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This release, 'Dub In Blood', is one of the rarest and most sought after dub albums of all. Issued in tiny quantities on Phil's Sunshot label, it now commands ridiculous prices in the collectors' market.
Dub In Blood come out on Sunshot, Yet confusingly the same LP was also issued in England with different track titles
and proudly renamed 'The Best Dub Album In The World'.

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

It's been just over a year since Cale Sexton emerged out of Melbourne's suburban sprawl into the centre of its thriving club scene, in which time the sets he's delivered from behind a nest of wires and hardware have gained recognition as some of Melbourne's most compelling and sought after. Moving across a vast terrain of reference points, Sexton constructs dense soundscapes held together by tight programming, all of this culminating in the powerful live delivery he's become known for. These four songs mark an impressive debut EP, and the second release on Melbourne imprint Temporal Cast.

MRT release number four is a relentlessly loud outcry. Bruno Belluomini delivered three overwhelming techno pieces that dive into rough, violent, dirty waters.
The EP is fast and unforgiving, and if one lets it, it will take one down and never let go. The outcome is clear, as it is well known, we all did terrible things to survive.

* Returning to Dispatch LTD after a string of successful and hard hitting releases, DBR UK are back to present their debut album, entitled 'Rough Edges', comprised of sixteen original productions from the UK trio.

* 'Rough Edges' is an ethos by which DBR UK live by in the studio, an ethos and distinctive style which has been developed over the years and throughout their own influences. Made up of varying elements, styles and attitudes within drum & bass, the album covers the trio's full spectrum, carried out with their own unique flair. * Certified masters of crafting their basslines and low ends to perfection, the pulse keeps every track pumping with soul, carefully mapped out and delivered to a tee, whatever the chosen direction. Eloquently arranged, but purposely gritty, dynamic but not over-complicated and never straightforward, glossy or predictable, it's an ideology the group stand by, whether it's a melodic vocal swathe or a murderous minimal mod. * Equipped with murky steppers for the shadowy back rooms such as 'Demolition' (ft. Slippy Skills), the album journeys through old skool & dub focused influences, like reece thronged 'Dark Alley' and hypnotic stroller 'Man Hunt'.

* Alongside their solo productions, the album also sees guest collaborators from the past and present combining efforts, with Skeptical, Structured, Gremlinz & Ahmad helping craft the gullied landscapes, the poignant and piercing vocals of MC Fokus striking at the jugular in 'Blood Water and the smooth, dulcet tones of Amanda Seal perfectly contrasting to the darkness and hysteria, before leading the listener back up the garden path.

* Back on the scene with a vengeance, having blown us away with an astounding quality and output, DBR UK deliver their first long player, 'Rough Edges', utilizing their subtly edged weaponry to maximum effect.

Marcos Valle - EstrelarMarcos Valle is back again, this time with the almighty 'Estrelar', his most well-known disco/boogie track co-written with Leon Ware. Added hints of Yacht Rock too!
Marketed as workout music" at the time, 'Estrelar' was his best-selling record with a total of around 90,000 sales.'Estrelar' is taken from his 1983 self titled LP released on Som Livre. 
Robson Jorge & Lincoln Olivetti - AlleluiaTwo of the masters of the Brazilian Boogie sound joined forces to make a self-titled LP released in 1982 that epitamised the sound of early 80's Rio de Janeiro. Synths and keys float over razor sharp samba, jazz and 2-step drum grooves backed by huge layers of horns. Production is as shiny, bright and ultra clean as it ever got!'Alleluia' is a mid tempo groover, with rich horns, guitar, synth and vocal lines. An end of the night jam if ever there was one.Released on the LP mentioned above and also on 7' in 1983.

Bodyjack returns to his BodyTrax label with another 3 outstanding BodyTrax. "Is He Always Like This" is an infectious groove-based techno workout which has been tried and tested by a select few DJs over the last few months. Kamala's Revenge is a hypnotic tribal roller with darkside vocals, off-kilter rhythms and & tripped out FX. One for the heads down crew. Last but not least, the uptempo house jacker "Disrespect" combines a killer bassline and Bodyjack's now signature razor sharp beats n' stabs to round off the EP. Oh, and there are 4 locked grooves on the 12" release for the heads. Don't sleep on this one!

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

Originally recorded by Marc Moulin, Vincent Kenis and Marc Hollander in 1977 Brussels. Leapfrogging over style and genre boundaries, the LP shuffles between improvised jazz, minimalism, imaginary ethnic music, classical and even proto-techno ('Saure Gurke' foreshadows characteristic Detroit techno riffs by a good ten years).
It became a cult album in its own right and a few decades later Parisian dj / producer Krikor spontaneously decided to rework two tracks for his dj-sets. ensemble brings his remixes with the kind permission of Crammed, Marc Hollander / Aksak Maboul and Krikor.

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.

We are excited to finally announce and share 'Presentiment', the second Long Player from The Connection Machine.
This release is particularly special for us as it will be the first time in over 20 years that Jeroen and Natasja have put an album out on vinyl. Despite having a string of aliased releases in the '90s on the mighty U-Trax, a 12" during the early days of Carl Craig's Planet E, a remarkable album 'Painless' on Down Low Music, and most recently a series of in demand E.P.s with Lost Trax on Tabernacle, their output has remained tantalisingly infrequent.
With 12 tracks that capture their unique and awe-inspiring sound, 'Presentiment' opens you up to a world that only The Connection Machine have access to.

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

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

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

Junior Disprol is best known as MC for Dead Residents and also from the now defunct Fleapit, along with a multitude of guest spots over the years with such artists as British Hip Hop luminaries Aspects and Sir Beans OBE. Mr (a/k/a DJ) Rumage is 1/3rd of the mighty Numskullz and nowadays half of production duo The Aroma along with fellow Numskull Rola, who deal with all sonic elements on this release and is co-founder of Ruztik Records. Between them they've delivered a hard hitting yet laid back track with Junior Disprol on top form over the crisp, dark soundscape carved out by Mr Rumage. For the turntablism fans the chorus scratching will get you asking 'how did they do that!'.

There is no current intention of Invasion becoming a track from any forthcoming album so this is the only way to get it. We've included the Instrumental Version on the flip for good measure. AE Productions like to deliver a high quality product and this is no exception, presented in a full colour card sleeve which showcases some eye catching artwork by Kaiju Blue.

This deluxe overview Of Boston's creative jazz scene is presented as a double LP Set, packaged in deluxe box with each piece of vinyl housed in its own euro-style glossy jacket. Also Included is an 8 ½ x 5 ½, 80 page book documenting the rich history of the music with in-depth analyses and photos. Check!
In the 1970s Boston was a fertile ground for a very creative jazz scene. Small, independent venues ranging from lofts to churches to clubs opened up to support this thriving backdrop while jazz musicians set up their own labels. One man was there through it all, playing music and documenting the musical landscape. His name was Mark Harvey and here is his story....

Mark Harvey and Deano Sounds pulled together the most comprehensive package of Boston
Jazz released to date. The album has been assembled as a deluxe package that includes, in
addition to the music, an 80-page book documenting the rich history of this music scene with in-depth analyses and photos of the jazz musicians involved.
The music on this album is culled from rare private press Jazz LPs that were pressed in small
quantities of a few hundred for members of the band and the local jazz community at the time.
The music here runs the gamut of funky jazz from Arnie Cheatham's "Thing" to the deep free jazz
of the Phill Musra Group or the spoken word brilliance of Worlds, to the complex metric structures of Stanton Davis' "Play Sleep." This is a collection of very rare eccentric jazz pieces for your
enjoyment!

Syberian is a new pattern by Sergey Yakovlev. As his first project called Gedevaan this another also focused and keep on the fine tune electronic music entering deeper to techno, house and experimental constructions among them. Syberian is pitched hypnotic, cosmogonic shade of melancholy which sincerely looks on the world background. It has an authentic perception imprint and a set of sedate witness. The first release by Syberian 'An Object by a Human Being' contains four basic tracks.

Opening with 'God Race Female' which gloomy drifts you with a distant fibrous structures. Industrial howl and clave push stream over dope endless barrel strokes. That is sound what reach out to a child inside a female womb.

Next one is 'Male of Human Race' with a resilient stained beat that works with onground greasy texture. Ambient flutter set you a synthetic tranquil mood.

On a flip side 'Secret Alien Video Tape' is a kind of hypnotic and scholastic spacewrap abyss. Drag inland thru distortions and imaginary vortexes your mind still contemplates.

Conclusive back to the home track 'Harmonic 343' is game way to keep junctions with a physical world. Body is only part of a human. Understanding the principles supply the workflow.

Sheffield DJ/Producer Louis 'Taiko' Robson has consistently agitated the boundaries of dubstep music, manipulating eclectic influences in to his productions with bold, original arrangements, intricate percussion, experimental instrumentation and unforgettable subs, and he's not held back with ALBION002.

Title track Splinted dons the A Side of the release and sets the standard high with its heavy sub, percussive melody, and string lead. Robson has taken inspiration from contemporary orchestral composers such as Terry Riley and Steve Reich initiating the creation of the drums and percussion, which add a rich analogue sound to the track, and with that an almighty atmosphere. Folk-like scratchy strings take the lead which is a theme set for the EP and highlights Taiko's tenacity for sound design and disregard for convention. Each eclectic element of the track compliments the next resulting in a guttural, energetic dance floor cut, with dark undertones making the listener feel agitated or anxious. A pulse raiser strictly for sound system use.

Over on the flip side, starting with the outer, Taiko offers a much warmer vibe throughout Fractal, flexing another experimental set of instrumentation, this time round building rhythm with an accordion sample. An enormous rolling sub bass instantly becomes dominant after the short intro and meticulous percussion exaggerates the astounding impact from the drums. In the break expect a much murkier tone with a grimey string sample leading to the second drop. Robson achieves a certain level of feel-good whilst maintaining a dark and aggressive tone in his unmistakably raw track.

Nickel takes the inner side on the flip, following form to the prior with its accordion sample adding a distorted guitar drone for the melodic intro. The acoustic instrumentation couples up with irregular drum work solidifying the EP's 'live' aesthetic, whilst maintaining a dance floor orientation. Tonnes of energy meets masses of bass, Nickel is a recommended set opener and a great close to the EP.

Manuel and Julian (Bedlam) experiment in different Setups on the fringes of modernist Techno. Working about freely allows them to keep a spontaneous Jam feel to their music. Utilizing whatever hard and software they can get their hands on, their tracks levitate from straight-up punchiness to subbed, backstabbing synths and more eclectic notes.

Side A:
Opens with kickless track - NUCK CHARMS , builds up the tension needed for brute, peak energy live cut, DELIA'S DENTIST'. - STEADY ON THE BRAKE however, plays with the expectation of a kick drum, setting the focus on a sneaky synth line, delivering dynamic to the early stages of a set.

On Side B:
The opener JETSUN' sets foot into more field-tested territories of Techno with an expansive bassline and driving percussions. - WALDO'S MOMENT , the track after, provides an electro framework, coated in overly dramatic arabesque melodics. The EP is secluded by close friend and label partner Sedus, who turns the quirky electronics of - WALDO'S MOMENT / SEDUS VERSION into a candid peak-time banger, utile in any Techno set.
Stock Projects - S/T' arrives in a limited run of 300 on 140g vinyl.

With House Warming - Andy Vaz returns with his 3rd full lenght album on his own Yore Imprint. Due to Andy's half Indian roots, he is lucky enough to owe a Beach House just outside of Mangaluru, South India in the State of Karnataka. - where most parts of the Album were written over a period of 6 months. In this totally isolated, entirely tourist free hidden spot, which had become Andy's second home over the past years, he found himself away from the usual routines of western life, to find himself in a position to simply sit down and create. The result is House Warming". As the Title suggest's - think of house, sure and no doubt- but here on this album, thought all the way thru from beginning to end. The result then is House Music in all it's aspects: The Soulful, the deep and the raw or if you want - Deep House, Acid House, Garage/Vocal House - the joints range from downtempo, elektro and even hip hop beats. Oldschool you may think Maybe in spirit, as entirely produced with analogue synths & the roland series from 808, 909, 505, 606 to the original 303, but used in a modern studio environment. Andy Vaz is someone who has been around long enough to know how to programme his very personal idea's into the music - without denying influences such as Detroit, Chicago and New Jersey, to create something that goes further than a simple reflection of the past. Deep isn't a genre, it's a feeling. A warm feeling most of all. Be invited to come and see if you'll find it here.

(1lp vinyl version - hq cover art)
Jakob Häglsperger AKA Kalipo is a busy man. Operating as one third of German electro-punk band Frittenbude, his solo alias was brought to life in 2014 with debut album Yaruto", released on experimental label Antime Records. The multi-faceted producer now returns to Audiolith with the Wanderer EP", after having released the gorgeous Mäusemarsch' this summer on the label's electronic-focused Stiff Little Spinners compilation series. Wanderer is a restless record which sees Kalipo work his way through the deeper ends of four to the flour with a refreshingly experimentalist approach to production, with defamiliarized samples and analogue gear running the show. The music has changed since the Berliner's debut album, becoming more propulsive, more physical and geared towards the dancefloor. Composed mostly on tour or over extended periods of travelling, the track names on Wanderer' each come with their particular story, referencing places Kalipo has previously played or traveled to. Monolithic opener Donau Sunrise' sets the tone straight from the start with sanguine arpeggiators that work their way across a mystical backdrop. Melancholic themes infiltrate the cracks of the album and stand out tracks Banana Garden", written when Kalipo was stuck in a bamboo hut in the middle of thai jungle with a 40 degree fever and nothing else but headphones, a sampler and penicillin for company, and the stunning Institute Of Cotton Wool' are set to become earworms of the highest order. Wanderer' sees Kalipo right in his element.

'Sidetracking - Part 1: Prologue' is the first vinyl taste of Jona's de- but album project for Alex Niggemann's forward-thinking AEON la-bel. The musical puzzle will be completed in February 2016 with the release of a second vinyl instalment, featuring 6 more original tracks, and the full 10-track album on CD format. Created over the course of two highly creative years, the concept for 'Sidetracking' was for Jona to invite some of his musician and producer friends to collaborate with him in the studio and compli- ment his album's solo productions. This impressive coming together (to be fully revealed over the coming months) features Varoslav (Rue de Plaisance, Paris), Usio (Studio Barnhus), David K (Cocoon), Bo- livian percussionist Daniel Aguilar, Italian pianist Giovanni Verga, and Edinburgh-based producer The Reverse Engineer. Driven by his desire to explore new sound perspectives and ideas, Jona has carefully forged his career path by consistently creating exciting and forward-thinking music. His previous label outings: 'Traffic' on 'Lost Tapes Volume 1' (AEON010) and 'Gemini EP' (AE- ON016) have seen him fine-tune his own unique sound. By incor- porating a wide range of styles into his tracks, Jona strives to break down unnecessary boundaries and explores new ideas and ways to ignite that hallowed dancefloor flame. It is therefore no wonder that his collaborative creations for 'Sidetracking' have yielded such stimulating aural delights. Fittingly, the album prologue opens with a track whose style is heav- ily influenced by the jazz music that Jona was so in love with dur- ing his formative years. Calling on the somewhat mysterious Usio (whose 'Kuwa Huru' LP on Studio Barnhus should be checked by everyone) to join him in a studio jam, has resulted in 'The Chase', an utterly compelling afro-beat influenced percussive groove, topped with swirling funk-fuelled stabs and strings, mesmerising chiming piano, and a large helping of pure, hip-swinging goodness. Taking 'The Chase' on an entirely different and yet perfectly com- plimentary twisted trip, AEON family members Simone Sinatti and Marco Paladin (aka Speaking Minds) conjure up a futuristic technoid disco demon that is all about throbbing energy, sweat, darkness and hissing smoke machines - perfect ingredients for an unforget- table strobelight serenade. Changing the mood entirely and cutting the tempo to a dublicious skank, 'Transmission Breakdown' sees Jona's experimental creative juices in full flow, as he teams up with Edinburgh-based digital com- poser and sound artist Dave House (aka The Reverse Engineer) for a delightfully hazy downtempo jam. Both as an artist and a DJ, Manchester's Marcus Intalex has been at the forefront of soulful, musical drum & bass for what seems like forever. A passion for techno has always run deeply through his music and under his Trevino moniker he is also a powerful creative force (check his recent 'Front' album to get the full picture). Here, he takes 'Transmission Breakdown' on a magical excursion, filled with subtle, hypnotic, evolving energy, anchored with an irresistible pul- sating bassline throb - a perfectly synergetic interpretation to round off Jona's 'Sidetracking' album prologue in style.

Finally the dudes behind the fantastic Hell Yeah recordings step out into the limelight on their own with their debut EP of on Golf Channel. And what a debut !
Tracks range from blissful, boogie influenced house music (Adriatic Bolt) to the 1992 style Primal Scream psychedelic chugging banger (Quando) via sunny acid (Quiet Force) and deep emotional vocal led ambience (I Don't Care Who You Are).
Just as you'd expect from the amazing sounds their label has put out over the years, this ep is uncategoriseable in the best possible way We look forward to hearing more from the aptly titled Balearic Gabba Sound System, this is just an aperitivo, or is it a selection of antipasti...either way, it leaves you ready for the next course.
Golf Channel every time !

Ruff Daft returns, and after a various artist EP for number 7, number 8 on the label goes back to the founder, with three new tracks from Cottam'Washed Out' kicks things off, at the cross roads between Mood Hut & Basic Channel where dub techno sensibilities meet dreamy chords for a delectable deep house track. 'Horns' harks back to Cottam's earliest releases, with an afro-ish horn loop teased out over four minutes until the full loop and bass kick in to devastating effect.A Ruff Draft' sees Cottam look back towards his techno roots, with a killer kick drum and raw acid lending an abrasive edge to a well rounded EP of varied styles.

The Filthy Six are back with a cover of Michael Jackson's 1983 mega hit 'Wanna Be Startin' Somethin'. Available from January 22nd on 7' vinyl (& digital download).

Already something a floor filler for a handful of DJs lucky enough to have a copy. It is expected to become the funk floor-filler over Christmas and the New Year, as well as a regular feature on Craig Charles Funk 'n' Soul Show.
Wanna Be Startin' Somethin' is the bands' first single from their third album for Acid Jazz, More Filth' which will be released in February next year.

Wanna Be Startin' Somethin' comes accompanied with jazz-soul instrumental, 'Iguana Strut', which also features on the album.

Limited to 500 units, pressed on black vinyl and delivered in an Acid Jazz house bag.


(feat Brendan Reilly - radio edit)

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.

Miami ex-patriate Alexander Suàrez debuts on Unknown Precept with A Los Mártires. Conceived as an ode to those who spilt their blood in vane for political ideologies that failed them and countries that were never their homes, the five tracks that make up the release show the Brooklyn-based producer sinking into odd techno hybrids manipulation; shooting down unrestrained grooves and rusty samples while excavating lush sound exploration tinged by local folklore and grievous metallic tones. In his own words, Suárez discloses that the embodiment of this strange intermingling sound like an organic and humming invitation to an uninhibited meditation on our inevitable assimilation into modern industrial society; an overarching rhythmic theme built on the idea that the resistance to and the seduction of these systems might trap us in a push and pull limbo from which the only escape is rage or submission.

When I was a child, I spoke to Helen.

Helen is a pop group from Oregon. Liz Harris (vocals/lead guitar), Jed Bindeman (drums/tambourine), Scott Simmons (bass/guitar), and Helen (back up vocals).

Originally started with the intention of being a thrash band, it turned into something else entirely. The Original Faces was recorded over a period of several years in Portland by the band members, their friends Nick, Chris and, largely, Justin Higgins. Written together, some songs based on Liz and Scott's demos.

Earlier this year, an email dropped into the Claremont 56 inbox. It was from a producer in the early stages of his musical career called Simon Peter, and contained a joyous slice of languid, organic Balearica entitled 'Arc of Lark'. Suitably impressed, Claremont 56 boss Paul Murphy had no hesitation in snapping up the track right away.It marks a new stage in Simon Peter's career. He made his debut in February 2014 with the Double Up EP on Silhouette Music, which contained the shimmering nu-Balearic disco of 'Espacio Temporal'. While that was laden with sun-kissed synthesizers, 'Arc of Lark' is a much more organic affair. Blissful electric piano keys, hazy guitars and fluttering flutes cascade over an undulating live bassline and shuffling, bongo-laden beats. Warm and humid, it's a slice of audible
sunshine to brighten up the grim winter months.Long-time friends of the family 40 Thieves handle remix duties, turning Simon Peter's picturesque original into an effects-laden chunk of slo-mo dub disco goodness. 40 Thieves member Layne Fox loved the track so much that he's also contributed an additional remix that focues the action around a loose, languid, dub reggae influenced groove, spiralling electronics and Peter's mesmerizing flute line. It's a fitting conclusion to a magical label debut.

After last year's well recieved album 'The Phoenix', King Britt returns under his Fhloston Paradigm moniker for the first in a series of 'Cosmosis' EPs. 'Cosmosis Vol 1' is three spacey perfumed hardware workouts of the kind that Fhloston Paradigm built his name on. The EP starts with 'Sonic Six', matching bumping drum machine rhythms with gurgling bleeps, and mournful strings building the emotion through the noise.The second track is the slowly evolving ambience of 'Faith', which builds up into radiant, shimmering clouds of sound before a bass line drops midway, grounding the track melodically and switching the emotion from ecstatic to bittersweet. The EP closes with 'Past', where broken sounds are dragged over a warping piano line, and a flickering static melody engulfs the track as the noise dies out. 'Cosmosis Vol 2' will follow early in 2016 ...

Wax digger and producer for over two decades Jay puts on the editor's hat for this new release.

Driven by discoïd baselines the inuences of this 4 track ep are oriental and mediterranean grooves.

4 surprising tracks tailored for the dance oor and ready to delight the open-minded and curious listener.

After the Alma EP' by Shanti Celeste, secretsundaze' s 19th release comes from another UK home grown favourite Wbeeza.
Beeza is a firm part of the secretsundaze family and although it's his first release on the label, he has been a regular fixture at the parties now for 5 or 6 years playing at both the London events and touring internationally with Giles and James as a live act, as well touring extensively by himself.
We hope his music needs no introduction - his sound is quite simply fresh; an amalgamation of so many things from house, techno, jazz, hip hop to more UK leaning garage vibes. Born and bred in South London and the youngest of 6 brothers he has dance music pumping through his veins.
Black Moon EP is up there with the very best of his work and all 3 tracks show a level of maturity that comes from releasing over 14 EPs and close to 2 LPs (his second LP entitled Visions of Love drops next month on Third Ear)
Title track Black Moon is a murky, growling techno workout with syncopated lo fi beats, a thunderous bass line that is eq'd to within an inch of its life, and white noise FX. Within the right hands this should be a deadly weapon.
Like Butta is a hazy, percussive tool that keeps the tension high while B side track Ferguson is arguably the strongest track of the EP. Referencing the Ferguson case in Missouri that sparked vigorous debate about the relationship between the police and African Americans, the track is a timeless groove, coming on like a modern day version of Maurizio's 'M4' with its heads-down, hypnotic deep techno flow that one could simply listen to on repeat. Wbeeza on secretsundaze.....Need we say more!

ROD, aka respected long-term Dutch activist Benny Rodrigues, hands in another burning 4 track EP for Figure SPC. As the series approaches the zenith of its 26 chapter A-Z journey, the quality shows no sign of dropping, with RODs crisp and characterful techno trips inspired by classic minimalist traditions. Over four, bleep infused, tracky and positively charged cuts, ROD opens the doors for us into his latest hardware-driven studio sessions. Each track is a carefully carved snapshot, a different specific moment for the floor, the producers talent for creating elegant moments of tense and playful Techno is clear to hear.

Only 150 worldwide

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

Richard Fearless delivers some Transatlantic love with his third Drone instalment, and the fifth release from this growing label. Overview Effect is dubbed out Detroit-esque techno with with an epic two and half minute string workout and a cognitive shift to pure Fearless magic.Metal Dub is stripped-down, metallic, hypnotic techno with haunting pads, and it's been smashing it in the darkest of rooms of late. A deep, heavy release on Drone.
Luke Hess and Dj Richard remixes to come. 

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.

Supported by: Ben Sims, Slam, Laurent Garnier, Adam Beyer, Truncate, Jonas Kopp, Ilario Alicante, Paco Osuna,
Gel Abril, CTRLS, Pfirter, Xhin, Regen, Roman Lindau, Antonio De Angelis, Lee Holman, Abstract Division,
Juho Kusti, Krenzlin, Felix Lorusso, David Att...
With the first Monasterio release, the team behind the Moscow clubbing institution has aimed to recreate
the atmosphere that has made the club such an important part of the Russian techno movement. Each track
from the compilation strives to represent a dimension of the club's style, starting with powerful opener The
Chamber. Oliver Deutschmann, a close friend of Monasterio, references the main room of the club and takes
us on an anthemic ride full of organs and sonic spectrum requisitioning buzz. The mutating and pulsating groove
of Russian resident Unbalance follows, bringing forth a change in the atmosphere and the hypnotic synths
and austere percussion work of young Ukrainian talent Recid take the listener to the prime hours of the party.
Danish DJ/producer Anastasia Kristensen overtakes by ways of air in a high-speed modular chase, bringing the
night to a close and leaving us with high hopes for our next journey through the corridors and chambers of the temple of techno

Mini Album Thingy Wingy are 7 brand new & exclusive tracks recorded by Anton Newcombe in is his studio in Berlin in 2014 & 2015. Running at over 34 minutes.,the mini album is co produced , engineered & mixed by Fabien Leseure . This release contains four self written songs by Anton Newcombe ,a co write of the band's first Slovakian song (Prší Prší) with Vladimir Nosal , another co write (Pish) with Tess Parks and a cover of the 13th Floor Elevator's track 'Dust' which features Alex Maas from the Black Angels on jug

Originally, Anton Newcombe was heavily influenced by The Rolling Stones' psychedelic phase, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.

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

This project is a long distance collaboration between two amazing artists : Andrea Noce and David Kristian during the year 2013. Each track have been made after set up basic guidelines (style, tempo, structure, and workflow). « It was exciting to think two people on different continents, using different setups, and software, could find a way to exchange loops and build a track in the space of 36 hours. » In the line of label such as Innovative Communication or Edition EG , this record is completely intemporal, made for the past, the present, the future, with marvelous atmospheric and space sounds, escape from your body and synchronise. We are really proud to lunch it on Macadam mambo today.David Kristian has been making electronic for over 20 years, composing everything from experimental music to IDM, electro and synthpop. With over a dozen albums and countless 12"s and compilation appearances, David's discography continues to grow. David's soundscapes and soundtrack can also be heard on everything from science-fiction and horror movies to promotional spots for an X-rated cable channel.Andrea Noce is a very talented singer, producer, polynstrumentist and visual artist based in Berlin, she has many different projects in solo (Eva Geist), in group (Vera Mona, Le Rose) or collaborations.