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The latest vinyl slice from FBNM sees us head to the depths of central Africa via Paris to track down a feast of rare seventies afro funky jams from Cameroonian master musician EKO. We've brought FBNM favourite Riccio along for the journey too, who has provided us with a fantastic Rerub coaxing out some modern dancefloor sensibilities and production sparkle.

Eko Roosevelt Louis has had a music career spanning over forty years, born the grandson of a Kribi tribal chief, his musical persuasion beginning humbly with his village's local church before his formal education at the Senegal conservatoire and Paris' École Normale de Musique. EKO made a number of jazz funk and disco records in the mid seventies during a stint recording and touring in and around France before returning to Cameroon to take over his grandfather's tribal chieftaincy, a role he still holds today! Alongside this position of office EKO has continued to work with music, performing, teaching and even leading Cameroon's national orchestra!

The tracks we have selected for reissue are all taken from EKO's third album, Funky Disco Music which was recorded in Paris and released on his own Dragon Phenix imprint. Sung in a combination of English and EKO's native tongue we've lined up a real excursion in feel good afro-jazz, funk and soul made purely for dancing feet and boogying butts!

All tracks have been officially licensed and lovingly remastered for this special release by Andreas (Lupo) Lubich (CALYX Berlin), packaged alongside Riccio's sympathetic work in the cutting room on 12" vinyl with a special interview with Eko Roosevelt Louis himself!

2022 is the 40th Anniversary of Iron Maiden’s Iconic third album The Number of The Beast. The first Iron Maiden album to feature Bruce Dickinson on vocals, The Number of the Beast was also the band’s first album to hit the number 1 spot in the UK. The album spawned the crossover hit singles Run To The Hills and The Number of The Beast, and introduced the band to a truly global audience.
To celebrate this milestone anniversary Iron Maiden release a very special 3LP collectors vinyl featuring the original album with revised track list plus the legendary 1982 live show from Hammersmith Odeon ‘The Beast Over Hammersmith’.
The original album replaces Gangland with Total Eclipse in a revised track list. The accompanying double live album The Beast Over Hammersmith is presented on vinyl for the first time.
This collectible 180g 3LP vinyl set is packaged in a double gatefold sleeve featuring a special ‘split’ cover image and many rare photos from the time. Also, featured are excusive sleeve notes from Steve Harris.

Matthias Mayer: Superschön!
Tensnake: great atmosphere on the album
Lehar: I really like it very nice work !!
Andre Lodemann: das album gefällt mir sehr gut
Andre Hommen: Finde das Album ziemlich bemerkenswert!
&me: great one
Alex Niggemann: Great piece of work!
Vince Watson: Sound lush!
Luca Bacchetti: Deepness!! Excellent work from Patrick!
Philip Sherburne: Sounds nice and moody.
The Drifter: Congrats on the album Patrick! Thx for this
Matthias Kaden: Super Genius Album from Patlac!!will listen it a lot ...TOP!
Kiki: The intro and "Marcy" suck me straight into the vibe. Let´s see how "Marcy" and "Blinded" sound at the IPSE warehouse on NYE sunrise time...
Chris Fortier: great album, have been playing.
Pablo Bolivar: This is absolutely fantastic!
Sandrino: knowing Patrick and his music for so many years now and this musical package sounds to me that Paddy finally found himself and even better expressed what he found. Happy and proud of my Hamburg friend. Congrats and thanks for the music!
Yokoo: Super nice, well done buddy!
Andre Hommen: Finde das Album ziemlich bemerkenswert
Matthias Mayer: Superschön!
BOg: Sublime album from Patlac. Such great music, rich textures and deep sounds. So many options. My full support !!
Adana Twins: Congrats Paddy Boy! Is geil Diggi :)
Tim Green: great sounding stuff here!! :)
Rancido: nice album!

Masterworks Music returns with their illustrious 10" vinyl-only brand, The Masters Series. Stepping up to handle duties on this fourth instalment is none other than Tel Aviv's own Obas Nenor.
Having made waves with his previous outings for Defected, Heist Recordings and his own label, Nenorian, not to mention EPs for the likes of Strictly Rhythm, Mahogany Music and a slew of 12's for Whiskey Disco as half of Rabo & Snob...let's just say the man gets around! Now unleashing his 'Weirdo disco' style on Masterworks Music Here, he packs his studio creations win a tidy, 10" format with a double-header with "Candies" on the a-side and "Stay" holding down the b-side. 'Candies' offers the perfect counterpart with a shuffling, low-key vibe. Every much as danceable as the flip, "Candies" pairs jangling guitar riffs with vocoded rhymes and more undulating vocal snips. Clavinets dripping in wah-wah wackiness keep the mood light and funky and recall the glory days of acts like Faze Action and Crazy P.
Flipping over to the B side 'Stay' wastes no time getting down to business with wonky, percussive intro that launches head-first into a stomping Moog-bass groove. Layers of vocal samples undulated and punctuate the rock-steady disco beat while chords and claps get the hips shaking.
Cracking' tackle for any modern disco head, these are sure to blaze up the night!

OMEN Recordings is off running to the industrial techno races againand this third release has already been gaining traction around the globe with high anticipation and support from many respected producers and DJs alike. The Puppetskin EP written and produced by German and French artists RENDERED with remixes by American producers BLACK ASTEROID and AXKAN is off to a great start. RENDERED starts off strong with the title track Puppetskin" (A1), with strong breakbeat kicks, thrashing snares and rich synth lines that are melodic and spacey. The dancefloor will surely love the Charles Manson samples. Nightmoves' (A2) also heads the pack with shuffling kicks while rich, minor-tuned pads take you on a persistent journey. About half way through, you will be moved by a 4/4 pattern that sneaks in and will be a favorite for the dancers. BLACK ASTEROID's remix of Puppetskin' (B2) does not disappoint as signature Black Asteroid textures and rhythms come alive in this rendition. Although it has rounded, full soundscapes that sound perfect for a large venue, its pumping, hypnotizing bass lines and screeching sirens keep you pulled into the darkness. AXKAN stays in the pack with his earthshattering remix of Puppetskin' (B1) by starting slow with a profound intro to then push the audio boundaries with his powerful kick and bassline, to gain more and more strength with vocal samples, distorted drums and FX. AXKAN uses every stem of the original in such a creative way to help win the race. This EP, soon to be available on vinyl and digital formats, exceeds the expectations of sound design and techno together. No matter what time of night it is, these tracks can be played in a versatile way. While still employing darker textures, a breath of light creeps its way in. Listening to this EP start to finish is definitely worthwhile.

'Afro Rock Vol. 1' is one of the most important compilations of heavy original '70s Afro funk and soul to be released in recent years. Originally surfacing on Duncan Brooker's indie Kona label in early 2001, the album single-handedly kick-started the thirst among jazz, funk and soul fans and 'diggers' to rediscover lost music from Africa made during the '60s and '70s from a time when many countries were gaining independence and celebrating a Pan-African identity within their music. The album was one of the first to reach a far different audience to the traditional 'world music' market and spawned many further projects and labels in its wake. A year later, the 'Nigeria 70' compilation surfaced on Strut and labels like Soundway and Analog Africa would continue to unearth amazing lost gems from the Motherland.The album is testament to the determined work of Brooker following several research trips, especially to East Africa - Kenya and Zaire. It brought to light East Africa's finest funk band, Air Fiesta Matata, led by the recently deceased Steele Beautttah, 'The Nigerian James Brown' Geraldo Pino from Port Harcourt in Nigeria, and the storming Afro jam 'Yuda' by Dackin Dackino, a previously unreleased gem from Zaire discovered on a discarded reel. The album has remained influential since its release with tracks appearing on other Afro compilations and on TV and the big screen - Jingo's 'Fever' featured in Kevin McDonald's 2006 hit film, 'Last King Of Scotland'.Out of print since 2015, the album is being reissued on Strut in its original form with the extra dynamite unreleased psychedelic cut by Kenya's Ishmael Jingo, 'Keep On Holding On' taken from the original master tape. The package features the original sleeve notes by Duncan Brooker along with new additional notes providing further background to the album and tracks.

For house heads of a certain persuasion, DJ Duke is a name that resonates for all the right reasons. The U.S. veteran has been responsible for some of the 90's most seminal moments, chiefly through tracks such as '12 Minutes to Do It' (under his Pleasure Dome alias), 'Party Time' and the Prosumer-endorsed deep house classic, 'Heard'. He returns here courtesy of emerging imprint Solo Werks, who host his latest EP, 'Green Pastures'. A momentous house-led workout, it compounds Duke's reputation as a producer of considerable panache while also acting as an auspicious start to life for the Dublin based label.

The title track is a grainy, old-school cut that bears all the hallmarks of a dusty analogue-jam and harks back to the days of vintage Chicago with the sort of zest you'd expect from a man of Duke's credentials. The other original, 'Skyscapes', is packed to the brim with industrial motifs and is characterised by the sort of effortlessly catchy baseline with which Duke has made his name. Mysterious and ethereal, it takes the listener on an uncompromising and throughly captivating house journey from the off.

On the flip side, we have two stunning remixes, the first of which arrives from New Jersey don, Ruben Candelario AKA Nicuri. A long-time favourite of NYC-based producers a la Joey Anderson, Nicuri turns 'Green Pastures' into a dreamy, acid-led space, adding layers of suspense and a glittering vocal intto the mix as he goes. Last but not least are Dublin-based producers Slowburn, who serve up a stunning version of "Skyscapes". A carefully construed voyage into the deep, it caps off a fine EP with some aplomb.

Just in time to warm up your winter, Hell Yeah revisit the peerless recent Tsuki album from ambient and Balearic masters Tempelhof & Gigi Masin. Two tracks from the album are included on this new package, as well as a remix from Jex Opolis. Trancendental and dreamy drums characterise the new age 'Corner Song', which is the sound of laying back on a boat and bobbing up and down on gentle seas at sunrise. It's organic and soothing to the max.
The other original is 'Flying Man', a suspensory film that feels like floating amongst the clouds on a humid afternoon.
Wordless vocals add a heavenly feel to the lush and all encompassing chords and pads and nothing sounds sweeter than being lost in this one. It is Corner Song that gets remixed by Good Timin' and Running Back man Jex Opolis.
Famous for his disco infused synth pop sound he is a master of his own musical world. His version is eight minutes of laid-back tropicalia. Slowly churning drums and knotted funk-bass prop it up as an eco-system of pops, clicks and hits add to the steamy and sensuous groove. It's grown up disco for cocktails on the terrace and will have you hugging anyone in earshot.
Support by Calm, Lexx, Leo Mas, Apiento, Zambon, Max Essa, Kito Jempere, Buena Onda Djs, Balearic Gabba Sound System...

For more than 30 years music has been the most important thing in my life - this is a clear and true to the heart statement by Soulsurfer, DJ and drummer for the Hanover-based outfit named SUPERSOUL. And yes, SUPERSOUL are a real band. A band in love with analogue instruments and mastering their craft. A rat pack of five groove fanatics accumulating enough years, wisdom and experience to tell truly authentic stories within their songs - songs which are taking the bands audience on a journey into the 60s and 70s sound of Black America. SUPERSOUL are playing Funk 'n' Soul on a hot, steamy, energetic and passionate tip, performing self-written songs with stories told in the bands mothertongue - German ! With Arne Busch as vocalist and band leader SUPERSOUL is built around a true force. His vision and expression of Soul is phrased like the emphasis of a preacherman's gospel whilst fat and funky grooves are masterly crafted and carefully layered by Margot Gontarski and drummer Lars Heindorf a.k.a. Soulsurfer, glazed with wah-wah-heavy licks played by guitar wizard Toni. Their experienced interplay on the latest SUPERSOUL album is polished with loads of analogue engineering magic at Studio Nord Bremen and perfectly complemented by solos and arrangements of Lutz 'Hammond' Krajenski and seven other guest musicians making and appearance on this longplay piece.
It's not big of a surprise that these musicians, all of them rich in experience due to their contributions to other bands and projects, met in Hanover, Germany's secret capital of Funk. But it is quite a surprise that it took that long for an album to appear on the record store circuit that amalgamates German lyrics and urban Funk in a previously unheard manner like SUPERSOUL does.
And for those who come across this longplay piece whilst being on their next dig we go along the lines of the words by the famous man Miles Davis as - We suggest to you to play this record at the highest possible volume in order to appreciate the sound of SUPERSOUL .

Bugsy hails from Milan where he is resident and co-host of the brilliant Take It Easy club night which brings many of the finest house DJ's to the city and remains packed week in and week out. With his featured producers Astroloop at his side Bugsy has come up with a quality debut loaded with fat, low-slung deep beats and Detroit-inspired grooves for Freerange entitled the Svegsy EP. The lead track sets the mood with mid-tempo loping beats that have 'Freerange' written all over them. We can't get enough of the simple yet satisfying warm-up vibe which oozes from this track. Understated, warm and relaxed yet with a bump and grunt which calls you to the dancefloor.
A2 is a track entitled New Vision where we find a straighter groove underpinned by a restless, pulsing, analogue bass and shifting block chords. With it's heads down attitude and simple, rolling arrangement this is Jimpster's personal favourite for banging on a big system. Flip over for the aptly titled Ghost Song. Here we get off-kilter vocals and fleeting glimpses of a melody which then disappear into the ether. All in all a slightly surreal yet groove-heavy track which has a charm of it's own.
Rounding off the EP we have Chicago house legend Boo Williams on the remix of Ghost Song, where he takes a minimal approach with a hint of acid but keeping his soulful touch. Enjoy!

Soul Jazz Records are releasing this new 10th anniversary 2017 edition of their classic album 'Dancehall - The Rise of Jamaican Dancehall Culture'. This long-out-of-print collection is now available as a triple-vinyl edition and double CD pack.

The album is a lightning-flash collection of all-time classic and definitive dancehall classics as well as a stellar selection of more obscure tracks. Featuring Yellowman, Tenor Saw, Sister Nancy, Ini Kamoze, Chaka Demus & Pliers, Michigan & Smiley, Super Cat, Cutty Ranks, Eek-A-Mouse, Gregory Isaacs and more, this album features non-stop floor-filling party tune rockers throughout!

Dancehall is released to coincide with the new 2017 edition of the stunning 400+ photos deluxe coffee table book 'Dancehall - The Rise of Jamaican Dancehall Culture', featuring Beth Lesser's amazing Dancehall photography (also newly published by Soul Jazz Records). This book has become the definitive cultural reference book for Jamaican dancehall and features hundreds of killer photographs, extensive text and interviews with many of the artists.

'A vibrant anthology of all that mattered: the sound systems, studios, producers, singers and deejays.' The Guardian

On EP5, legendary German musician Burnt Friedman makes his Dekmantel Records debut with 'Monsun'. The Berlin based artist, who built a reputation for himself through his explorations into obscure, finely-tuned, experimental dub through his label Nonplace, alongside his collaborative relationship with the late Can drummer Jaki Liebezeit, is one of the crucial, sonic manipulators of our time. 'Monsun' finds Friedman crafting flowing, percussive, dub techno that is both esoteric, and progressive. Befitting of a Dekmantel release. Alongside Friedman sits legendary Detroit act Ectomorph, aka. BMG & Erika, also making their Dekmantel inauguration, with a record that surmises' the group's anologue, style of Motor City beats.
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There would be no Dekmantel celebration without longtime family members, JuJu & Jordash. With three LPs and countless EPs released on the imprint to date, alongside a sleuth of festival, and party appearances, the improvisational duo have become masters of off-kilter, and poly-rhytmic electronic funk, of which 'Neon Swing' -a fast-paced and extremely invigorative cut- is of prime example. And then there's Dekmantel favourite Fatima Yamaha - an artist who has a keen ear for gentle, analogue hooks that have gone to become ample festival fodder. The Dutchman maintains an ear for the serene with the track 'Platforms', a sullen, yet beautiful ambient track, the drives deep into the emotive world of soft, tender, heartfelt music.

The premiere soundtrack release to Peter Weir's 1977 Australian New Wave classic.
Lost electronic score from the enigmatic composer Charles Wain.
12-track LP sourced from the original stereo master tapes.t.
180g vinyl and deluxe packaging including archival film stills and original press material

The Last Wave (also known as Black Rain in the US) was the final chapter in a trilogy of films scripted and directed by the leading auteur of the Australian New Wave, Peter Weir.

Beginning in 1974 with the absurdist black comedy-horror The Cars That Ate Paris, and followed a year later by the lush gothic mystery Picnic At Hanging Rock, The Last Wave was a landmark in existential horror. Sitting alongside other Australian eco-terror films (e.g. Long Weekend) the film featured a haunting electronic soundtrack that is as mysterious and beguiling as the spiritual themes of the film itself.

With no LP issued after the films premiere in 1977, and together with the mystery surrounding the true identity of its enigmatic composer 'Charles Wain', the score is a largely unheard recording of pioneering experimental film electronics, easily compared to the music that contemporaries Klaus Schulze and Tangerine Dream were composing for Australian films during the same period or the electronic soundtracks of John Carpenter.

Tense atonal electronics, synthesizer drones and manipulated Didjeridu all perfectly capture the film's ominous atmosphere, punctuating the slow hypnotic pace of this brooding supernatural thriller. The Last Wave soundtrack is released in conjunction with the lost film music to Nicolas Roeg's 1971 New Wave masterpiece Walkabout composed by John Barry.

* Walton drops his third instalment on Tectonic in fine style, calling upon Japanese influences to create a truly unique sonic across both tracks in the release. Asian instrumentation meets directly head to head with the cutting edge sounds of a UK grime-techno axis to great effect.

* 'Praying Mantis' captures all the charm of a fine Japanese watercolour painting by means of some spectacular midi-harp programming. Hi-hats and detailed percussion set a shuffling pace, building the mood up before a beautiful harp section unfolds and takes over, expertly programmed by Walton to sound as if a master harpist had stepped into the room! As drums and bass join the party we have all the makings of a low-slung grimey masterpiece, both soothing and energising in a perfect zen balance.

* Flip then for 'Koto Riddim' which again brings Japanese influences to the forefront of the track. Walton programs classic sounding Japanese percussion sounds along with grunting vocal cuts and a charming flute-based melody. As the track drops, it switches into a more familiar, grime-based palette of sounds, deftly arranged for most dangerous impact.

Having previously released music on WOLF Music, Futureboogie and recently his own label Fate And Fiction Recordings, Lee Pattison aka Thrilogy delivers the 18th release on Omena.
Completing the package is the most famous Newcastle producer in Mexico right now, Man Power.

* Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 with her debut album 'Pariah'. Jana Rush received attention for her mind-bending drum acrobatics on last year's 'MPC 7635' EP also released by Objects Ltd. Jana started djing aged just 13, releasing her first record on Dance Mania back in 1996 but having a hiatus from music between 2000 to 2013. With 'Pariah' she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz and house, developing her sound on from 'MPC 7635'. By popular demand from a kickstarter, now on vinyl!


* We kick off with 'Midline Shift' whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims creating a shimmering robotic effect. Moving on, the frantic 'Beat Maze' confuses the mind with white noise rushes and interlocking snares. Changing the scene, 'Divine' is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with ' ', whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of 'Break It' give one room to breathe before the croaking bass and distorted acid of 'No Fuks Given'. 'Old Skool' is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both 'Rapid Fire' and 'Acid Tech 2' are bangers, hitting you deep in that sweet spot. Jana brings it back down with 'CPU''s computer noises and sub bass hits. 'Chill Mode' gives time for reflection after all that fire, but its no ambient track, theres still that Chi-Town vibe. We finish with 'Frenetic Snare' whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.

Felix Kubin (org, electr,sampler)
Milosz Pekala (vib, xyl, sampler, perc, effects)
Magdalena Kordylasinska (mar, perc, effects)
Hubert Zemler (glsp, dr, perc)

Music composed by Felix Kubin, tracks A1+2 together with Milosz, Magda and Hubert.

The pieces are soundtracks to educational and industrial 16mm films dealing with the subject of "work".

They were commissioned by NDR das neue werk (North German Radio).

Recording engineer: Robert Migas, Black Kiss Studio, Warsaw
Mix: Tobias Levin, Electric Avenue Studio, Hamburg
Mastering: Rashad Becker, D&M, Berlin
Production: Felix Kubin

Film archive: Metropolis Kino, Hamburg
NDR editorial department: Dr. Richard Armbruster

Artwork: Stephen O'Malley

Originally developed as a film score "Takt der Arbeit" is inspired by a handful of industrial and instructional films from the early 1960's until the early 1990's that portrait different forms of work. Felix Kubin is translating these historic documents into a musical poem of conceptual depth. "Takt der Arbeit" - the beat of work - is not only serving as a title but also as constructive element in this endeavour.

Being hunted down by the ever accelerated pulse of our reality is an omnipresent issue in capitalist societies of the the Western world. Living in times of constant exhaustion, it's not only our bodies that have been disciplined by and synchronized to the rhythms of working processes, but also our minds that rage in the tempo of our surroundings. Following an almost analytical effort, Kubin and an ensemble of 3 percussionists are investigating the different qualities and intensities of time that are catalyzed in working processes. While picking up precise temporal and motoric motives of the films, condensing paces and excavating rhythmic patterns, the ensemble is mapping out an animist choreography, shifting from a time when labour was still relying on bodily efforts to a time when machines and ticking clocks seem to reign and model our perception. While Side A is dedicated to procedures that are still based on manual and mechanical movement, Side B is inspired by the digital age, marked by invisible processes and subcutaneous pulses that we internalize.

The result is a critical and poetic reflection on the rhythms of our daily life and yet another example of Felix Kubin's skills as a composer, placing him in the field of orchestral music.

Finnish legends and everything-but-grey eminences of electronic music, Jimi Tenor and Freestyle Man revive their dormant partnership on this four track EP for Studio Barnhus, jam-packed with classic drum machine funk, congenial synth lines and Jimi's unmistakable lead vocals and flute-playing. The Sleepover EP is fuelled by the two maestros' mutual love for New Jersey house music and pyjama parties, as well as musical wisdom gained from numerous collaborations in the past, ranging back to some fabled mid-90s Sähkö releases. Live show booking now! Artwork by Robin Ekemark.

Durban's 23 year-old producer Emo Kid has announced he is to release eight-track debut EP, 'Gqomtera', through Gqom Oh! on September 22nd. Although titled 'Gqomtera', which Emo Kid explains is a slang term he and others use for the music, the record actually explores Sgubhu — another strain of South African dance music that shares many stylistic parallels with Gqom, though is always written with a 4x4 beat. Like DJ Lag before him, an artist widely considered the king of Gqom, Emo Kid is also considered a pioneer in Durban; 'Some people call me the Sgubhu king, but I'm just happy they're enjoying my music', he says. Based in Inanda, in the Etafuleni area township in Durban, Emo Kid's house looks out over an area called Isandlwana — the spot where the Zulu army famously defeated the British Army in the Battle Of Isandlwana in 1879. It is from this backdrop that he has written the majority of his music over the last few years, including new record 'Gqomtera'. At eight tracks long, 'Gqomtera' provides a comprehensive overview of the Sgubhu sound, with the aim of taking the listener on their own 'Durban Journey'. 'I wanted to show the uniqueness of my own style which I would describe as more musical', Emo Kid explains, 'you can feel the music when you listen but it still hits hard with that Gqom flavour.' That Gqom flavour, powered by hard, fast, uncompromising drums, provides a solid core from which everything else functions. Bright, shimmering trance synths feature on 'Futuristic Gqom', while on 'Enkwarini' — 'another word for a party or fantastic get together' — vocalist Fawell skips over light, playful Sgubhu rhythms. There's also space for harder, deeper cuts like 'Ground Shaker', cut with a twinkling melody line, the charging pace and power of 'Insimbi Yase Dubane' and the anthemic 'Asbambeki' featuring local crew TLC Fam, translating loosely to being unstoppable; 'It means you can't catch us basically', Emo Kid says proudly, 'On the dance floor, you can't touch us, we're on fire.' Capturing the raw, street sounds of his city, Emo Kid is the latest Durban artist to take the music global and with 'Gqomtera', put Sgubhu firmly on the map.

Silencio celebrates the first year of the label with a double-pack vinyl aptly titled Uno.
Comprising of new and established artists, the tracks on Uno collectively summarize the the feel of this label's year, while giving us a hint of what to expect in the year to come.
Click Box & Stefan Dichev kick off the release with 'Memories'. Presenting a collaborative production that will prove over and over again why sound is one of the strongest senses tied to memory. Engineered with emotionally responsive rhythms that roll into a rocksteady baseline, this track evokes feelings with finesse. "Memories" also features funky squiggle sounds and trailing even-tempered tones to punctuate its procession. This is one you'll want to relive every time the opportunity arises.
New comer Wave Particle Singularity has done it again. 'Virtue' is a tremendous track that will quickly establish itself as one of your new favorite things. The drum sequence, accented by beguiling background sounds and curious vocals, gallops throughout this selection with all its feet off the ground together in each smooth stride. Plus, it also comes fully equipped with a pleasingly unpredictable pace in the form of some moody, well-orchestrated changes that result in a perfectly adjusted attitude. Never a dull moment on the dance floor.
Guaranteed.
Kepler.'s latest offering 'Tool A' possess all the qualities one would normally associate with a fine wine because the taste left on the palate after its consumption is both complex and satisfying. During its ascent, effects that compress a thousand echoes into a single sample ride alongside an active baseline that ripples accordingly. Subtle, flavorful snippets bleep and bloop in complete balance, giving this cut a coordinated, contemplative vibe that brings everything into focus.
With his first track on Silencio, Yuuki Hori's 'Scene 5' is truly a unique item. This electromechanicaly exotic sounding export from Japan makes an impression with layers that are neatly stacked and minimal to the max. Its main feature, a sample that seemingly mimics the mating call of a male bullfrog, rhythmically ribbits in harmony with the beat, bellowing over the entirety of this track. All the various elements of this composition come together in a natural way that feels symbiotic and sounds superb.
Another Silencio first, Jorge Ciccioli's 'TD8' has a deliberate intention to create momentum, with a deep, penetrating baseline that rises to the occasion by descending the darkest depths of its own digital horizon. In the midst of the mix the listener is greeted with a clever chorus that effectively sounds like air vibrating, or in layman's terms "blowing", within an empty glass bottle. As it goes through the motions, observe how every note is noticeably nuanced in an effort to reflect the subtle changes that take place.
Closing out the release and year for Silencio, is Laughing Man with 'Reach Out'. Hard, heavyand heavenly are all terms that could be used to express the sentiment of this selection.
Notice how right from the get go this production profoundly pounds out its agenda with a solid, speedy beat that relentlessly rocks throughout the recording. Accompanied by aseries of wavy, spirited vocal layers, ringing bells and an inspired intersection of cymbals,this track is one hell of a ride that will enable you to make contact with the other side.

Muzik & Friendz purple patch continues, literally, with a purple screen printed vinyl release from Belgian duo Le Babar & Pat Lezizmo 'Last Call' featuring Anano delivers two impressive originals coupled with a heavyweight international remix package making this the 7th outing for the Belgianbased label.
'Last Call' the original mix brings together tight classic house grooves a killer bumping bass line and the sexy vocals of Anano into a house track with real crossover potential. Denmark based Alvaro Hylander's mix goes deep, balearic and full of filtered rhodes, lush percussion with a tribal edge and breaks highlighting the sweet vocals, a perfect bar grooves shoulder shaker.
London based Frenchman Giom plays the ace card in the package with a foot stomping remix full of his own signature drum workout and ability to weave melodies and filtered breaks into a
package that has seen him release on the likes of Defected, Bunny Tiger, Toolroom and top the charts with his own label Supremus. Already tried and tested on his last US & Canada festival tour we fully expect many outings at the closing parties and festivals later this year.
Closing off the EP nicely the piano led 'Move Me' brings an upbeat and old school vibe full of stabs, vocal chops and a lush sax infused break perfect for sunsets and warm ups to boot.
Designed with the music collector in mind the limited vinyl release will be available packaged in hand made sleeves made from recycled materials.

Rotterdam based duo ARKVS release ''Oppression EP'' through the PRRUK black series. The result is an exciting package of futuristic techno sounds and searing drums. The duo has managed to find a perfectly executed trip throughout the different sides of ARKVS. While the general tone is darkish throughout, there are some uplifting atmospheres and hints of hope to be found in this package. While the title track is a thumping piece of dancefloor techno, the cinematic voyage ''Our Deepest Fear'' is a stand-out production of adventurous electronics. On the B-side we find ''Chose To Defy'', which is a tough work of dark techno and the somewhat more mellow ''Nonviolence'' on which an intrusive bassline is combined with some beautiful synth sounds.

***Strictly Ltd Edition (500) 12' Blue Colour-In-Colour Vinyl & Limited Edition Matt Sewell Phenakistiscope Print With Initial Copies***

Matt Sewell's A Crushing Glow' was a great success upon release in spring 2014. A Compilation album like no other it was lovingly curated & designed by Matt. A most carefully crafted & truly genre-blending collection, it was valued & appreciated by many including Lauren Laverne on BBC6 Music. Recognising the magic within Matt's unique design package, she awarded the
collection her coveted compilation of the week.

Sequentially, last year followed the 50 minutes of The Gayatari Mantra on a golden 12'. Performed by Bollywood playback singer Anuradha Paudwal & her daughter Kavita Paudwal, this holy mantra drew plaudits & acclaim including BBC6 Music plays from Jarvis Cocker & Soho Radio & love from tastemakers Test Pressing & Vinyl Factory.

Now, CTR is proud to offer a brand new A Crushing Glow collaboration with esteemed London based producer DrumTalk, whose output has graced labels such as Tru-Thoughts, Soundway & Huntley & Palmers. Matt has curated this release & created, once again, very lush sleeve artwork.

Speaking of the 12' Matt suggests that Commissioning DrumTalk to make some new music for A Crushing Glow Presents was a crystal clear choice to make. He continues: Those that are down
with his house trax will be aware of a depth that runs through his music. I've known DrumTalk for years and I know that current runs deep. Surfing on synth waves of endless barrels of cosmic
vibrations, DT takes us on a journey from the blackness into the blue and beyond.

DrumTalk himself describes A Crushing Glow imprint as: A series that has been continuously loved by many. Variously described as 'cosmic', 'spiritual', 'joyful', and indeed 'transcendental'.

This latest release in the series, we suggest, is no exception...

DrumTalk aimed to craft a 12' that would unravel gently & then encapsulate the very unique essence of A Crushing Glow. Decide for yourself if you consider this done.

Caroline True Records are very proud to present this deep and lovely work - housed in lush artwork conceived & produced by Matt especially for this release.

The man who views life in constancy is destined for stagnation. Everything is change, everything is motion. Atoms to galaxies, seasons to lives. Together in motion. The powerful force brings together, spinning together. Be magnetic. Music is the magnet that brings together and makes us spin. With subtlety, the aptly named Gyration EP begins its spin as minimalist synths assault with increasing frenetic abandon. Under the guise of apparent simplicity, Rekord 61 abducts the mind to a realm of constant motion. A futuristic merry-go-round stuck in overdrive, adrenaline spikes and neon lights smear across your vision. Unbalance and Ari Atai produce remixes of Gyration and Ferrimagnet that brings the machine to life. With catchy sequences and galactic atmospherics, the remixes imbue organic energy to the unwavering motion of the original tracks. Bringing the revolutions back under control, the efforts of Ari Atai and Unbalance expose dubby layers, pounding drums and melodic texture. Let the breakneck pace of Rekord 61 race through your mind, then let your soul reverberate with the timeless melodics of the remixes.

After the first successful record, Danish label front man Gaze ill pursues another excursion through the ever-growing Dubstep-spectrum. He returns to his own physical outline of Cue Line Records with four hefty cuts that surely make up another stellar record, however he s not alone. Last time it was his partner in crime RDG, this time its frontline support from the Dutchman & bass mammoth TMSV , who s given Space-Time a completely different spin.

CLV002 opens up with a serious wobbler: one that is reminiscent to the golden days of the fundamental Dubstep sound, but housed in a completely different straightjacket. It swiftly sets the pace, as the wobbles escalate into the leading element of the destructive Space- Time . The second cut by the Danish producer adds the step to dub music so to speak and lively resembles King Tubby on a Dubstep flex. Watch out for that naughty second drop, which holds
nothing but booming vibrations that ll hang fans upside down. Spirit Of The Forces unveils an equally refreshing take on bass music thanks to the creative structuring of both low-and-high melodies. This allows listeners to take flight
easily and fly away from what we call reality an excellent track for both spring and summer time. TMSV s spin-off is as bright as its forerunner, but far more up-tempo and hypnotic. Utrecht s producer instigates a spacious stepper that defeats time & momentum by incorporating his raw remix techniques. The right remixer for the right record: Cue Line Records at its best!

You could be forgiven for thinking Basso's been hitting the plant food of late. Last time out we took a trip with Trance, and now our esoteric expert nods his head, rolls his shoulders and drops a h-h-h-house record on our unexpecting asses. That's right folks, roll up the rug, push the sofa back and enjoy some ‚Personal Growth' from James Booth.
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Operating a million miles away from the kick and hiss of the trendy lo-fi folks, the Berlin based producer favours subtle rhythms, delicate textures and tender melodies - turning out a string of sophisticated dance floor winners for 100% Silk, Church and No Bad Days. Now he brings his organic house stylings to the Growing Bin with a fresh five-tracker packed with all the warmth of a Tempelhof picnic on a balmy July afternoon.

Emerging from the watery depths of the Drexciyan ocean, opener ‚Mood' strides calmly through the morning dew, stretching those loose limbs and seeking out Hardcastle's rainforest. Drifting freely
through immersive, aquatic pads and soft focus melodies, the track takes in a little R&R before snapping electro percussion, cascading synthlines and a rolling rhythm up the intensity. The deepness continues on the A2 as ‚Dream Precipitation' offers a medicated vision of Debussy doing P-Bar while Lynch rolls the cameras. Syncopated hi-hats, jazzy keys and star-gazing sine waves wrap themselves around your cerebellum, expanding your mind as a steady kick moves your body into the pleasure zone. Booth takes a Derren Brown tip on the flip, imbuing ‚You' with the kind of mesmeric rhythm that can make the staunchest wallflower pull a Pink Panther on a packed dance floor. The exotic tumble of woody percussion and hissing castanets keep up a fascinating rhythm, driving the titular mantra and snaking synth melody through bursts of slapped bass and subtle 4/4. ‚Dhoop Stick' stays on board with the boogie hypnotism, weaving its way through celestial melodies, squelching bass and toasty Rhodes before ‚The Chorus' brings down the curtain with wailing FM vox, military snares and the dreamy synth pop charm of a lost Sheffield classic. Warm, woody and entirely organic, this is the birth of Green House...you heard it here first!
(words by Patrick Ryder)

All the beats, tracks, and harmonies that Vega Records release have a story behind them, 'UNION DANCE (LOUIE VEGA REMIX) - DJ CLOCK FEATURING MADAME-X's begins where most great things do as far as we are concerned.... under a mirror ball in a dark club! One night, (well really EARLY morning to be honest) while Louie Vega was vibbing in the booth, listening to Timmy Regisford work it out for a packed NYC dance floor a wild beat caught his ear. As Louie looked over and saw the crowd confirm exactly what he felt he turned to Timmy with a smile and said "that beat is hot, let me get that", and from that moment UNION DANCE's story began with Louie Vega.
No surprise to Louie, DJ CLOCK of Durban South Africa was the mastermind producer behind this fiery beat. DJ CLOCK is practically a house hold name in S.Africa since he first got into producing and djing in 2007. He's collaborated with some serious heavy hitters including Fistaz Mixwell, Euphonik, Oskido, Chynaman et al and has become the go-to producer for compilation albums across his continent and now with Louie Vega he's making his way to all of us. This gritty beat captured every emotion that makes you go in even harder at 3am... It had heat pumping out the system but it was missing something as far as Louie was concerned.
The missing element was the incomparable force that is MADAME-X, known to many as a sexy sultry vocalist by all accounts but there is a force living within HER expressed only as MADAME-X. She interprets the words of Maya Angelou with the utmost confidence and conviction. A powerful woman, with her raw, unapologetic edge MADAME_X pro claims "I WANNA DO THIS MY WAY" transforming a hot beat Louie heard one night into a FIERCE TRACK to ignite crowds around the world today!
UNION DANCE (LOUIE VEGA REMIX) - DJ CLOCK FEATURING MADAME-X reminds us that not only is it ok but its necessary to OWN THE DANCE FLOOR! This right here is for the djs, the dancers and all those who truly understand that HOUSE MUSIC IS A FEELING!
AVAILABLE AT YOUR NEAREST VINYL OUTLET. DISTRIBUTED BY ABOVE BOARD DISTRIBUTION, UK & MANUFACTURED BY OPTIMAL, GERMANY

Finally, the long awaited third part of the EXTRAWELT trilogy on Cocoon Recordings is on the way, and with this advance 12 release of 'Fear Of An Extra Planet (Blackout)' and 'Hail The Whale' we are given an incredibly strong first impression of EXTRAWELT's third Album. "Fear Of An Extra Planet (Blackout)' in particular, has the potential to become a monumental club hit. The title track from the new EXTRAWELT album is, strictly speaking, more than just a maxi-version, it's almost a separate EXTRAWELT remix of the original, fully optimized for the clubs. Arne Schaffhausen and Wayan Raabe have let loose a real bass and drum monster on us. From the very first second, the doubled-up kick bursts from the bassbins to signal the journey into this new EXTRAWELT adventure is underway. The acid-heavy bassline completes the pressure-packed arrangement until the track suddenly stops dead. Sometimes it's just so simple and effective to completely hit the brakes before re-energizing and building up to full speed again. The 12 version of 'Fear Of An Extra Planet (Blackout) 'is a powerful techno bomb and for us - one of the highlights of the year! The exclusive, non-album cut 'Hail the Whale", starts off a little more subdued. However, the cool old-skool cowbell intro with light Chicago house touches soon develops an energy through a driving electro bassline that shakes us from the initial calm. Although 'Hail the Whale' doesn't appear on the album, it perfectly represents the science fiction sound aesthetics on EXTRAWELT's new LP. Sci-fi FX, distorted vocals and dramatic synth lines envelop us in an extremely intense soundtrack atmosphere. From warp speed space travel to misty wastelands on strange planets and breathtaking pursuit scenes, 'Hail the Whale' conjures up all manner of images as it hammers from the speakers. To be honest, the notion of 'grand cinema' has already been used too

'Afro Rock Vol. 1' is one of the most important compilations of heavy original '70s Afro funk and soul to be released in recent years. Originally surfacing on Duncan Brooker's indie Kona label in early 2001, the album single-handedly kick-started the thirst among jazz, funk and soul fans and 'diggers' to rediscover lost music from Africa made during the '60s and '70s from a time when many countries were gaining independence and celebrating a Pan-African identity within their music. The album was one of the frst to reach a far different audience to the traditional 'world music' market and spawned many further projects and labels in its wake. A year later, the 'Nigeria 70' compilation surfaced on Strut and labels like Soundway and Analog Africa would continue to unearth amazing lost gems from the Motherland. The album is testament to the determined work of Brooker following several research trips, especially to East Africa - Kenya and Zaire. It brought to light East Africa's fnest funk band, Air Fiesta Matata, led by the recently deceased Steele Beautttah, 'The Nigerian James Brown' Geraldo Pino from Port Harcourt in Nigeria, and the storming Afro jam 'Yuda' by Dackin Dackino, a previously unreleased gem from Zaire discovered on a discarded reel. The album has remained infuential since its release with tracks appearing on other Afro compilations and on TV and the big screen - Jingo's 'Fever' featured in Kevin McDonald's 2006 hit flm, 'Last King Of Scotland'.Out of print since 2015, the album is being reissued on Strut in its original form with the extra dynamite unreleased psychedelic cut by Kenya's Ishmael Jingo, 'Keep On Holding On' taken from the original master tape. The package features the original sleeve notes by Duncan Brooker along with new additional notes providing further background to the album and tracks.

Scissorgun are a two-piece soundscape project from Manchester comprising Alan Hempsall (of Crispy Ambulance) on treated guitars, vocals, prose and trumpet, and David Clarkson (formerly of Triclops and Illuminati) on synths, keyboards, drum programming, rhythms and percussion.

The duo came together in the summer of 2016 with a view to creating spontaneous music, and by November had laid the foundations of Assault Two, their debut release, so named because it is the second release on Aural Assault Records, whose first outing was the debut single by Crispy Ambulance way back in April 1980.

This special 10' and CD package is released in a limited edition of 500 copies. The extended CD features longer versions of the five tracks on the vinyl disc as well as two bonus cuts. The artwork is by Pascal Blua.

ALFIE DAVISON first came to prominence in the early seventies as a DJ on the New York dance scene breaking cutting edge singles such as Soul Makossa' by Manu Dibango. Eventually he hit with his own song -- Who's Gonna Love Me' -- recorded by The Imperials and breaking the U.K. Top 20 in December 1977. Davison did record his own version which saw a release in the U.S.A. on the RCA imprint, but it failed to chart.
However, it was his sublime single - Love Is Serious Business' - that propelled him into the Northern Soul Hall of Fame. Released on Mercury Records in 1979, in both 7 and 12-inch formats, it was an instant hit in the North of England where it packed the floor at Wigan Casino courtesy of the forward-thinking DJ Richard Searling who, at the time, favoured the rare 12-inch import.
Sadly, the song failed to chart despite a favourable reception in the trade magazine Billboard, although, oddly, it was reviewed in the Pop', rather than the Soul' section. Davison was completely unaware of the serious' club action that the song received in the U.K. and he never performed it in public, until Ian Levine met up with him at the dawn of the new millennium, in Brooklyn, for the filming of The Strange World Of Northern Soul'.
Alfie Davison passed away in 2014 and leaves behind a small but precious legacy that will be forever cherished in the Hearts and Souls of Northern Soul fans worldwide.

Roman producer (and a force behind MinimalRome label) Valerio Lombardozzi known as Heinrich Dressel returns to Barba with a second release for our label, titled "The Styx Swamp". Heinrich has a unique way of combining classic techno and electro sounds with elements from the beloved Drexcyan universe and John Carpenter leitmotifs, and making them come together in a manner that both moves your body and pushes your mind beyond the point of awareness. As with the previous record, "Lurking Underwater", here he pulls off the move with the same efficiency and without sounding like he's repeating himself. "Gray Slope", "Sailing The Nether Waterways" and "The Styx Swamp" are all quite moody and deep, rich with sound and thick with vibe. However, the tracks feel equally at home in 4 am techno situation and a heady afterhours affair. He truly is a master of crafting hybrids whose influences get so flawlessly embedded that it's hard to point them out. If that's not enough, "The Styx Swamp" got a treatment by Nigel Rogers aka Perseus Traxx, a multi-faceted producer and a mighty live act performer. Nigel stayed respectful to the original but made the original's bouncy groove into something more direct and reduced, while retaining the same feel conditioned by lead synth's hypnotic quality. We're known to give a little bit of extra love to our releases so (as all before) this one's pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by EmaEmaEma.

Having made her mark on Brazil's rich musical legacy with three best-selling albums to date, Rio's original nu-bossa queen returns with a tour de force of golden-era Brazilian soul music. From the spiritual swing of the early pioneers of modern Samba, to the dizzying hedonism of Brazil's eighties disco/boogie craze, Clareia is a life-affirming journey through the rich and varied sounds Sabrina Malheiros has been immersed in since she can remember. For her most up-lifting and danceable album to date, Sabrina has (as always) enlisted her father Alex Malheiros - bassist of samba jazz-funk legends Azymuth - and visionary London based producer Daniel Maunick (aka Dokta Venom), son of Incognito's Bluey.

Sabrina Malheiros' career has often been characterised by her place in the succession of those special Brazilian women who, with unmistakable talent and effortless grace, have encapsulated the magical energy of Brazil with their voices. Elis Regina, Astrud Gilberto, and Joyce all had it, and Sabrina Malheiros has it in spades.'(MOJO) With her debut album Equilibria in 2005, Sabrina arrived on a wave of instant acclaim, carving out her place as the pioneering voice of a new brand of Brazilian soul music, rooted in the traditions of samba and bossa, but with an edge of contemporary electronic sophistication. Sabrina's innovative nu-bossa sound would continue with the 2006 remix album 'Vibrasons' followed by sophomore 'New Morning' - declared the best album of summer 2008'(Evening Standard), before 2011's best-seller Dreaming.

Six years on, Sabrina returns with Clareia. Itmeans to clear, light, brighten or illuminate, which, after seeing Brazil and the rest of the world go through some very difficult times, is exactly what the writing of this album brought to my life.' All tracks are written by either Sabrina, or in collaboration with her father Alex Malheiros and producer Daniel Maunick. Written and recorded in Niteroi, Brazil, overlooking Gunabara Bay and Rio's beaches, mountains and forests, the music basks in its surroundings and sings of ecological beauty, peace and sanctuary. Echoing Sabrina's emphasis on clarity, Alex notes that the album's title represents an appeal to the minds of our civilization today, to clear our thoughts for good and for peace.'

This pursuit of clarity continued into the studio: It took a little longer than usual' notes Sabrina, which was good in way, as all my previous albums were recorded in rush and we usually had a week for pre-production and another week in the studio, which always gave me the feeling that I could do better. With this album it was different... we took our time.'

Sabrina's unmistakable voice has never sounded better. Packed out with high-octane swinging samba-soul, like the title-track and 'Salve O Mar', the album also features some bottom-heavy Brazilian boogie cuts, like rejoicing album opener 'Celebrar' which harks back to some of Marcos Valle's cult '80s disco output, and 'Sol Ceu E Mar' is a Tania Maria-esque future classic of scorching latin-funk. Mellower moments are found in 'Em Paz', on which Sabrina's beguiling harmonies find an anchor in the rhythmic acoustic guitar of Ze Carlos', who Sabrina heralds as being the best guitarist I have ever worked with'. Azymuth's keyboardist Kiko Continentino's deft Rhodes, piano, organ and synth playing, add ever more textures of distinctly Brazilian brilliance throughout, while tropical brass and flute arrangements on cool bossa-jazz movers 'Vai Maria' and 'Sandore', come from Brazilian saxophone legend Leo Gandleman, a man who has worked with everyone from Gal Costa to Gilberto Gil. The rhythm section combines Daniel Maunick's seamless drum programming and the organic polyrhythms of Brazilian percussion legend Jakare, all punctuated by Alex Malheiros' inimitable (occasionally slapped) jazz-funk bass, giving the album its irresistibly danceable pulse.

Set for release at the height of summer this year, Clareia is an intergenerational masterclass of Brazil's soulful spectrum, led by a pioneering voice of today's scene on the very top of her game. The up-lifting compositions, which take inspiration from the stunning natural beauty amongst which the album was made, and the call for the clarity of mind needed to preserve it, are enriched by this special team of some of Brazil's most established musicians. Like the sun breaking through tropical storm-clouds, Clareia is a vessel of joy, as Sabrina puts it simply, I hope Clareia brightens the soul of whoever listens to it. That's the spirit of this album.'

New York's P. Leone is back with the second release on his newly launched E-MISSIONS imprint featuring Work Them Records founder Spencer Parker on remix duties.Born and raised in Brooklyn, where he discovered the legendary Storm Rave parties run by Frankie Bones and Adam X, P. Leone cut his teeth DJing in the Lower East side of Manhattan before making techno himself. Before long the producer dropped his first two releases on Work Them Records, joining a roster spanning Radio Slave, Spencer Parker, Young Male, Anetha and Physical Therapy. E-MISSIONS was then launched in early 2017, acting as a platform for co-founders P. Leone and CAIAZZO with more exciting artists soon to be announced.'Discipline Signals' is dark and robust from start to finish, with 'Functions of Discipline 1' inaugurating the package with resonating kicks, trippy elements and industrial synths. 'Functions of Discipline 2' follows a similar aesthetic but heads into a deeper direction with its cavernous atmospherics and glitch inspired effects, making way for 'Laced' with its sinister drones and tantalising melodies. Spencer Parker then remixes 'Laced', concluding matters with rugged drums, energetic hi-hats and a rumbling low-end.

More Than Less, started from Seoul, South Korea, came back with 4th Vinyl release Folka EP, composed by Joton, owner of Newrhythmic Records, based in North Spain, Leon. He is also part of More Than Less records, releasing "Fragment EP" with Soolee remixes in 2014. It had great success and been supported by many producers like Surgeon, Pacou, DVS1, Invite ,Lakker, Paul Mac, Samuli Kemppi, Unam Zetineb, Jeroen Search and many more. "Folka EP" has two new tracks, called "Frontier" and "Sendice". These two tracks are remixed by Japanese Techno hero, DJ Nobu, and Korean Techno pioneer, Soolee, again. The "Folka EP" represents the conjunction of AsianEuropean Techno, which More Than Less has been pursuing. "Frontier" has pure anlalog synth sounds with addicted melody line, based on rough sound textures. It s obviously for the peak time of the dance floor. "Sendice" has unique grooves which Joton s trademark and adding rhythmic loops gives numerous dance feelings. "Frontier", DJ Nobu remixed, gives hypnotic raw sounds and exotic feelings. It has subtle rhythmic factor and people can t help moving their body. Another remixer is, More Than Less Records owner, Soolee. It is 9 minute track, consisting with full of hypnotic sounds from the first to the end

After a long standstill, Elypsia Records is back in full-effect with an amazing release by SCAN 7, an artist collective from Detroit whose existence goes back to the early days of Detroit Techno. Scan 7 is considered by many as a pioneer of the underground Detroit sound. This new release features the original version of Scan 7's 'Burdens Down", a brand-new song written & produced by Detroit-techno newcomer Mr. Hooper featuring Maurice Jackson on vocals. The track - which has been performed live at the Movement Festival 2017 - has been very well-received by Detroit insiders who see it as a new classic song of the genre. The package also includes the Terrence Parker's Radio Edit of 'Burdens Down' and the gospel-influenced 'Thank You Lord".

Last volume of this compilation series, again a great one.., Holding amazing tunes from across the globe that you probably already have been looking for.... TIP!!
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Over the last five years and as many volumes of their Beach Diggin' compilations, Guts and Mambo have explored the reefs of five continents, dredged the sea beds of countless seas and oceans, examined every single seashell with the aim of making sure that no vinyl pearl should escape their notice.

Tunisian reggae, Japanese disco, West Indian jazz-funk, the duo's aesthetic dribbling skills would stop the savviest Brazilian football player dead in his tracks, and it was with this in mind that they proceeded to select their discoveries. With a marked preference for meditative free-diving rather than tour package scuba diving, and isolated spots rather than massively overdeveloped beachfronts.
For this latest instalment of their adventures, Guts and Mambo have organised another expedition around the world, to salute the spots where for the last five years they have uncovered rare specimens, saving some of them from total extinction, while shining a light on others that amply deserved it.

Though each Beach Diggin' compilation can be listened to independently of the others, the five together now form a kind of navigational chart signalling with its green flags the places where, in Africa, Europe, Asia, America, and the South Pacific, they gambolled on sandy beaches, avoiding the well-trodden path, becoming more and more demanding with each passing year.
Beach diggin' is a state of mind...