical influences from the French West-Indies, with heavy disco and funk flavors. Tip!
Crystal was an 8 piece combo from the French West-Indies islands led by Franck Donatien. Gifted guitarist and composer, Franck Donatien had a few experience leading band projects such as Crystal, Lazer or Taxi Créole, and is mostly known and respected for his long and prolific career as a musicians for many artists from the local zouk music scene.

With Crystal, he released 2 albums between 1984 and 1985, both today very hard to find and famous for including some amazing tracks. If Funky Biguine, Crystal's second album, is mostly a 1 track LP with few other moments, Music Life is truly a brilliant album from first note to the last, including climax titles such as Music Life', or Santo Domingo'.

Favorite Recordings makes this forgotten treasure available again for all. Fully restored and remastered with great attention to sound quality, Music Life by Crystal is presented in a deluxe vinyl replica, and digital versions.

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Inmotion Music LTD sparks its first release by none other than Marco Faraone. Fresh off his unflinching release schedule in 2015, with poignant releases on Drumcode, Moon Harbor BEASONE and On Edge Society,
Marco's first release of the year see's him affirming his position as a full-spectrum techno mainstay. With two stunning remixes by Argentinas Jonas Kopp, Replace EP showcases a versatile playlist grounded in timeless, raw techno.

Our next release is by a young Brussels based artist that will be a new name to most of you.
Foreign Material has been into music since his youth. After studying percussions at the Conservatory and graduating in history, his interest in dark atmospheres led him to techno music. The spirit of his music is a mix of ancient myths and futuristic visions. Conceptual music, both mystical and cosmic, with a link between past and future. Here's what he had to say about his EP:
"'Omega System' is a journey to deep space and beyond, to the unknown destinations allowed by the mythical and mysterious Omega relay that's been turning around Omega's red sun since ages. But beware, the path that you will follow is dangerous and nobody ever came back. Some say that you will find death. Others that you will find great treasures. But some wise people think you will finally find Truth."
On remix duties are label friends Hiver, also known for their residency at Milan's Dude Club. Whereas the original tracks are more deep and floating, the Hiver remixes will be of high interest to many a dancefloor, you can trust us on that one.
First pressing on marbled vinyl.

DJ FEEDBACK
Early support from
Sven Väth: Nice spacey sounds !
Len Faki: awesome deep down grooves! beyond omega system are great. thX Len
Ame (Kristian): thanks
Marcel Dettmann: thx
Nick Höppner: I'm really into Hiver recently. Remix 2 is beautiful, will play for sure!
Locked Groove: great stuff
Baikal: remixes are nice especially 2
Pablo Bolivar: Serious tracks here, Hiver remix 2 is my pick!
Bruno Dietel (Radio Fritz / BLN.fm): Hiver Remix 1 is my favourite!
Tomaz (22tracks): love both hiver mixes
Deg (Fuse club): Thanks Tom !

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.

The second installment of Almost There series is signed by Edanticonf and starts with a six minute ambient journey dedicated to the memory of Max_M. A luminescent constellation where bleeps an
sweet arpeggios saturate the atmosphere.

The other two tracks presented on this Ep describe the
typical sound of the italian producer: mellow grooves, organic melodies, slow progression and smooth hypnotic dynamics realized using a full analog setup.

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.

James K is a stranger to obviousness. Over the past few years the New York native has quietly honed her sound and peculiar aesthetic. Equally organic and electronic, her sound is a combination of odd dreams, industrial beats and vocals, both incomprehensible and appealing, with a thick layer of glitter on top of it. James K is a concentrated dose of emotion mixed with sorrowful iciness, which in turn ties together ripped, broken, morphed and enchanted samples. James K stands for a fusion of visual and sonic elements, deeply rooted in conscious art practice and downright freak-out. James K creates a mythology of her own.
'PET,' her first LP due out in early 2016, will be a co-release with Dial and her own label, She Rocks! A special edition of the album with added bonus tracks and interludes with be released on cassette through Canadian label 1080p.
In James K's words: 'The underlying desire of 'PET' divides into two parts: an escape into ethereality and a mischievous denial of my own experience. It narrates my search for honest expression by means of the premature denial- a childish excursion into a world of monstrosity and innocence.
PET reflects my mental state during its production - as a person, I was owned, objectified and hurt by other, and that wound I then unwillingly internalized. I turned to my music as a way to dissect these thoughts. The product became my possession, or 'pet.' In retrospective, this process gives me strength over myself; love—knowledge and wisdom enacted. The arrangement of the music and the PET itself relates to my endless struggle, namely, my attempts to reclaim myself.'
Her 'Sokit' 7' is a double track single for her album, which she released last Spring. James K is featured on the recent compilation released by Dial Records for their 15-year anniversary, and a mini LP of her noise pop project SETH (along with producer Gobby), was also recently released by label 1080p in June, in cassette and digital form. She rocks.

We here at L A MISSION like to whip out our politics in public. We kinda get off on it. And so we're especially excited to slip you B EANER' s first solo outing on the label . From track titles to sound samples to magazine articles to packaging, this record / magazine / performance package highlights im/migration, the brown experience, and stripped identity. La Mission knows from brown. The collective is run by a crew of devastatingly handsome deviants whose racial identity is, well...it's complicated. We've lived our lives being neither white enough nor brown enough to fit neatly into racial categories. And so we took some time out from our usual exploits (like our MultiDirectional Playground Tire Swinging' orgies and Elected Candidate/Dead Pig/HungerGames slashfic) to focus on brownness. People started talking about cultural appropriation' when Miley Cyrus started twerking. We couldn't throw shade fast enough. But cooptation and exotification runs rampant in all genres of music-including dance music. We here at La Mission feel pretty fucking awkward about it. We've seen queerofcolor culture turned into whitedudebro business ventures. And as brown folks with stripped and fragmented identities, we're never sure of what culture is ours to use and abuse, anyway. Can we honor our own roots if they're messy and broken When we're inspired' by the music of other cultural groups, is that solidarity or stealing Nothing we have is whole. We can only work with the fragments we have at hand, well aware that there's unfinished business... BLACKMOUTH is the live version of the classic soul/disco sampling house tune. Take the work o f o t h e r s w h o c a m e b e f o r e y o u a n d t u r n i t i n t o a d a n c e a b l e j a m . G O T B L U E S u s e s t h e w o r k o f a b l i n d 1930s blues bongo player to form a weirdo repetitive rhythm tool: another example of using a forgotten artist for one's own gain.

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.

A landmark in Brazilian music  the first album ever from arranger Moacir Santos, and a groundbreaking blend of jazz, larger arrangements, and Brazilian rhythms  still as fresh today as it was back in the 60s! The group's a large one  with instrumentation that includes vibes, guitar, saxes, percussion, and trombone  but the music seems to hang magically in air, suspended on light waves of sound and space that encircle the recording with incomparable warmth. Santos' conception is a highly rhythmic one  but the recording differs greatly from other bossa and samba sessions of the time, and comes across as a masterpiece of understatement, thanks to impeccable production from the great Roberto Quartin! Titles include "Coisa No 4", "Coisa No 10", "Coisa No 1", Coisa No 8, "Coisa No 6", "Coisa No 2", and "Coisa No 7".

15 prime slabs of mid-60s USA garage punk MISERY - garage punk SADness in GATEFOLD SLEEVED luxury with liner notes, band photos, label scans. (NOTE: This is an entirely NEW series and NONE of these tracks were on the old series 'GARAGEPUNKUNKNOWNS'.) The Other Side "DARK SIDE", The Pastels "HOW MANY NIGHTS", The Toads "STAY AWAY", The Henchmen "SHE STILL LOVES YOU", The Night Walkers "STIX AND STONES", The Time Takers "LOVE ME LIKE YOU DID BEFORE", The Night Riders "SHE WON'T MISS YOU", The White Angels "BUT HE NEVER COMES BACK", 24. We The People 'ALWAYSLIES', The Dominions "I NEED HER", The Saxons "THE WAY OF THE DOWN", The Sonics "YOU DON'T HEAR ME", The Mystics "ORPHAN", The Vacant Lot "HEY BABY". The Squires "WHY OH WHY"

At that time, the musician was studying philosophy and theology, particularly the works of Thomas Aquinas, which are referenced in several tracks. Among these are the absolute classic “Os Alquimistas Estão Chegando os Alquimistas,” “Hermes Trimegisto e sua Celeste Tábua de Esmeralda,” and “Errare Humanum Est.” Always preaching happiness and peace of mind in his lyrics and irresistible grooves, the artist brings his soulful singing and playful swing to other gems of the album, such as “O Homem da Gravata Florida,” “O Namorado da Viúva,” “Eu Vou Torcer,” “Menina Mulher da Pele Preta,” “Minha Teimosia, uma Arma pra te Conquistar,” “Magnólia,” “Zumbi,” “Brother,” and “Cinco Minutos.”

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

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

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

An intense introspection of sound deconstructionism and spacial dissonance presented in this 4 track (plus 2 lock grooves) EP entitled Nonharmonic Beautifault. The A Side is introduced with the track 'Blank Hand', a sludge fuelled walk into dusty audio bites and asthmatic rhythms, topped with screaming hoovers and TV static that at once builds up, collapses into beautiful cacophony. Leading us into the 'Body Molecule' - A rushing pad and sparkling percussion pinned to a rolling kick pattern that drives this track toward a central point of attacking synths and swarming soundscape. The run out locked groove features a deep distorted kick that loops into infinity. The other side starts with 'Angular Beautifault'. Acidic Rhythms and Buzz Saw Synths all washed together into a shimmering reverberated cavern that explodes with high powered clap patterns and bubbling 303 lines. Following this we have 'The Burin' - an uncompromising, high paced assault of power kicks and slanted percussion. Incessantly driving and unyielding towards the final lock groove of distorted sub loop. Nonharmonic Beautifault represents a shift in Positive Centre's work that aims beyond the delicate ambience into harder and darker sound territories.

Minimal Wave present an album of long lost tracks by Dutch electronic music pioneer Das Ding, entitled 'Missing Tapes'.

Danny Bosten formed Das Ding as a solo project in the early 1980s and released his music and friends' music via his own cassette label called Tear Apart Tapes. At the time, he was studying graphic design at art school, and in turn he ended up designing the artwork, cassette-sleeves and illustrations for the label himself. Meanwhile, he recorded his own music as Das Ding. Powerful dark electro, he made several addictive and danceable tracks which later become Minimal Wave hits. Danny made all his music in his bedroom which essentially turned into a small recording studio. He went on to release many of his own tapes and also played some live gigs.

Old tapes were uncovered around 2010, and Minimal Wave released a remastered version of 'H.S.T.A.' and select other tracks. A wave of renewed interest followed the record's release and soon people were in touch to propose live shows. Twenty years later, and after some deliberation, Das Ding was reincarnated under its old moniker but now with a revised line-up and a working set-up that reflected inevitable technological change.

Recently, Danny came across further tape archives from those early days. And from the batch, we selected our favorites to present to you in vinyl release form. 'Missing Tapes' is a limited edition LP pressed on 180 gram creamy yellow vinyl, and housed in a heavy weight printed glossy black and white sleeve featuring one of Danny's original illustrations from 1982.

Cabin Fever brings us their second strike of the year so far, this time from the deepest bowels of the Swedish countryside. Arguably one of his country's most exciting talents in recent years, this top producer doth weareth a hat that others cannot reach. It's the music what counts!

Artreform meets Hooved. The one of the interesting Italy producer at the moment. This man has a lot's of great releases on labels like Amam, Time Has Changes, Bouquet Music and other. Please welcome his debut vinyl only release on our label!

Consider this a warning - tearing out of 2015 on the gale of our compilation with the legendary duo of Jeroen Search and Dimi Angeli´s carrying us on their winds into 2016, Chronicle steps into the eye of the hurricane for its second release this year, by the mighty Mike Storm. A xture in the Dutch techno scene since the late '90s, it was when Michael de Winde moved to hardware live sets that he found his true inspiration, continuing to this day
to use only analogue equipment in his restless search for techno perfection. Consistently released since 2012, initially on Subsist, a label notable for
early work of SHXCXCHCXSH and Stanislav Tolkachev, he then moved on
to respected underground sources such as Ars Mechanica, Orbis Records, and Belief System, where he released his 2014 album 'Pulsars'. Supported by Mills, A&S, Arnaud Le Texier, Tadeo, Antigone, and others, we are proud to give Mike Storm the twelfth entry in the series with 'Where the WolvesCome From'.

It begins 'At Certain Points', channeling the jazzy mid-2000s Mills of his most abstract era with subtle string swells, cosmic bleep patterns and equally subtle Detroit-style percussion lls. 'The Day We See' moves into morning, with its complex, melodic bass gures and shimmering strings taking
the nocturnal intro into morning following a tense lead line that enters.
Again referencing Detroit but falling closer to the dystopian feelings of contemporary Terrence Dixon, 'New Light' is an exercise in tension between taught drum lines, dissonant keyboards, and a metallic sequence pattern. Stripping down for the hunt, the title track stalks more aggressively, razor- sharp hats and growling bass accelerating as the predator closes in on its prey, an eerie forest wind bringing terror in its path until the final struggle.

TOM And His Computer is the newest alias for Copenhagen favourite Thomas Bertelsen. He started out as a teenager by looping and creating beats on his 4 track tape-recorder. Since then the very talented producer and DJ has been around the block. He produced two albums (with Lulu Rouge) and a number of songs, edits and remixes. He has also been DJing alongside Trentemøller every now and then since the early days and most recently TOM And His Computer performed live on the opening slot of Trentemøller's latest live tour and lately at Sonar Copenhagen 2015. Now we are happy and proud to present 'Small Disasters', TOM And His Computer's debut EP on Anders Trentemøller's label In My Room! Mixing elements as disparate as electronica, lo-fi guitars, driving beats, vocals and cinematic soundscape, this EP is a perfect example of why TOM And His Computer is tipped for big things in 2016. What maybe can be described as 'alternative electronic music' unfolds in different nuances. The lead track 'Organ' rides along on a crunchy rhythm track while throwing in psychedelic organs and howling electronics. Fizzing guitars weave in and project a paranoid undertone. Next up is 'Girl A Go Go' and its raw driving beat and bass hits in without any warning, before an agressive, hypnotising surf like guitar-riff comes in. Layers and layers of dirty distortion build a colapsing, overdriving climax. 'Tectonic' keeps the dark energy flowing, but packs it into a slow crawling creepy setting, drenched in reverb and noisy layers. Fraser McGuinness contributes the otherwordly vocals. Is he moaning Or conjuring Or proclaiming The song evolves from a fragile, fleeting feel into a massive, 'tectonic' pressure and all the way back. 'La Fountaine' completes the EP with another cut that perfectly fuses diverse elements from across the musical spectrum

The multi-talented musician/producer Bing Ji Ling (Tummy Touch Records/Ubiquity Records/Lovemonk Records/Claremont 56) and DJ Alex from Tokyo are very excited to share with you a brand new, collaborative track Not My Day', that encapsulates their experience in New York, as well as their friendship. It's been a few years in the making, but well worth the wait! Alex and Bing moved to New York around the same time, and met in a bar (filled with Loft heads) after one of David Mancuso's Loft parties. Bing recognized Alex's voice from his weekly Shibuya FM radio show in Tokyo, and went up to introduce himself, being a fan. Turns out, they have many friends in common in New York, Tokyo, and beyond. They were instant friends, family. The track came out of several listening sessions from Bing's basement studio in the East Village, where Alex shared some tracks he'd be digging, across a wide range of genres, eras, tempos, etc.. Everything was very easy, very natural...Back in Tokyo Alex and Isao bring their club vibe and remix the funky and groovy Not My Day' into a magnifique electronic deep house anthem!


On the flip is Bing's version of Lil Louis' club classic Lonely People' Alex has been playing non stop, providing along here his own DJ friendly Tokyo Black Star retouch club version. Bing's version was originally recorded for his covers album called Sunshine For Your Mind' that was first released in Japan on the label Rush Production. This album came about, after years of playing solo/acoustic covers with a looping pedal in Japan. Bing has since performed the song live in New York, London, and at Croatia's Garden Festival with rave reviews!


Bing Ji Ling and Alex now live just minutes from each other in New York City as well as the Catskills, and enjoy frequent meals, music and mountains. We hope you enjoy...Happy Spring!

Phoebe Killdeer & The Shift is the collaboration between newly Berliner Phoebe Killdeer (Nouvelle Vague, The Short Straws) with experimental musicians Thomas Mahmoud-Zahl (SFX, The Nest, Tannhäuser Sterben & das Tod, Von Spar) and Ole Wulfers (Kapaikos, Party Diktator), supported by actress and singer Maria de Medeiros (i. e. »The Saddest Music in the World«, »Pulp Fiction«).

»The Piano's Playing The Devils Tune« is »free music« in a most emphatic sense: The interplay between the abstract instrumentation on the one hand, equally recalling genres as diverse as noise rock, bass music and musique concre`te, as well as the intimate, concrete humanity of the sound on the other hand establishes a sprawling sonic space that gravitates around the haunting vocal passages of Killdeer and de Medeiros. »The Piano's Playing The Devils Tune« thereby succeeds in combining a decidedly experimental gesture with an urgent, uncanny familiarity and warmth; a precise sense of composition with an almost lavish casualness.

Phoebe Killdeer & The Shift do not resolve the numerous paradoxes that mark »The Piano's Playing The Devils Tune«: The result is an equally challenging and rewarding album that in fact — as played out as this predicate may be — truly defies categorization. Devils tunes.

As POINT G first compilation is comin out digitally they were no way the Vinyl scene gets a Real dose of exclusive treat .For this Triple Pack Vinyl Only Release POINT G revamps some classics of the Label , adds a new cut and get Lazare Hoche for a reshape of a 98 classic in other words : 'Braka' gets a serious new mix down with a frenzy pad , 'Indian ' some dope additional keys ' Druker' becomes a soulish Fun Break beat oriented type of remix ( check also the Druker dub )'Melik' a new ruff cut 'Hands' this 98 classic get a reshape by lazare hoche , fat & fay

* Following on from successfully funding her How To Make A Symphony Kickstarter project, Emika returns with a new four-track EP that sees her chart yet more new territory.

* Lead track Flashbacks is a typically haunting affair whose deeply personal lyrics are a heartening example of how art can turn feelings of trauma into something beautiful

* Her velvety voice belies the deep subject matter while the sounds gracefully tread the line between the brooding and the ethereal, with pulsing, filtered synth delays, low register piano bass octaves and a stuttering slo-mo beat produced with The Exaltics, building an engrossing atmosphere

* Restless Wings goes into more experimental territory - both in terms of composition and concept. 'It's about creating a new personality which lives in the internet - something we all know

* Total features the silver-toned soprano star of How To Make A Symphony, Michaela Srumova, and tackles the complicated relationship between a mother and her daughter

* French musician Franck Vigroux provides a stark, shuddering remix of Flashbacks to complete the EP, driven by gnarled blasts of wildly distorted synths and bass grunts, rising to an intense, mesmeric crescendo

* This EP brings together the classical and electronic extremes of the Emika sound, proving that her signature is like no other and continues to evolve.

Deep Purple are Proud to announce the reissue of their 1970 classic album 'Deep Purple in Rock', which sees all tracks fully remastered by Andy Pearce and Matt Wortham and released on a 1LP vinyl. The Album is the first in which every song is credited to the five Deep Purple band members, whilst it is still to this day credited as the prime essence of deep rock music. The title includes singles such as 'Child in Time' and notably the full length version of 'Speed King'. This album has been cut at half speed by Barry Grint at Alchemy, please be aware this is a key point over the other available editions

ARTS TRASPARENT shaped his form in many different ways into electronic music, giving clear directions to any other label out there, emotionally and technically. This time the label will focus on the first Dub Master Series, a collective of the best Dub Techno Artists we have around the globe.
Zaltan Solomon / Grad_U / IXM aka Kaelan / Hydergine. On 12" Transparent green, clear & black mixed.r

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!

limited to 300 copies
The latest Toy Tonics release comes straight from London with a remix by Germany's finest TUFF CITY KIDS. Metropolitan Soul Museum or MSM are Nick & Filippo. The pair have been running together Nick's Teng Records for the past 3 years - the label was set up to release Nick's Akra project music as well as other artists. Heads will remember this great imprint. Always crossing borders. Never being boring. Nick was also part of Mock & Toof, a duo that had quite a buzz when they were releasing freaky house music just few years ago. MSM have had a good start already: they self-released their Ruff Trk 4 a few months ago - including a remix by ROUND, the guy from Talabot's Hivern Discs. The interesting thing about MSM is also their live act: Playing with 707, Vintage keys, Machine and various effects - a similar set up for their studio production brought on the dance floor. There will be a lot more to come from MSM. This is just the beginning. house. Just good taste.

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

2015 brought the trilogy of the dancer to Ressort. Now the labels core artists each remix their tracks in circles.
While all of them aim for the dancefloor, Ressorts core artists could not sound more diverse. Ekserd and Border One aim for the raw, the groovy and the pure while Array Access and Glos lose themselves more and more in sound design and dreaminess. Since the many aspects of art and music form a cycle of ying and yang, each artist
shows the other an interpretation of what he might have missed before.
Be it a complete stomper or a light absorbing epos, a deep and groovy House and Techno hybrid or a journey into the depths of space Every artist made one of the well known tracks released on previous EP's his own. It s a very colourful package that bares every moment the label tried to cover in it's series before.

Michael Ludwigs, 45 RPM Audiophile — 'Atlantic 75: Genesis, Bad Company, Phil Collins Against the Original Pressings.' YouTube video.

On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with some familiar patterns emerging, wrote Rolling Stone's John Milward.

"First, there are the dramatic rock dirges that use drums as a lead instrument; 'I Don't Care Anymore,' with Collins' one-man band playing alongside Daryl Stuermer's atmospheric guitars, wins in this category. Then there are the buttery ballads, of which "Don't Let Him Steal Your Heart Away" is the best by virtue of a Beatles-like melody that buoys Collins' anonymously sweet voice. Both of these styles were already Genesis staples; it was Collins' uptempo soul tunes on Face Value and Genesis' Abacab that surprised old fans and found new ones. 'I Cannot Believe It's True,' with Earth, Wind and Fire's Phoenix Horns casting out clean lines, clobbers the other soul contenders on Hello, I Must Be Going!, especially his remake of the Supremes' 'You Can't Hurry Love.' Collins took the golden-oldie route on that song and the result isn't soulful, it's superfluous. Despite its trend-bucking boast of an 8-track recording, the album's rich luster is of the old classical-rock school. In fact, the LP sounds like stripped-down Genesis, ornamental but not too ostentatious. — John Milward, Rolling Stone (3 Stars)."

This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Hello, I Must Be Going! was a triple-platinum-selling hit in the U.S. for Collins in the 1980s and it stayed on the U.K. album charts for more than a year, peaking at No. 2. For the fans it is a drummer's album, a record that expresses rage and desperation as well as loneliness and longing. Not an album for every day, but one that really speaks to you when you need it, wrote Martin Klinkhardt.

Black magic, what is that supposed to be A spell that seeks to do harm to others Usually yes, however Taron-Trekka are animated by the best intentions, rather aim for the magic of the night and as always want to merely destroy the dancefloors of this world in a symbolic way. In fact, nobody has comes to grief with the four tracks of their "Black Magic EP" (the last part of their "Magic" triology) - nevertheless, they possess a certain magic.

However, Taron-Trekka don't make jumbo jets disappear, they don't walk through the Chinese wall or initiate other cocky tricks à la Copperfield. They are more like thimbleriggers. Or card jugglers. You know, those guys who surprise you when you least reckon with it. Those who have already outsmarted your mind when you were still thinking that it was just about to really begin. Taron-Trekka have the groove and cast a net of loops, which magically creates a tremendous energy. Loops with which the smallest shift can open up worlds. Worlds, which admittedly appear accessible, but are hardly decipherable. This way, tools become magical tracks. Furthermore, house becomes a music, which brands itself to the last corners of a soul. Just like the trick that you haven't understood until today.

A1 Black Magic Taron-Trekka's ride through the night starts funky and dry with the title track of the EP. The effects bleep here and fade away there, however over distance a magical pull develops. A pull that can only be escaped from with great difficulty.

A2 Monofile Regarding "Monofile", Taron-Trekka conjures a groove as selfwilled as enchanting by initially making vocals and keys appear on a dead straight beat and then letting this very same one stumble over itself. At the right moment it engenders at least as much "Ohs" as "Ahs" in a club, you bet.

B1 Red From black to red, from night until morning. For exactly this moment "Red" was made, which brings every last person to the next afterhour with its swing and depth.

B2 Distance Entirely against its own title, "Distance" may indeed affect one deeply. Namely then, when one wants to delve into funk as subtle as extensive. That is Jan Jelinek at a gallop or SND with more punch. Both are fantastic

The Europe-centered techno scene might be thinking: Where is techno in a city as vast, dynamic and electric as New York It's alive and well, and keeps growing through aptly-named NEW YORK TRAX. Founded in 2015 and based in Brooklyn, NEW YORK TRAX is an outlet for New York music, by New York artists, in New York city.

NEW YORK TRAX storms out of the gate in 2016 with a crushing release from none other than RICHARD HINGE. Mr. Hinge, a pioneering proponent of NY techno since the early 90's, has outdone himself once again with this no-compromises gem, plumbed from the depths of his hardware based Brooklyn studio. Having taken a hiatus from production since his seminal releases on Conrail, Sonic Groove, Hidden Agenda, Disko B and Path Records, Hinge triumphantly reclaims his seat at the table of NY techno greats with this 12'. Only available on NEW YORK TRAX.

Changes' is a track which sounds like changes. Steadily and intently, it evolves and progresses until it breaks the surface and becomes part of your reality.

Ever had voices in your head Auditory hallucinations Well, you like techno, so likely the answer is yes. Now, imagine those voices over a heavily distorted beat. Unless you're headstrong, Voices in my head' might be your worst nightmare, but given the right dance floor, time, and space, serious damage can be done in the best possible way.

Movement', a deep and dreamy affair, rounds out the EP. Here Hinge has no mercy and he wakes you up from that sweet dream with a short rain of intense hi-hats and throbbing subsonics.
Here Hinge has no mercy and he wakes you up from that sweet dream with a short rain of intense hi-hats and throbbing subsonics.

In August 2000, Damon Albarn travelled to Mali for Oxfam's On The Line project (about people living along the Greenwich Meridian), intent on getting together with his favourite musicians there. In the capital Bamako and its surrounding villages, he sat in on club and private jam sessions, playing concerts and streetcorners, bars and boats.

Back home in London, more than forty hours of tapes were opened to other influences - reggae, dance, rock - and then the work in progress was returned to Mali, for further contributions from the musicians there: immersive and open, back and forth.

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.

Jose Rico launches the new Le Disque Record Store's project: Ambiwa Records, a label dedicated to abstract House music.

"Declaration of Intent EP" is a collection of songs with a history, 4 pieces of his life talking about hypocrisy referred to poverty, the trivialisation of music as money source, the days in the studio with Ron Trent, and the night music-workers.

Beyond any related stories, here you can find all the Jose Rico's Music standards: Impossible Mpc percussion patterns, black keys, vocal textures, distorted kicks and tons of suspense and tension. This just means ... music for the most demanding dancefloors and open minds. As it could not be otherwise, mastered by Jose Rico.

Wow, this is a turn up for the Dancefloors - This new Jolly Jams release is by Dj Kaos of Jolly Jams Records (I guess the introduction about him is not necessary). Always highly collectable and rare, you'll find eight jams showcasing the label's stunning sound. "Lay Back" is the opener of this beautiful EP, a House/ Acid stormer that is pure dancefloor dynamite. On the flip it's psyche-rock class in the form of "Hurricane Wheels". Listen for yourself to the other six jams, we'll keep this review nice and short. Don't miss out on these pieces of history!

There are some elements in electronic music that make them timeless, elements that if melted togheter they can give an impressive result, to the mind and to the body. Sawlin - Ursprung is the first album of the career of Sawlin, after his debut in 2010 he evolved like a wonderful orchid, an orchid that never followed the flow of the other flowers around him, but found his own way to the music. Ursprung is the result of an interminable evolution in the mind of the artist, 8 elements that complete a circle
builded on a very mysterious athmosphere, like a film that you never saw, but you always had in your head,
something more bigger then a memory, and something more deep then a picture. This 8 elements are the blueprint of the work that comes from the background of the artist, Deep raw imaginary pictures, mixed with oldschool wallpapers of a new wall based on an old concrete. Sawlin Mix the new to the old in a way that no-one can do, and probably no-one risked to do. This is the power of an artist that needs more attention and more time, you can feel at the first listening
that there is something really big going on, but you need time to understand what he wanted to create, miticulous details that he wanted to paint, in a way that we cannot see them at first, but we find them quite impressive after.
Sawlin present himslef in the most modern way he can, no compromises, he don't want to please you, he want to paint the future. in the most Artistic way possible. This is Sawlin - Ursprung LP on ARTS.

Written and produced by Nico Lahs mixed at "acusticsoundstudio" by Nico Lahs in Bari/2014

A mind focused in the future in every sense, characterized by a high sense of professionally. These are maybe the best words to describe Nico Lahs, young musician of worldwide's underground music scene. It's the tale of a child full of dreams, a tale about his love for drums grew up til today, becoming a true complete symbiosis with music at 360°. Nico's figure is complex like a puzzle, the result of a youth written by experiences and extremes hardly recognizable in common places. Behind his deep expression he hides at one side the charm of a party animal and on the other side the perfect accuracy of the pure musician; all features that leave, in a way or another, an unforgettable sign in every person who gets in contact with him. With a so particular personality and a always strong desire of freshness Nico is able to transform every performance, every set in every contest, unique in its own way.
Today his music is appreciated and supported by the biggest professionists and lovers of the international underground scene: a clear sign that the role of this musician in the future's global panorama will be as an absolute protagonist.

This is France in the Mitterrand years: fashions fleet as fast as governments. In the early eighties, the happy-go-lucky gather the nectar of each and every new release.
Believing in a bright future for videotex, and loosened up by the sexy talks broadcasted on the budding pirate radios, the new generation dreams of dance floors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams.

What the web now refers to as French Boogie is some synthetic funk reflecting the spirit of those days when nothing was impossible, or so it seemed. Its syncopated flow heralded the dawning of French rap. Often considered as some kind of post-disco, inspired as much by black music as by new wave, this carefree pop music with bawdy lyrics indulged in simple pleasures: holidays, swank and sun were recurrent themes. Totally in tune with its time, it incidentally glorified luxury, success, and a certain consumerism embodied, for instance, in Bernard Tapie.

In popular clubs such as La Main Bleue in Montreuil, or L'Echappatoire in Clichy-sous-Bois - where Micky Milan could be seen behind the decks - an enthusiastic audience discovered this new sonic wave, influenced as much by French pop as by Sugar Hill Gang or Kurtis Blow. The artists who first launched the movement engaged in it wholeheartedly, but as often the case with new music trends in France, humour and casualness quickly became a decoy to impose a new style. This explosive mixture, in which startling and typically Frenchy French lyrics go along New-York-style tunes, is sometimes reminiscent of the kinky comedies directed by Max Pécas or Claude Zidi. On this prolific scene, partly originating from the Jewish community, everybody was looking for success, trying to hit the jackpot with what was to hand. Famous media personalities, one-hit wonders or John Does in quest of fame, all had a go at French Boogie - more or less successfully. Apart from « Vacances j'oublie tout » by Elégance, « Un fait divers et rien de plus » by Le Club, or « Chacun fait ce qui lui plaît » by Chagrin d'amour (produced by Patrick Bruel), very few songs became hits: the story of funk in France is that of a half-baked robbery.

In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh and hybrid style. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), or Jean-Pierre Massiera (Anisette, Pirate Scratch Band, Mandrake, Scratch Man...) added an eccentric touch to this sound-wave, making it often entertaining, and sometimes showy.

Capture d'écran 2015-10-26 à 12.55.43Singers like Agathe (the author of 'La Fourmi' and of the hit song 'Je ne veux pas rentrer chez moi seule') were far more than just window dressing. They even tried to give an ironic and subversive twist to this rather harmless genre. The very vindictive rebel Gérard Vincent shared in this spirit, but as a whole, French Boogie became associated with nonchalance and sauciness. Thus, Stéphane Collaro, Gérard Jugnot, Alain Gillot Pétré and other TV clowns would clumsily contribute to this French variation on funky sounds. In a few but intense years, French Boogie gave all the tips to party with style.

If some hits made it possible for the happy few to get a real house under truly exotic palm trees, the wave actually ebbed away very quickly, leaving quite a few musicians stranded on the shore. Whether they were sincerely motivated, or simply opportunistic, they had failed. In 1984, French Boogie was already breathless, and got merged with other genres: on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Sydney's show, H.I.P.H.O.P, and Dee Nasty's broadcasts on Radio Nova; on the other, italo, new beat and house began to rule over dance floors, even more strongly asserting the will to develop music for clubs.

Squeezed in between the age of disco and that of modern electronic music, French Boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless bass lines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French Boogie is what you need to party.

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.

As the first output of our new label we present you RTGD001: the Won't Cry' EP by Matteo Luis & Lo, both part of the fam & currently finishing the last touches of their upcoming debut album. The young cologne natives offer a warming and moony/dreamy/atmospheric work from their archives to start the labels catalogue as smooth as possible. Alongside Matteo's deeply driven signature sound, Lo's lyrics will lead you into a dreamy state with blue pills in backstreets and babies and pigs in the sky. The original was reworked trice by amongst others, friends of the emerging label as well as long time role models of the label heads Marlon Hofffstadt and Goldberg. The former delivers a drifty and impulsive close to the floor interpretation of Won't Cry, whilst buddy Johnjons remix gleams through percussive sequence sounds and a further deep touch. Besides these two auspicious interpretations, no other than Running Back boss Gerd Janson and fellow Philipp Lauer are highlighting their perspective on the title track in appearance of their renowned and outstanding supergroup Tuff City Kids. The duos' outcome is an ingeniously constructed rework of Matteo Luis and Lo's original that never fails to raise euphoria throughout the whole track. Each copy is fully printed with an artwork of Berlin based surrealist Hermann Reimer.

Manchester based producer Sameed delivers us a very nice EP for the Skylax n°141. After his first weapon "Spend EP" on the swedish label Local Talk, he confirms here his taste for house music with "Ma'Thang". This new release is perfect to bring a dark and sensual amosphere to a warm up set.The first side begins with "Bad You", a perfect mix between a deep bassline, a mysterious background and soulfull vocals. The only element that kept you stuck on the floor is the raw clap. "No one else" is more focused on the beat and the repetition of the funky voice sample through the patterns. By using flanger effects, Sameed gives even more energy to this track, moving away from the keyboard softness. The third one, "Blue", could be the expression of what you hear while dreaming. We find again a mystic musical background but it is added to a very light melody, the sound of the sea and what seems to be whoops of joy."Hustle", the first track of the second side, is definitely darker and more nostalgic. Remebering us some Rick Wade sounds, the melody seems to confuse itself but keeps a clever coherence. The hi-hats manage to provide the sensation of speed and continuity all along the musical trip. "Watching U", is really about rythm and bass : the raw beat and heavy bassline deliver to this title all its identity. The jazzy notes and asexual vocals fit very well with this body oriented track. "Grg-Jam" is certainly the most particular element of this EP. Even if we can find the same kind of melodies as in the other titles, the beat is really different, remembering drum'n bass but in a very soft way. During this imaginative jam session, Sameed alternates the textures of the hats, bringing a frenetic rhythm to the conclusion of Ma'Thang.Sameed proves us that he is definitely a safe bet of the "Madchester" house scene. To be continued.

Loopy, straight to the point techno. Split Image, debut for the first release of New Dimensions - a label style who's style is akin to the likes of Foundation Sound Works.... amongst others! TIP!

Two raw extended trips from the mind of STL in a rare foray beyond his self-run Something imprint. Stephan Laubner applies his usual auteur principles to these groove experiments, whose sounds circle round each other cagily, rough meeting smooth, organic meeting synthetic, all combining in a propulsive form that's classic STL. Shifty hats on 'Crank Notion' provide an insistent shuffle through which nauseous pads plot a dissonant course. 'Neat Buzzl' is a grimier excursion in the undergrowth, little creatures scurrying left and right while the kick maintains its forward stomp. Join STL and Assemble Music in these off-map excursions and see where you emerge.

Hidden Recordings delivers another unique sounding and memorable four-track vinyl. Yuuki Sakai's 'Ran Tan' EP is unlimited in distinctive sounds, energy and vibe. These tracks are rare, like no other combining experimental design with controlled and well-thought out drumming. Test your limits, teetering on the edge of madness as you try to decipher the dancefloor etiquette for each of these!

Complimenting the release is a rare and wonderfully percussive-full remix from the undeniable A Mochi. A well established and respected techno vet who's been deep in the Tokyo underground for over a decade.