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*PRESSED IN DETROIT - OFFICIAL* Next in the string of Metroplex reissues is 'Nature of the Beast' - a total classic by duo Mike Grant and Damon Peterson as Black Noise. Another techno essential. BIG TIP!

Scottish Producer, Stephen Lopkin Is Back On M>o>s Deep With A Great Double Pack Of That Gleaming Sound We Love Him For! Tip!
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Having Released Two Eps On The Label Since 2014, Stephen Lopkin Now Steps Up To Mos Deep With A 2x12" Release Entitled Clyde Built, Recorded In His Home Town Thornliebank. The Scottish Artist Has Been Making Prickly House And Techno For Almost A Decade. His Style Is Serene And Slick, And Across The 10 Tracks Here He Manages To Conjure Tracks That Work In The Club But That Come With Plenty Of Cerebral Qualities.

He Never Made A Secret He Takes A Lot Of Influence From Early Detroit Techno, Even Several Track Titles Pay Direct Homage To His Musical Heroes Like Derrick May, Kevin Saunderson, Carl Craig And Also The Track New Euro Politique Is Made In Memory Of The Late Uk Producer Matt Cogger Aka Neuropolitique.

'welcome To Nowhere' Kicks Thing Off With Languid House Grooves And Jittery Percussion, 'matrix' Is Awash With Swirling Pads And Astral Grooves And 'new Euro Politique' Is A Blizzard Of Kicks, Panning Percussion And Arpeggiated Synths That Glows Bright. There Are Darker, Driving Cuts Like 'fridays At Pure', Trippy Offerings Like The Title Track And More Thoughtful And Pensive Jams Such As 'qinosen'. The Final Three Tracks Are Busy, Electrifying Pieces That Fire Every Synapse With Their Sci-fi Fx, Crisp Drums And Cinematic Atmospheres.

The Whole Album Is Wrapped Up In Majestic Synth Work And Every Track Reveals More Layers With Each Listen. Offering A Sublimely Complex House And Techno Sound, These Tracks Look Back To Go Forwards And Do So With A Real Timelessness.

On their very first shot, Count Five, one of America's most exciting mid-60s garage rock groups, hit the bulls-eye. And, fittingly, on Double Shot Records, a hot new label that was also making its debut. For both, it was a giant hit, "Psychotic Reaction," a driving, pulsating sound that zoomed to the top of the charts. To the five youngsters from San Jose, CA, "over-night" success came after 18 months of rehearsals, experimentations and unique innovations. Thanks to a tip from popular disk jockey Brian Lord, Double-Shot Records signed Count Five to a long-term contract in the summer of '66. The instant success of "Psychotic Reaction" prompted the release of this album of the same name, their one and only full-length studio record, which also includes covers of The Who's "My Generation" and "Out In The Street." 180g vinyl reissue with Stoughton jacket packaging.

In 1982, a group of friends deep into post-punk, jazz and dub got together in Mad Professor's studio and lay down their youthful interpretation of a NYC disco cut. Their unique take included trombone, vibraphone, piano, and an ital dose of tape delay. They called the song Trouble and released two versions (vocal and dub) on their friend Tony McDermott's !Drum! label with artwork inspired by Russian Constructivism. TIP!
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The group, comprised of Justin Langlands, Chrysta Jones, John Schofield, Tom Dixon, and Dave Killen, decided to call themselves A-Team, having no idea that Mr.T and Co. would make them almost totally ungoogle-able 30 years later. The result of their adolescent studio idealism sounds akin to otherdisco misfits like Arthur Russell, Maximum Joy, Talking Drums and wouldn't sound out of place on legendary NYC label 99 Records. Remastered with an extended Club Dub formaximum dance-floor action.

Beautiful 1 LP Edition with 350g cardboard old Stoughton tip-on sleeve, Sticker - MKWAJU ensembleâs highly sought-after album reissued on vinyl for the first time since 1981. Also available on CD. - 33 rpm LP mastercut by Emil Berliner from original tapes! WRWTFWW Records is over the moon to announce the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takadaâs MKWAJU ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios and housed in 350g old Stoughton tip-on sleeve, and a digipak CD. A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takadaâs exploration of minimalism, African rhythmic tradition, and ambient music. The album takes its conceptual inspiration from the tamarind ( âmkwajuâ in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the regionâs culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambientâ¦the ideal companion to her majestic Through The Looking Glass opus!

After bursting onto the scene in late 2017, Hyperloop makes his Drumcode debut with Green Velvet in toe.His 'Mentalizm' EP is a classy example of his versatility, a trio of original works, accompanied by two DJ tools. Beginning on a menacing tip, 'In Your Mind (Reflections)' is a low-end brew of industrial stabs, eerie melodies and subterranean vocals.
'S-Sound' is his collaboration with Chicago legend Green Velvet and is a percussive masterstroke of loops and drum riffs which drive the eight-minute track with all the puffing ferocity of a steam train. 'Spring on the Battlefield' is the perfect contrasting accompaniment, as a warm rush of strings covers a bed of intricate analogue effects and stomping kicks.

Lost Ep featuring Steve Poindexter, Johnny Key and Trackmaster Scott. On wax for the first time and bought to you by L.A.C.R. Recorded in Chicago during the mid 90's. BIG TIP!

The hotly tipped UK artist makes his debut for Drumcode's vinyl only off-shoot. Focused on showcasing cutting-edge underground techno, Adam Beyer's always got an eye on the future when curating Drumcode Ltd. Taking inspiration from the likes of Marcel Dettmann, Truncate and Planetary Assault Systems, Turner's four-track debut 'Don't Talk To Me About Style' was birthed in his home studio throughout 2017. The industrious Brit delivers a powerful peak-time EP of nocturnal techno that moves between different moods. The title track pops with a thick grinding bassline and trippy synth effects, before 'Escape' envelopes you into a subterranean world. 'Diodes' follows, a fantastic slice of electrifying techno that bucks like a rodeo bull. The EP concludes with the blazing 'Tunnel', that makes its mark with deft drum arrangements and a piercing call-to-arms siren.

Fresh off the back of the languorous poolside disco and tropical pop of their debut album 'Shapes On Shapes' released last November, LA based duo Wild & Free return with a collection of essential remixes from label mates and influences alike by revisiting the heady disco of recent single 'Ferns and Stuff'.
Both multi-instrumentalists, singers and producers in their own right, Wild & Free duo Drew Kramer and George Cochrane came together in 2015 and have spent the past 2 years crafting a series of acclaimed EPs and remixes (for the likes of Joe Goddard (Hot Chip), Panama, Gigamesh, RAC and Ben Browning of Cut/Copy) that saw them tipped by the likes of Spin, XLR8R, Indie Shuffle, Clash Magazine, Data Transmission and many more and take their live show on the road playing alongside the likes of Brooklyn's Body Language.After releasing a few solid ep's and two full lengths album's Xinobi has gained real recognition among established and well-known artists and opinion-makers, and his underground cult has amplified. What has followed is remixes, edits and reworks for artists such as Sbtrkt, The Avener, John Grant, Toro Y Moi, Nicolas Jaar, Agnes Obel, Kris Menace and Tensnake.Along with Moullinex and Mr. Mitsuhirato he gave birth to the still-growing-influent Discotexas who here lend their label mates their expert musical arrangement skills with 'Discotexas Club Mix' thrown in for good measure. And it doesn't stop there, with legendary New Yorker Justin Strauss, who has produced and mixed records and remixes for the likes of LCD Soundsystem, Beyonce, La Roux and Goldfrapp contributing a 'Whatever/Whatever' mix as part of the slick and hugely influential production duo he formed with Bryan Mette.
Already noticed for his remixes and array of collaborators and with several releases under his belt (including a track on the 'Bonjour Colette' compilation), Tokyo-based Yuki Abe AKA producer/DJ Boys Get Hurt gets his inspiration from the melancholic feelings the end of summer inevitably brings about, a personal and evocative sensibility in tune with the land of the rising sun's delicate culture. Yuki expertly crafts bouncy disco-house music with sprinklings of electronica, indie, ambient, hip-hop and R&B. Here he adds a mix with a loose and joyful feel that fits the sentiments of what Wild and Free represent perfectly.

Extremely hot on the heels of 'A Library Excursion', Earl Jeffers teams up again with Don Leisure, his partner-in-beats for another EP of Darkhouse Family goodness. Following on from their highly acclaimed debut album 'The Offering' from late last year on First Word, the Cardiff duo have hand selected a group of friends, dons and legends (including DJ Spinna & Kaidi Tatham) to serve us up 'An Extra Offering'. Five remixes curated by the crew.

For the refix of 'The Accession' (which originally featured Kamaal Williams, Dave Newington and Daf Davies from Boy Azooga), label-mate Kaidi Tatham kicks off with some down-low bottom-heavy boom bap, before switching up the tempo mid-way for a blast of his inimitable jazz-funk bruk boogie.

Next up we're honoured to have not one, but TWO tracks from the Brooklyn legend, DJ Spinna. His Galactic Soul rub of 'Another World' flips the original into a deep soulful 4/4 house cut, featuring the lush vocals of Esther (and one Charlotte Church on backing vocals, pop fact fans).

Then there's DJ Spinna's Galactic Funk take on 'Just So You Know' with the marvellous Vanity Jay on vocals. This one is on the same mid-tempo tip as the original, but with that unmistakable Polyrhythm Addict flavour of big kicks, crisp snares, hench bassline and sweet spacey synths.

For the 'GAEA' remix we keep it Cardiff and introduce the man like Alfie Swan. Doubling up the tempo of the original, this adds some seriously wavy sonics and flips the groove entirely, creating a seriously innovative cocktail of riddims. One for those not shy of some jazz ethics in the dance.

And to close out this offering, Andromeda Jones lays down a ridiculously delectable broken beat mix of 'Journey To Love', this one again featuring Vanity Jay. No messing with this one, this is straight dancefloor fire, transforming the hip hop soul track into a future boogie heater. One for the ravers.

This EP illustrates once again Darkhouse Family's wide range of influences and sounds, as selectors and as music makers themselves, and is no doubt one that will stay in your box for a very long time...n

Black Deer returns... (70g, 7inch). TIP!

Mgun, Or Manuel Gonzales To His Friends, Has Long Been A Fixture Artist For Dba. Since Making His Uk Debut On The Label In 2012, Having Already Featured On Detroit's Celebrated Wild Oats Imprint, He Has Smoothly Yet Slowly Progressed Through The Presses Of Fellow Dance Music Tastemakers Third Ear Recordings And Kiev's Wicked Bass. Following 2016's Warmly Received 'gentium', 'axiom' Finds Manuel Gonzales Back On Dba With An Index Of Offbeat Jams That Couldn't Have Emerged From The Mind Or Studio Of Any Other Producer.

Once More Envisioned And Engineered In His Native City Of Detroit, The Record Finds Mgun In More Auspicious And Domestic Circumstances. Now Firmly A Father And A Homeowner, 'axiom' Allows Gonzales To Flex His Party Muscle, While Further Pushing The Elastic Boundaries Of His Notoriously Unpredictable And Brilliantly Raw Production Style. Across Twelve Tracks, Listeners Are Offered An Unpredictable Trip Into The Restlessly Experimental Snatches Of Studio Time Gonzales Is Afforded Away From His Day Job At The Legendary People's Records Store. It's Here That Gonzales Absorbs Endless Releases And Rediscoveries Passing Through The Stock, Trading The Occasional Tip With Some Of Detroit's Best Known Producers.

Beginning With The Off-kilter Funk Of 'you Inside Me', 'axiom' Expertly Toes The Line Between Full-bodied, Soulful Club Weapons ('you're Never Home', 'nichrome'), And The Sort Of Lo-fi Tinged Jams That Enable Gonzales's Unusual Weirder Hooks And Rhythms To Extend Into Something Altogether More Hypnotic And Psychedelic ('kartwheel', 'sil').

There Are New Sounds And Approaches Throughout. Centrepiece Track 'see It For Myself' Finds Gonzales On Vocal Duties For The First Time, And The Dystopian Tinted 'vap' Finds His Sound Expanding Into Weightless, Dreamlike Electro. And While Certain Tracks Date Back Years, Having Slowly Matured To Full Funk, Others, Such As The Gloriously Unhinged '359' Were Rapidly Produced To Capture The Inspiring Energy Of A Late-night Glaswegian Rave.

Simply Put, 'axiom' Does The Work Of Representing Mgun At His Musical Best, An Analogue Celebration Of Pure Party Potential.

Two edits of seminal Craig Mack tracks. Flava In Ya Ear Remix edit features a verse from the remix by Notorious BIG. The Get Down remix features production and a verse by Q-Tip.

Making his debut on the label, Spanish producer Kuo Climax is welcomed to the Hot Creations fold. A solid two track release that has already been heating up dancefloors across the globe, the talented artist showcases his distinct style and proves why he is hotly tipped for 2018.

The EP opens up with Whyte, a pulsating track with a warped bassline and oozing synths. Two and a half minutes deep it disperses into a breakbeat-esque breakdown that dives back into the familiar 4/4 beat. Title track Nacrem is a smooth roller with an underpinning bass and intergalactic vocal stabs. The EP highlights the Spanish producer's ability to bring balance to his output, providing music perfectly attuned for the floor.

Born in Malaga and now residing in Barcelona, Kuo Climax has released on respected labels such as Knee Deep In Sound, Solid Grooves and VIVa MUSiC. 2018 will see the producer launch his own vinyl-only imprint, LFOFL, that aims to recognise the progress in technology without losing the essence of true dance music.

Oddball space disco/fnk tracks, composed between 1970 and 1985. Big tip!
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A master of the mixing board, from the late 60s until the 90s Bernard Estardy was the wizard of French musical recordings. As head of CBE studios, he shaped everything from Gérard Manset's concept albums to Claude François' hit singles, Françoise Hardy's delicate tear-jerkers and Michel Sardou's soul-stirrers. This giant' had his hand in the whole range of mainstream French music by making his studio a veritable playground for experimentation. His legendary album La Formule du Baron,' released in 1969, and the eight LPs of production music he made between 1974 and 1978 for Tele Music are vivid proof. In the CBE studio, which she runs today, his daughter Julie Estardy discussed his singular career.

NOTHING BALEARIC OR BREAKBEATS TO BE FOUND ON THIS. ALSO WOULD PROBABLY NOT ROCK THE BRILLIANT CORNERS FLOOR. KINDA BIG TIP!

Independently released album of 80s influenced / new era Boogie, Disco and Jazz fusion performed and recorded by Skymark. Great songwriting and drum programming skills are on display throughout while he deftly works an array of synths (ARP, Prophet, Moog, Roland and Korgs). Big Tip!

Local Talk are honoured to welcome Trevor Lawrence Jr. With a CV that reads the who's who in the music scene today, Lawrence's performance and recording credits include Herbie Hancock, Stevie Wonder and Quincy Jones to name a few.
Tiptoe is taken from Trevor's debut solo record, 'Relationships', released in 2017.
On this 7" - the very first on Local Talk - we're re-releasing the original together with a remix by DJ Spinna.

On the A side the Brooklyn legend applies his magic touch to 'Tiptoe', combining warm and soulful vibes with a house touch. A must-have for not only for the soulful house heads but also anyone that loves quality in music.

Truly nuts and really kind of essential... the Starship Commander had his whole approach to the Synthesiser Voice technique. B-Boys/Girls delight. Check the instrumental cut, Mastership - a head nod synth voyage of the highest order. Limited copies. TIP!
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'How are you doing, Earthling' That's how Omer Coleman, Jr. addressed his public in the 80s, driving around Kansas City, Missouri in the electric space-car built especially for his alter ego Starship Commander Wooooo Wooooo.

Left Ear Records went back to Coleman's original master tapes for their vinyl reissue of the Commander's 1981 private press album Mastership, a lost electronic funk classic. Coleman performs in an alien voice that comes not from electronic filtering but from his own natural vocal distortions. This visitor from Mars wants people to be happy and, like his song goes, 'Laugh and Dance.' It's an endearing and very personal space-age funk that blends George Clinton and Kraftwerk in a vision of a better and happier world.

Born and raised in Kansas City, Coleman was musically inclined from an early age. His parents couldn't afford to buy him a real drum for orchestra, so he took up electrical wiring and wood shop instead, which fed his muse in a different direction. Omer built enormous speaker cabinets. In the late '70s he was a DJ, and ran a Mobile Disco business that took him across the country, hosting parties. After a trip to California, he came back to Kansas City inspired to dress up as Commander Wooooo Wooooo.

The future commander began working at the Armco Steel Mill in Kansas City when he was 18. He was inspired by older machinists who demanded perfection in their work and in their character. It was while he was working at the steel mill that Coleman came up with Starship Commander Wooooo Wooooo. One day coworker John Manley came up to Coleman with a vision of an electric car, and built it. His coworkers built all of his equipment, from lighting and fog machines to big steel eyeglasses. Coleman's sister, a seamstress, created his outfits.

Coleman started his own label in 1985 but took some time off from music to raise his children, and when they came of age his son recorded with Coleman as a gospel vocalist. When his son was killed in an auto accident in 2004, it took something out of him, and he stopped making music. But he's starting to get the feeling again.

Now 62, he's currently enjoying his retirement from a long stint with the IRS. The former Commander is in the middle of a house project where he's using metal ceiling tiles to line his walls. It's starting to look like a spaceship. Coleman promises, 'There is a real good possibility that we have not seen the last of Starship Commander Wooooo Wooooo!
Pat Padua'

It's a pleasure to get behind your friends from around world, in fact that's the motive behind the breadth of the ESP Institute catalogue, but its truly a special feeling to represent your friends and your neighborhood at the same time. Producers Sonns (Alexandre Mouracade) and the mysterious Venice Beach native Tavish Graham are both long time friends of the ESP Institute family, we break bread, we take care of each other, and we cherish our collaborations more than anything, but we're also neighbors. That said, ESP is proud to announce a homegrown endeavor, the debut of Sonns & Tavish. The two have long been stewards of the Los Angeles underground, but after loads of early morning banter and the camaraderie that comes with this smoke'n'strobe life, they've now committed their singular vision to print—two epic cuts that make us proud. Side A's title track Trycksaker is a thumper, a mid-tempo big-drum-laden beast that chugs the whole way through carrying an array of eerie bleeps and fleeting sighs. Side B's Roguish Days pulls together influences from various corners of the pair's DJ repertoire, gelling a wicked breakbeat with a wormy acid bassline and even more exotic sighs, something that might possibly grow into a signature of sorts. This release is ready just in time for the Spring/Summer exploits, and we couldn't be more proud to finally enjoy hearing these heavy-hitters in the club. Tip!