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It's been over 10 years since the release of Gui Boratto's breakthrough full length debut 'Chromophobia'. As to what its title suggests, he shook up the techno game with a contrast of lushly coloured minimal grooves and melody, whilst many will recall that the album included the highlight single Beautiful Life' which became a dance floor anthem for that era. Four albums in and countless EPs and remixes under his belt, the Brazilian producer's unique savoir-faire in carving out a functional album out of diversely routed singles and features is back at it on his fifth studio LP, 'Pentagram'. Here Gui Boratto lays down a nuanced 12-track narrative that reinvigorates his signature sound into a refreshingly different perspective that feels all too familiar - including the return of Beautiful Life' vocalist (and Gui Boratto's wife) Luciana Villanova on the single "Overload".

Through his signature kaleidoscopic approach, Boratto delivers an album built as a far-reaching hub-and-spoke system, broadly inclusive as can be. From the opening cut, 'The Walker' - hot on the trail of Tears For Fears 'Elemental' (one of Boratto's "favourite 80's bands") - to the hi-NRG euphoria of 'Forgotten' and its pounding tech alter ego 'Forgive Me'. "I was going into 2 different directions", Boratto says, "the typical indie- electronic-rock' Boratto kind of production like It's Majik' or Like You' and a much more techno approach." He goes on, "I decided to split them into two twin sister songs. When I play live I always put these two songs together."

The Brazilian Producer further embraces the pop-friendly essence of his past work on tracks like 'The Phoenix', featuring vocalist Nathan Berger, and 'Overload', both melding acidulous synthlines with laser-precise breaks, vox hooks and drops calibrated for extended radio and club use, although sieved through his distinctive rainbow-hued musical prism. For the symbolists out there, the album's pared-down closer '618' duration accidentally happens to equate the proportions of the said pentagram. "Coincidence" Boratto questions, and capsulises, "not so ufanista and supporter of Brazilian neo-concretism, but I guess the brazilian sculptor Lygia Clark also inspired me a lot. Not the meaning of her sculptures, but the shape of the hinge of most of her work. I've wanted to transmit the scientific pentagram's point of view. It's not a religious kind of thing."

Whereas 'Spur' (a field-tested 808 and 909-heavy "purist track", "very, very old school" Boratto insists) and 'Alcazar' are sheer smooth-edged four-to- the-floor epics, the album also shares its lot of startling moments, such as with the John Barry'esque 'Scene 2' (with a hint of Amon Tobin, 'Easy Muffin' style, throw in) and its refined string-laden buildup, 100% fitted for a 007 opening credit sequence, or with 'Hallucination' (feat B.T.) and the further James Holden-ish title-track 'Pentagram' (think 'The Idiots Are Winning'), "one of those exercises I did when I got my Buchla modular synth" Boratto analyses, "I think I've used more then 30 different snares, with different delays and reverbs. The whole song is alive". And so is 'Pentagram' in its entirety: alive and definitely just as manifold and hopeful as its architectonics are the stuff of science and dreams all at once.

Es ist zehn Jahre her seit der Veröffentlichung von Gui Borattos bahnbrechendem Debütalbum - Chromophobia . So wie der Titel vermuten ließ, war das Album mit seinen kontrastreichen Minimalgrooves und den üppig gefärbten Melodien ein Schocker im besten Sinne. Ihr erinnert euch sicher noch an die Hit-Single - Beautiful Life , eine Dancefloor-Hymne aus dieser Zeit. Nach vier Alben und unzähligen EPs und Remixen ist das einmalige Savoir-faire des brasilianischen Produzenten, aus vielfältigen Singles und Features stimmige Alben zu schaffen, auch auf seinem fünften Studioalbum - Pentagram zu hören. Hier legt Gui Boratto ein Zwölf-Track-Narrativ vor, das seine Handschrift auf erquickende Weise wiederbelebt. Wiederbelebt wird auch die Stimme von - Beautiful Life (die der Frau Gui Borattos gehört) auf dem Stück - Overload .

Durch seinen charakteristisch kaleidoskopischen Ansatz liefert Boratto ein Album, das gebaut ist wie die Speichen deines Fahrrads, von dem Opener - The Walker - direkt auf der Spur von Tears For Fears - Elemental (einer von Borattos - favourite 80's bands ) - zur Hi-NRG-Euphorie von - Forgotten und seinem stampfenden Counterpart - Forgive Me . - Ich bin in zwei unterschiedlichen Richtungen gegangen , sagt Boratto: - den typischen ,Indie-Electronic-Rock'-Weg wie in - It's Majik oder - Like You und den Techno-Weg. Er fügt hinzu: - Ich hab mich entschieden jedem Track seinen Zwillings-Track an die Seite zu stellen. Immer wenn ich live spiele lege ich die zwei Stücke zusammen.

Der brasilianische Produzent erschließt weiter die Pop-Essenz seiner vergangenen Arbeit auf Tracks wie - The Phoenix (feat. Nathan Berger) und - Overload . Beide kombinieren zwitschernde Synthi-Melodien mit lasergenauen Breaks, Hooklines, Drops und sind wie gemacht für die Rotation und den Club. Und für die Symbolisten da draußen: die Länge des reduzierten Closers - 618 beträgt zufälliger Weise genau die Proportionen des besagten Pentagramms. - Fügung , fragt Boratto und fasst zusammen: - Ich bin kein Anhänger des brasilianische Neo-Konkretismus , aber ich glaube die brasilianische Künstlerin Lygia Clark hat mich sehr inspiriert. Nicht die Bedeutung ihre Skulpturen aber die Form der meisten ihrer Arbeiten. Ich wollte den wissenschaftlichen Blickwinkel auf das Pentagramm übersetzen. Nicht im religiösen Sinne oder so."

Während - Spur (ein erprobter - purist track auf der Basis von 808 und 909, - sehr, sehr old school , wie Boratto betont) und - Alcazar glatte Vierviertel-Epen sind, hält das Album auch Überraschungsmomente bereit. Z.B. das John Barryschen - Scene 2 (auch eine Spur von Amon Tobins - Easy Muffin ist darin zu hören) und seinem Streicher-Aufbau, der hundertprozentig geeignet wär für eine Eröffnungssequenz in einem Bond-Film. Auch - Hallucination (feat. B.T.) oder der James-Holden-hafte Titeltrack - Pentagram (wir denken da an - The Idiots Are Winning ) wäre da zu nennen. - Einer dieser Übungen, die ich gemacht habe, als ich meinen Buchla-Modular-Synthesizer bekommen habe, war , erinnert sich Boratto, - mehr als 30 verschiedene Snares, Delays und Reverbs zu verwenden. Der ganze Song sollte am Leben sein. Und so ist - Pentagram im Ganzen: lebendig und sicher genau so vielfältig wie sein Bauplan, der auch der Wissenschaft und den Träumen zugrundeliegt.

Forest Flame is the debut solo effort of the Texas-based Shea McGilvray. His previous works have been featured in compilation and remix releases on labels such as Echovolt, Shimmering Moods, and Bokhari's Swamp Tapes.

CHIWAX welcomes Andre Red Hand to the Family!

Dubbed by Igloo Magazine as the 'Romanian Detroit electro/techno pioneer' and by the late Aaron Carl as 'the Romanian Underground Resistance himself', Andrew Red Hand from Romania's spiritual capital of lasi stands up as an unwavering militant of the underground, a true Detroit spirit possessed as Romanian humanoid!

From his early gigs throwing parties as one of the first generation DJs in lasi since 1997, ARH continues to break boundaries as part of the Romanian resistance scene and numerous time portals as they open around Europe. His blistering, mind-bending sets such as at Berlin's Tresor and Griessmuehle see the DJ with the red hand fuse pure Detroit electro and techno with the sounds of techno-bass, raw Chicago acid house, classics and futuristic beats. His mixes for Radio UR (Underground Resistance) and The Grid (Detroit Techno Militia) remain some of the best frequency transmissions to surface to air.

Armed with a Soviet Union reel to reel Majak 203, his scorching raw analogue and searing acid productions have been picked up by foundational Detroit labels such as Twilight 76, Matrix, Detroit Underground, Databass, Detroit Techno Militia, Cratesavers Intl, Visillusion as well as around the world from Holland's iconic M>O>S Recordings to 1Ø Pills Mate (Lobster Theremin), Bass Agenda and Land Of Dance. On his remix list includes work for Scan 7, Santonio Echois, Thomas Barnett, Sean Deason, Niko Marks, Six Foe, T.Linder and more while support from Anthony Shake Shakir, DJ Bone, Dave Clarke, DJ Godfather has been garnered for our sonic warrior... Beware of the Red Hand!

Following the 'Screaming Ghosts' collection highlighting the music of C Cat Trance, Emotional Rescue and Malka Tuti return with the first of two EPs where the band's music is given over to a selection of artists, friends and collaborators for reinterpretation, re-editing, replaying and remixing to provide a modern outlook on the bands mixture of East meets West musicology.
Very much the vision of Malka Tuti and close to their ground-breaking releases of the last two years, the genius is out of the bottle with a who's who representing both labels. First, Autarkic go supergroup in enlisting Tel Aviv's White Screen for a cover of Screaming (To Be With You). Totally replayed, this is the perfect opening, with wide-screen production, updated arrangement and decimal delivering vocals setting the standard.
Following comes an effusive, simple and on-point remix of Dalbouka by the inspiring ledge that is JD Twitch. Platitudes aside - enough has been said by others - but the fact Twitch is as enthusiastic and driven as ever is testament enough. The simplicity and genius of his rework, where 909 is added alongside fx to speaker shaking effect, shows that less can be much more.
In Sneaker (DJ) we have a name moving steadily from the (cult) periphery to become one to consistently check and respect. Following EPs for Rat Life and Bahnsteig 23, the singularity of his reversion is audacious and entrancing. Brevity, purity and ultimately intensity of percussion, horns, bell and guitar. Enter.
To end volume 1 comes Die Orangen. Kris Baha and Dreems' bromance of Aussie label (red) heads, united in post-industrial explorations. With a deep, expansive album incoming on Malka Tuti, their brooding, rattling, ghostly mix is one for late night thinkers, that steps up to encapsulate an EP that successfully marries old and new, bringing C Cat Trance's music present.

On The 50th Anniversary Of The Band's Inception At An Event In Harlem, Ny To Commemorate Malcolm X's Birthday On 19 May 1968, Influential Spoken Word Artists, Poets And Commentators The Last Poets Are Set To Make A Glorious And Relevant Return With Their First Album In Over 20 Years, 'understand What Black Is'.

Produced By Ben Lamdin (nostaglia 77) And Brighton Legend Prince Fatty, Whose Speciality Is Traditional Reggae And Dub Production's, 'understand What Black Is' Is A Ten-track Album Which Speaks Of A Revolutionary Struggle Defined By Both Race And Identity, That Has Never Sounded More Relevant. Released On Studio Rockers, There Will Also Be An Accompanying Single Featuring Remixes Of The Title Track "understand What Black Is" By Mala (south London Collective Digital Mystikz) And Uk Dance Music Innovators Dego And Kaidi.

Since The Initial Line-up Of Dahveed Nelson, Gylan Kain And Felipe Luciano Formed In East Harlem's Marcus Garvey Park, The Last Poets Have Produced Under Various Guises Over The Subsequent Years. However, It Was Their Seminal Output, Namely 1970's 'the Last Poets' Under Both Umar Bin Hassan And Abiodun Oyewole That Secured Their Legacy, Becoming One Of The Most Important Influences In Early Hip Hop.

Throughout The Last 20 Years, The Band Have Remained Largely On Hiatus. But Their Influence Could Still Be Felt With Their Tracks Being Sampled By The Notorious B.i.g, Nwa, A Tribe Called Quest, Dr.dre And Snoop Dogg. Umar Has Recorded Various Solo Albums And Featured On Common And Kanye West's Grammy Nominated 'the Corner'. Abiodun Appeared On The Red Hot Organization's Album, Stolen Moments Which Was Named "album Of The Year" By Time. He Also Conducts Weekly Open House Poetry Readings, Where He Constructively Critiques Upcoming Poets, Helping To Nurture Them. He Has Also Conducted Classes At Columbia University, Where He Teaches Creative Writing.

The Inauguration Of Donald Trump As Us President In 2016 Inspired Hassan And Oyewole To Resurrect The Group To Create A Brand New Record, Modern And Edgy, And Deeply Relevant And Reflective Of Our Times.

Tracks On 'understand What Black Is' Include 'how Many Bullets', Which Bridles With Defiance As Oyewole Works Through A Litany Of Injustices Suffered By Black People In The Us: " You've Tried

To Blow My Brains Out With Bigotry, Chopped Off My Wings, So I Couldn't Fly Free, And Dared Me To Be Me, Took My Drum, Broke My Hands, Yanked My Roots Right Up Out Of The Land, And Riddled My Soul With Jesus" 'what I Want To See' Describes A Utopia - A Refuge From Hurt And Those Who'd Make "our Vision Blurred, And Our Faith Obscure", Whilst The Title Track 'understand What Black Is' Aims To Transcend Ethnicity: "understand What Black Is....it's The Source From Which All Things Come...black Is A Hero, Not A Villain."

The Album Even Takes Reference From Prince's 2003 Album Of Instrumentals, 'news', Which Hassan Drew Comparisons From With His Own Childhood Experiences: "that Poem Took Me About A Year To Write....i Just Kept Writing And Writing But Not Getting Too Far And Then I Heard That Album And The Musicianship Was Amazing. I Was Left Wondering If It Was Jazz, Classical, Rock Or Maybe Something New But All Those Images That I Write About Came To Me From Listening To That Album. I Loved Prince In That Movie Purple Rain Because My Father Was A Talented Musician But He Was Into Brutalising Mama At Times And In The Movie There's A Jerome And My Name Is Jerome, So It Was Like He Was Telling My Life Story As Well."

The Album Acts As A Body Of Work Between Individual Members Each Speaking Of Their Own Personal Journeys, But Feeding Into The Much Larger Narrative Of Struggle And Oppression, Alongside A Fervent Hunger For Social Change. These Are Struggles And Tests Of Personal Resolve That Have Directly Shaped And Moulded The Bands' Unique Sound Over The Course Of An Impressive 50 Years, And Their Powerful And Influential Commentary Remains As Relevant As Ever.

Berlin based Jens Dohle is a man of many talents. An accomplished composer and arranger for theatre productions across Europe, classically trained multi instrumentalist, explosive live drummer for YE:SOLAR, Munk, Hot Coins, Sado Opera. Longtime collaborator with Danilo Plessow aka MCDE and Noema from African Shakedown fame. Remixer for Jazzanova and 4 Hero. There's not enough room here to list his amazing work.

2018 ushers forth a new identity to his already enviable C.V with his first EP as James Dole (a jokingly anglicised version of his birth name). The 3 tracks here all showcase his ability to create a strong mood and use great splashes of melody and rhythm but without ever losing the groove. Written during a period of 'introspection' in deepest, darkest Berlin, each one tells a different story.

Ex is a moody monster of a track. It builds and builds into a pounding nightime symphony with a kind of epic-ness which hints at many years spent mining the highs and lows of music, love and life. Big room yet with a gut wrenching soul beneath the slightly flamboyant majesty. Made in East Berlin and well road tested in the cities debauched nightclubs.

Fantasia shows off Mr Doles jazz and broken beat background with rolling, funky drums sashaying with hip hoppy live jazz keys. Then those signature euphoric yet melancholic synths appear halfway through the track to create an emotionally halcyon mood. WIBES.

The EP closes with Grande. Super melodic yet cinematic with amazing synth work and a sophisticated arrangement showcasing James's well trained musicianship and artistry. An opus of melody and longing built for Italian arthouse films about unrequited love.


DJ Support from - Midland, Honey Soundsystem, Sandrino, Jimpster, Ame, DVS1, Shadow Child, Joe Goddard, Red Rack'em, Futureboogie, Soft Rocks, Domenic Cappello, Downtown Party Network, Danny Russell

The Works of John B. McLemore, the star of one of last years biggest podcasts, S-Town, which is coming out on Dais. The story behind this release is truly fascinating.. the music itself is ambient remixes of Tor Lundvall's best works, but with John's idiosyncratic slant on them, with some having been woven together using the horde of clocks he use to keep in his basement. This story is really worth a read if you get a chance."In September 2012, I received an e-mail from someone named John B. who said he had assembled a lengthy remix of my music, which also incorporated some of his own material. John asked if I'd mind if he posted this recording on YouTube, to which I agreed. He also mentioned that there was a second part to his mix that was "roughed out", but never completed. I was curious to hear both parts, so shortly afterwards, John mailed me two CDrs which I enjoyed very much. The recordings were hypnotic and haunting, evoking images of vast fields at twilight. I was especially fond of the second disc which had a darker atmosphere and featured more of John's original material, beginning with ghostly clock chimes and ending with a mysterious piece using dried seed pods and other cryptic sounds that slowly built-up into an intense, almost claustrophobic environment.

My correspondence with John lasted about two months. In one of his final e-mails, John said "I have to observe that your paintings seem to have a great deal of loneliness involved in them... even multiple characters seem to be together alone, so to speak... I really appreciate looking at your paintings as well as your music, I think I have connected with the spirit of them both as much as anyone can." He went on to discuss his struggles with depression, caring for his aging mom and his concerns about the future. I tried to encourage his music as a possible outlet, perhaps as a means to help transform his feelings of loneliness into a more content solitude. Always easy to say, but as I well know, not always easy to do.

In his last e-mail in late October 2012, John sent me a beautiful slideshow of his Fall flower beds and his dogs. I was touched and I told him how much watching his video had brightened my day. That was the last time I heard from him.

Last year, I visited John's YouTube channel to see if Part One of his mix was still posted, which it was, and still remains. I was shocked and saddened to read in the comments section that he had passed away. The comments also suggested that John had received some sort of national attention recently. This quickly led me to the S-Town podcast. Although I had mixed reactions after listening, I was thankful that S-Town shed more light on John and his remarkable life... but somehow, I just couldn't place the person in the podcast with the person I had corresponded with. Had I not listened to S-Town, I would have remembered John as a very private, somewhat dark and lonely person. He may have been these things, but there was obviously far more to him than that.

After finishing the final episode, I decided to play the second, unreleased CDr of John's recordings for the first time in years. Listening to his clock chimes ringing in the dark was an eerie and chilling moment. I was reminded of a line from my song "29" which says "I live with dreams and a lonely mind, my clock is set to a different time". I wondered what those lyrics might have meant to him.

John had mentioned that he wasn't satisfied with his final mix, but I felt his work was too special not to be heard. I hope that these recordings offer another glimpse into the creative mind of a unique, complex and gifted individual who tragically left this world all too early."

Tor Lundvall
January 17th, 2018

JOHN B.'s NOTES:

This is what was intended to be the second part of my Tor Lundvall Remix series. Unfortunately I am dissatisfied with it due to a few defects, and it is highly unlikely that I will ever be able to complete it. Still it serves as a testament to my interest in the work of Tor Lundvall that I made it this far. Defects are as follows: The first movement is too 'fussy', and the first section of the fifth movement seems a bit long and may bore the listener, but since it consisted of so many slow moving textures, I don't know how I could redo it and still achieve what I was wanting to accomplish. Additionally, this recording was done just days before my Father died, and there are many feelings of guilt associated with the time spent on it. If you are receiving this recording, either you are one of my better friends, or you are a great admirer of Tor Lundvall, and requested that I send it to you.

1st Part: Basically a track of me fiddling around with old clock bells, and air turbulence mixed with Tor Lundvall and Field Recordings of rain, birds, cicadas, frogs and such.

2nd Part: My interpretation of Lundvall's Dark Spring. This track was inspired by the music of Carl Michael von Hausswolff.

3rd Part: Very ambient Field Recordings inspired by the work of Francisco Lopez.

4th Part: A Very Quiet passage consisting of delicate Field Recordings.

5th Part: Music performed entirely by me inspired by the Darker paintings of Tor Lundvall. Most of the instruments on this piece consisted of dried seed pods from the plant; Showy Rattlebox (Crotolaria Spectabilis), that I had collected and dried the previous Fall. There are other sounds from my own environment as well.

This mix was assembled in the Late Fall of 2003. There are some very Quiet passages in this piece, so it requires a nearly Isolated listening environment... It should be heard After Midnight, in the Late Fall of the year, and, not surprisingly, a Very Long Attention span is a Prerequisite.

John B. McLemore
September 10, 2012

The backroom club was packed with the hottest kids from the street. The movers and shakers wore their finest clothes to get down to the boassanova rock whilst the gangsters and players watched on from behind luxurious red curtains. In the murky shadows some exchanged more than just pleasantaries in the form of parcels and goods. They were devilish figures who existed only by night, when the streets were no longer safe for the do gooders to walk. This was a rough and ready town.
CYRK is set to release a new EP on the infamous Rawax record label. A charming assortment of well crafted house and some sophisticated electro cuts for the club. Rounded up by a fantastci remix from Claude Young!

The cornerstone track from Chloe´'s new album, an adventurously dark landscape dotted by Montreal rock band Suuns' singer Ben Shemie's vocals, Recall deserved this long-awaited quartet of astounding remixes, which serve as extensions of her latest full-length Endless Revisions' second single, released last October on Lumie`re Noire, the label founded by Chloe´.Moire´, Matthew Dear's latest signing to his Ghostly International label (which released the London artist's debut album in early 2017), retained a smattering of Ben's syllables, setting them to a captivating retro- futuristic remix that straddles two worlds, along the milestones of a restrained beat in a mesmerizingly ethereal and ghostly road trip that could last forever.German Crosstown Rebels signee Jonathan Kaspar's version is a more banging techno version, rounding out the EP's wide array of moods and genres. Over a formidably progressive build-up, the mood remains dark thanks to Ben's stretched-out vocals, and Recall's original universe is made more dynamic with a sped-up tempo, added percussions, and a concluding harmonisation finale that brings it all into the light. Douglas Greed, previously remixed Chloe´'s Driven (released on BPitch Control back in 2015,) similarly chops up the vocals, but takes them down a different road, reassembling the original's elements to create a different track, resulting in a fascinating free-form re-reading, an adroit upcycling, a long detour through the German producer's favoured poetic techno backroads - possibly inspired by the surroundings of Jena, Greed (a.k.a. Mario Wilms') hometown, and homebase of the Freude Am Tanzen label, the serious stable of geniuses directed by the incomparable Robag Wruhme.In a more motoric register, Autarkic's re-imagines Recall via a different narrative lens, re-populating and grounding it all at once. The Israeli Red Axes accomplice, who released an excellent debut album (I Love You Go Away) on Disco Halal last April, has a knack for propelling fanatics of rock urgency straight to the dancefloor. A gang of machines amplifies Shemie's voice, highlighting its minutiae of suffering and pleasure, leading the listener into dawn.

Originally released as part of Eskimo Recordings acclaimed compilation 'The Red Collection', Dutch duo SHMLSS's 'Train Ride to the Middle East' has proven to be a perennial favourite with openminded DJs attracted to its heady psychedelic brew of twisted disco and Middle Eastern sounds. Now to kickstart 2018 Eskimo are releasing the track on vinyl for the first time, complete with a brand new remix from Marvin & Guy.

Bleu Nuit (BN) is glad to introduce to you to its second release Red Light City (BN02) by Nice-based French duo Gabardines.
Rising French DJs from the South of France, Gabardines is composed by Olivier aka Ghini-B and Régis aka Redj.
If Ghini-B and Redj already have a couple of vinyl-only releases to their respective solo alias, Gabardines is about to release his first EP under this name. Indeed, in 2017, Gabardines brought out Sweat Things EP on Simple Things Records via bandcamp as well as a remix of Lady B's Liaisons on their own imprint Swipe White Limited a couple of years before.
Red Light City EP follows the lead or rather, the musical line, introduced by both the label and Gabardines' predecessor Flavio Folco (BN01). As can be listened from all three tracks, Gabardines are sticking to these break and gangster beats, offering a balanced release with some warmup (A1), peak-time (A2) and closing/after spirit (B1).

Strap yourselves in as Post Pluto takes flight with French duo, RBDP, on their fresh self-titled EP. The record features four tracks of high altitude cruisers, soaring through the elements of acid, deep house, breaks and dubbed out synths. We depart the
troposphere with "Acid R", a mellow and low-end fusion of dubby textures and acidic lines. "Like Dat" follows, with moody pads, percussive grooves and celestial tones. On the flip, "St San" takes the record into an acidic journey of 303 sequences and saturated 707 drum patterns, with a sublime zero-gravity remix by Red Ember Records bossman Ewan Jansen.

Ilija Rudman presents Andre Espeut 'Tears To Sound'
featuring Ron Trent Mix
Over the last decade and a half, Ilija Rudman has been responsible for many high quality releases, delivering distinctly warm, sun-kissed, analogue-rich material on labels including Bearfunk, Instruments Of Rapture, Compost , 20/20 Vision, Electric Minds, Is It Balearic Recordings, Rong Music , Classic Music Company and of course, his own Red Music imprint.
Even so, the Croatian has rarely made anything quite as deep and sensual as the material showcased on this first full EP for NuNorthern Soul. Top billing must go to the "Aquapella" version of "Tears To Sound", a spellbinding acapella cut that puts the enchanting vocals of storied soul man Andre Espeut front and centre.When Rudman sent the track to old friend Phil Cooper, the NuNorthern Soul boss thought it sounded like something he'd hear from US deep house legend Ron Trent. So, he approached the Prescription co-founder to see if he fancied remixing it. As you might expect, the results are astonishingly good.
Rich in rising and falling new age melodies, darting synthesizer motifs, languid piano flourishes and heavy analogue bass, Trent's wonderfully ultra-deep interpretation naturally gives pride of place to Espeut's seductive vocal. Even by the Chicagoan's infamously high standards, his epic Vocal Mix is incredibly special.
All versions of the single also feature two other original Rudman productions, both of which are wonderfully deep and dreamy. "Distant Feelings" is fluid, deep and yearning, with twinkling electric piano motifs and dreamy chords reclining over sizzling drum machine cymbals, no-nonsense beats and a gently pulsing analogue bassline. Those who enjoy the Balearic side of Rudman's work should also check out "Deep Sensation", a jazzy and breezy fusion of tumbling, vibraphone style melodies, rolling electric piano riffs and rubbery boogie bass. Both tracks are every bit as magical in their own way as the producer's thrilling Andre Espeut collaboration.

Excise is thrilled to host San Francisco underground xture Max Gardner on the label's 3rd vinyl release. Max runs the legendary Californian party crew Direct to Earth and he's equally a hypnotic DJ selector and highly skilled synthesist. As you'll see on this release Max's tracks are not only excellent DJ tools but also deeply interesting for close-listening: truly unique electronic music dif culty to pigeonhole into a genre. 'Mona Loops' is an immersive experience on club speakers as an eerie high-pitched synth line twists in unexpected ways over powerful waves of bass.

Next Max remixes label co-owner Muon's track 'KMC' redefining its raw elements into a blitzing four and half minute romp held together by a jagged low-mid frequency lead line. 'Broken Pinkies' is hard to de ne. All we can say is it embodies the feeling of the San Francisco all night underground world more than any single song in recent memory. It begs for repeat listening. Yan Cook joins the Excise family for a banging remix of 'Broken Pinkies'almost shocking in its spin off the original. We're huge fans of Yan over here and this track embodies what we love most about his productions - groovy but with serious bite

It's quite funny that it took 11 years for us over at Metroline Limited to release an EP with tracks from different artists (at least on vinyl that is) but hey, good things go to those of wait so the wait is finally over! For our first Positive Contribution we gathered Metroline Limited friends and label owners and put together a tasty four tracker that focusses on the deep and minimalistic end of house music. Hamid went a long way since his debut EP on Metroline in 2010. The Berlin based French producer has since released on influential labels such as his own H+, Nervmusic, Minibar as well as becoming a regular figure in clubs all around Europe. His track Unterdrücken starts off the EP in style with his bleeps, squelchy acid b-line, pads and crisp drums. Octad takes control and the second half of the A side and it's yet another display of his amazing production skills. The man behind the mastering of each single Metroline release to date knows very well how to get the best sound out of his tracks! And what a bassline he's come up with for Checkmated! Dhaze and Phiorio have been collaborating for a while swapping remixes and musical ideas. NT is one the finest results from these music exchanges. Deep and rolling, the track has a monster groove, lush pads and dubbed out elements. Last but not least we have another long time friend of the label, Gabriele Mancino. His Cheddar, Lion and Lamb pays tribute both to a London trip and old Perlon releases when groovy and reduced house music was gracing most of the records on the pioneering house label. An ultra-groovy and playful minimal house number with funk and style!

Obrani Records are proud to present 'Strangeman' - an EP from the young and talented producer Plantae, who has conquered the minimal hearts of techno and house heads alike. The intensity and broadness of Plantae's musical pallet, reflected in every crease of the release, will appeal to diggers from all scapes of the globe. From grassroots break-beat to snappy hats and bold percussion, occasionally visited by passing high notes, like comets in a coma of ever-changing motive. If forced to reduce his sound to words, musical abstractionism would hit as close to home as the 808 bass drum. Undoubtedly, 'Strangeman' made it's way to the Obrani Records collection.

In early 2017, Public Release dropped a four-tracker by Brooklyn's Earth Boys, a duo comprisedof Julian Duron and Michael Sherburn, and now it's being followed by a collection of remixes by some formidable names from around the world.
Where the EP of originals fell squarely in the category of vibey, shuffling, laid-back house
grooves, Trail Remix is decidedly made for the after-midnight parts of club sets. The 12-inch begins with a T&P - that's Beats in Space's Tim Sweeney and Phillip Lauer's version of 'Trail Mix'. Acid-flecked and hard-edged, and tongue-in-cheek at heart yet seriously functional, it's the original red-lined and shot down the highway at ninety miles an hour. (Worth noting that this is
the transatlantic unit's first remix to be released.) After that is Earth Boys' own redo of 'Highway
1' a juiced-up re-imagining of the first version, filled out with chunkier kicks and fatter synth washes that completely envelope any sense of direction. The flip leans towards the ethereal, stretchy, abstract, though it, too, is tracky and driven. The B1 slot goes to Canadian wunderkind Khotin, of 1080p and Normals Welcome, who blows some stardust into the tune, enveloping it in a blanket of sharp drums and icy pads. NYC mainstay Mike Simonetti, formerly of Trouble Man and Italians Do It Better, currently of 2MR, caps the record with his beefy overhaul of 'Trail Mix' a compression of industrial percussion, tribal rhythms and sub-bass undulations.

Finally here we are with the fourth release on Last Drop Records, signed by the london-based Stavrogin. 'Collectors' takes a more subdued approach from his debut on Australian label 3BS, focusing on ampdriven ambient textures and digital experimentation. 'Sixty Acres' is a juddering mass of static textures and penetrative low-end, forcing itself to a crumbled close. Title track 'Collectors' is something like the afterglow. Weary and destitute, the track stumbles through heatwave-soaked atmospheres, fragmented voices stuttering like a malfunctioning android. 'Are These Actual Miles' is perhaps the most direct, with its tremors of noise punctuated by a rhythmic pulse. This is a feature Italian duo Ichinen have capitalised on in their closing remix, reducing the track to a warbling, dead-eyed drum workout.

It´s quite some years after Starburst , the first record on Internasjonal the japanese duo Traks Boys, consisting of Kawasaki based producers and Djs Crystal and K404 did for us. But a short 7 Years down the road the magic is still there. "Be With you" and "Weekend Lights" are mesmerizing, sparkling with creativity and beauty. "Be With you" is modern disco cut up of the finest while Weekend Lights is a hypnotic stringinfected warm groover that we can´t get enough of. Finally Weekend (Light) Lover and Friend of the House Axel Boman takes it all home in the biggest of ways.
Reduced with care and then build up again to one the neatest breaks that we heard this year.

Today, we are glad to introduce you to our TONE SERIES Remix Series. One and a half years after the launch of the parent label, TONE SERIES has released five EPs (consisting of two tracks each), all composed by French musician David K. And almost halfway between the first release TS10 and the last one TS01 (TS06 came out at the beginning of September 2017), we thought it would be interesting to ask artists we like to reinterpret one of David's creations.

As a result, we're delighted to present you as 1st EP (TSRS01) of this TONE SERIES Remix Series: DIPE (TS09) re-drummed by French music composer and DJ Traumer as well as WINTER BELLS (TS06) remixed by Japanese artist Tomoki Tamura, both artists getting the ball rolling for this new soulful and colourful series.

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.

The debut vinyl release from label Supervoid Records, out August 21st, 2017, has already made some waves, with two of its three tracks finding their way onto several prominent mixes, including Ben Sims' Run It Red' and Resident Advisor's 513th podcast, performed by Markus Suckut. The release has also been given the nod by other heavy-hitters, including members of the Droid Behavior crew and a Berghain resident. Label owner and artist Dustmite has been remixed by Audio Injection and long ago, Distance. His track Bare appeared on Photek's DJ Kicks.

The music of 7073 was largely inspired by the experience of an intimate, 6+ hour set by Jeff Mills in a US warehouse some years back. There is a feeling one can get in such a setting, with the right sound, the right DJ and the right people - a feeling that anyone who is reading this is probably familiar with - where at some point in the night, when people are in their own worlds, it feels as though at any moment the building could just lift into the sky. Simply put, the track entitled '7073' is Dustmite's attempt to capture some of that magic. Tracks 'Advanced Persistent Threat' and 'Lightwall' stand out as fast, sci-fi-inspired techno drivers, a modern take on early 2000's fast-paced, irreverent but melodic bangers.

Having worked in the video game industry for over a decade, Dustmite has taken a unique approach to pushing his vinyl-based label apart from the rest: each record has its own unique QR code, which, when scanned, will contribute to the unlocking of bonus content via a modern, interactive visual experience on the Supervoid website. Not only does this mean each record has its own distinct identity, which can be used in interesting ways, but those who purchase a future Supervoid release will have a singular narrative across their collection, which the label can use as a seed for generating content, experiences and rewards, unique to each individual.

Dark Entires is honored to reissue the long out of print debut album Elevator to Eden by LIVES OF ANGELS. Lives of Angels was the brainchild of GERALD O'CONNELL from London, England. In 1974 he worked at CBS studios mastering recordings from tape to disc. By 1977 he joined his first band MYSTERY PLANE, led by school mate Mark Harvey and later joined by his soon-to-be wife Catherine. Gerald branched off in 1980 forming Lives of Angels as an outlet for his own compositions. He recorded, produced and played all of the instruments on Elevator to Eden' between 1981 and 1983, using a primitive set up of drum machines, one keyboard, guitar and a tape echo. Influenced by the Krautrock sounds of Neu! and Amon Duul II as well as US psychedelic rock, Lives of Angles crafted their own unique post-punk sound. Elevator to Eden was originally released in 1983 on cassette by Color Tape Records, the label started by Gary Ramon of Modern Art. Then in 1986 Fire Records remixed and re-released the album on vinyl but the band was not happy with the mixes. This reissue features the original 4-track cassette mixes of Elevator To Eden on vinyl for the first time ever. The LP includes 9 songs featured on the original Color Tapes release. All songs have been remastered for vinyl by GEORGE HORN at Fantasy Studios in Berkeley directly from the original master tapes. Each LP comes with unreleased photos, original artwork and a lyrics for all songs.

Following 2016's much-acclaimed solo album Mondo Alterado (HIPPIE 008CD/LP), original Pachanga Boy and Hippie Dance mentor Rebolledo returns to the limelight with the jam-packed Mondo Re-Alterado, tapping into his vast and varied network of friends and fellow soundsmiths. Artists such as Superpitcher, DJ Tennis, Maceo Plex, Red Axes, Fango, or Fantastic Twins deliver stunning takes on Rebolledo's unique signature sound, creating a full suite of exclusive remixes, cover versions, and reinterpretations. From the super-energetic club rumblings of Maceo Plex's "Discótico Pléxico" to DJ Tennis's dreamy "Pimiento Drive Version" of "A Numb Gas To The Future" or Fantastic Twins' party bomb "Fantastic Pow Pow", the journey through Mondo Re-Alterado is full of twists and turns -- a world where an epic, cinematic soundscape such as Superpicher's "Rainboy Super Space" sits comfortably alongside the claustrophobic, punishing banger that Fango sculpted from stand-out cut "Pow Pow". Meanwhile, Red Axes turn the casual narrative of "Life Is Strange, Life Is Hard, Life Is Great" into a bouncing workout -- a great companion piece to "WANT", Danny Daze and Shokh's propulsive, jagged dub version of "Fears Come True". Other highlights include Jörg Burger aka The Black Frame with the lush "Black Rainbow Woman", Paulor's country rock extravaganza "Discótico Desértico" and not one, but two excellent contributions from former Italians Do It Better honcho Mike Simonetti. It's a magical, surprising ride that finds beauty in contrasts -- while staying tuned to Rebolledo's spirit of adventure and powerful sense of style.

Bla Bla Music is coming up with something new, something special The upcoming 3 releases will be colored vinyl They will be released one after another In a later stage they will come out as a box This special set will be called RYB. The records will be totally in red yellow and blue with matching artwork in the exact same colour The releases will be done by Swiss producer Digitaline, the German Christian Burkhardt and Slovenian Valentino Kanzyani All heavyweights with an impressive discography!

Acknowledged of Red Pig Flower's obsession for the RED color, the 10th cat by Sound Of Vast could not be a different choice. Red Pig Flower, known not only as a musician but also as an artist, prepared a special concept for each track in the box.

Schmer-007 "Smoking is Still Bad for You - Volume 1" is here and contains old school and new cool tracks from all the original Schmer culprits plus some loops from our new friends. Dietrich Schoenemann and Prototype 909 dug their tracks out of their vast archives of unreleased originals. DJ RX-5 and BPMF delivered some hot new Schmers to get us moving again.

For the last 20 years we've all been tormented by the great issues facing mankind and most vexing among them of course was "When will the next Schmer record finally come out" I am happy to say that the answer, my record distributing friend, is NOW!

Prototype 909 demands that you ( redacted ) ... "The Volume"! A track recorded in 1997 and finally getting released for the first time here. Prototype 909 was a "group" from "New York" that made "techno" in the "90s". Since then, the three members of this group all went on to do things. #TrueFacts

Dietrich Schoenemann has been so busy being one of the last men cutting all the records in the world that he hasn't had time to organize his catalog of unreleased gems. I distracted him with the old "look over there" trick and stole "8 Feet" from him while he wasn't looking. ( Hopefully he didn't recognize it while he was mastering it )

The last Schmer vinyl was DJ RX-5 "A Taste for Crap EP" from the then Moscow based very underground DJ Compass Vrubell. Nina Kraviz thought it was so crappy she put a track from it on fabric 91: Nina Kraviz; so I asked Alexey to make some more crap. He did it His Shway and this is the result. ( PS He still has all the patterns for the RX-5 from the original release so remaster, remixes and rereleases are in Schmer's future, HUZZAH!)

BPMF - The original Schmer artist had nothing better to do so he kommt back and gave us this track.

We love to torture the engineer so we just had to include some loops:
Rhizome is the alter-ego of Moscow wunderkind Nikita Zabelin.
Philly based Hero/Victim has been victimizing soundsystems up and down the East Coast with his mad live performances.
The Wise Caucasian is a pseudonym for some super famous London based producer and label owner, or at least that's what he claimed when I picked up his bar tab.

Launch of their self-production label, the trio DRMC formed by Monkey Coops & Only Slave Nation, released this first opus produced on a complete rhythmic basis accompanied by acid atmospheres. Remixed by Reda Dare, spearhead of this new French house scene, this 1st opus clearly sounds like a bomb of the dancefloors. Rolling bass, prominent percussion and hypnotic atmosphere will perfectly sum up the 1st EP of the label Def Raw Music Concept.

Maurizio Martinucci (aka TeZ) is being warmly welcomed back into the Frigio fold. Following his work with Most Significant Beat, a partnership with Saverio Evangelista of Esplendor Geometrico, this Italian artist, and member of Clock DVA since 2010, is flying solo on new wings: Pragma.Martinucci examines, scrutinises and magnifies mechanics. And under such inspection all things change. Drums blossom into serrating melodies. Snares, hi hats, toms blur into one as they are distilled into a heady brew. At times this reduction is sour and sharp, as in the cruel cud of 'Ospel', at others its strangely smooth like in 'Dusk.' The lines that divide electronics and techno all but disappear, dissolved into insignificance under Pragma ´s barren palette. 'Espex' is stripped. Percussion is dipped in distortion, bass bleached by hiss as the reductionist manifesto is applied. An artist cut from the same caustic clothe closes.Arturo Lanz of Esplendor Geometrico amplifies the fuzz and static of 'Espex', shaving away all decoration to leave all but a harrowing husk of cables, wires and pain.

Adriano Canzian has by now developed a trademark sound unlike any other, a genre-twisting hybrid of EBM, techno, industrial and acid beats that has acquired nuance and influences throughout the years, aiming at that uniqueness he's always been reaching for. Confessions Of A Dangerous Mind is a breathless, unrelenting march of a record, a whirlwind of classic industrial sounds driven by a hammering pulse and a shimmer of melting matter. David Carretta's remix smoothens out some edges into a mix of techno and new beats, then Canzian charges on again with Sick Goates , skillfully adding noise frequencies to a goth background, before letting Spain s The Plumbers close with their rendition of Sleeplessness , marked by a dub-sprinkled techno no less belligerent than most of Canzian s catalogue.

Yellow Vinyl

Bla Bla Music is coming up with something new, something special The upcoming 3 releases will be colored vinyl They will be released one after another In a later stage they will come out as a box This special set will be called RYB. The records will be totally in red yellow and blue with matching artwork in the exact same colour The releases will be done by Swiss producer Digitaline, the German Christian Burkhardt and Slovenian Valentino Kanzyani All heavyweights with an impressive discography Each release will be supported with remixes of Pascal Benjamin Vincenzo Perez University of Nowhere and Mirko Loko Every release will come out as 300 limited copies including a plastic sleeve

Jump in your spaceship and join us on our intergalactic exploration, as we are happy to announce that our next vinyl release is from Blossom Kollektiv's very own Leo Woelfel . Making his debut last year with a digital only release we are very excited to present his first vinyl release for the label titled Heuweid EP. The four track EP features three originals and a remix from Matthias Vogt that will take you on a deep exploration of space so buckle up and get ready to blast off.

We start our journey with the Frizzante mix of 'Heuweider Mineral' the track features a deep brooding bassline but with deep and dubby pads that takes us to a universe that plays with the darkness but keeps the light in plain sight. Backed with a solid kick and percussion to give the track a fully rounded feel this is one track that will put a big smile on any lover of the deeper side of house music.

Next up we get Matthias Vogt's interpretation of 'Heuweider Mineral.' Bringing a more broken beat reconstruction of the original, Matthias brings a raw flavor with a roaring bassline, moving snares and a redevelopment of the dubby pads that transforms the track and creates a feeling of weightlessness while floating through space.

On the flip side we are presented with a more classic deep house vibe with Leo's original 'Elke Ueber Der Bruecke ' this track is careful crafted with the dance floor in mind. A strong kick paired with tightly woven percussion and a classic deep house pad keeps everything moving in this distant but familiar world.

Our final stop on our planetary adventure is 'Stahlgruber Andacht' speaking to us in echoes the pads gently intertwine with a detailed drum patterns until the moving acid like bassline comes in to create a whole new dimension of sound. This concept is something that isn't all together new but done in a new and forward thinking way to finish off the full package of a finely tuned deep house record.

Ricky L and Marcoradi have been friends for as long as they can remember. They frst met on the dancefoor of one of Italy's most iconic clubs, Red Zone in Perugia, where Ricky has been a resident DJ for the best part of 25 years. Now, they've joined forces in the studio for the frst time, uniting under the Hear &
Now alias for Claremont 56. Those with a keen knowledge of Italian dance music will know their impressive track records. Both have a history of producing fne deep house records and remixes for the likes of Ibadan, Uomo, Reincarnation, Top Tracks, Restricted Tracks and Vega Records. With Hear & Now, they've decided to step back from the dancefoor, instead producing hazy, emotion-rich music for after-hours listening, and mornings spent blinking into the sunshine. A-side 'Hirundo' is a thing of rare beauty: a gently fowering opus constructed from shuffing, mind-massaging drum rhythms, spacey pads, stretched-out
organ chords and Marcoradi's effortless guitar playing. Lilting, alien synthesizer refrains seemingly tumble from the heavens, intensifying the duo's blissful mood. Flip for an even deeper excursion, the softly spun wizardry of 'Sabbia Magica'.
Here, the duo's house infuences gently rise to the surface. This is slow, deep and dreamy house from the top drawer, with jazz-fecked guitar fourishes and undulating electronics combining effortlessly with hypnotic, metronomic drums,
cascading string lines and a wonderfully dexterous electronic bassline. You can dance if you wish, but you may just want a hug instead.

By his debut album "Alcatraz" in January 2015, ARAS label head André Galluzzi thrilled with a concept album inspired by occult sounds and psychedelic vocals. "Alcatraz" as a whole is a captivating piece of art, its the essence of a club night. Now after received a wave of icredible feedback from "Alcatraz", the bird returns to ARAS with a bunch of remixes of the hypnotic track "Mathilda". Time to welcome Mike Shannon and Jacek Sienkiewicz to the ARAS family. This remixes will be a blast at the club by its very deep and reduced, futuristic interpretations. Mike, as head A&R of Cynosure and formerly Revolver Canada Recordings over 10 years, has shown an uncanny ability to select and produce tracks which have become go-to fixtures in the sets of the industry's best DJs. Far from pursuing the next one hit wonder or sound of the season, his steadfast curatorial vision and passion for the music have earned him the trust of discerning music connoisseurs the world over. Alongside DeWalta, Mike impressed lately with his album "Residual" on Cynosure/ meander back in March 2016. Jacek Sienkiewicz lives in Warsaw and he is a key figure in Polish electronic music scene. He holds Recognition since 1999, one famous label based in Berlin. With one foot deep in classic Detroit and Chicago dance scene, and the other in modern jazz and classical music, Jacek's tracks for the past ten years always try to find a right balance between the avant-garde and dancefloor, between primal emotions and highly sophisticated sonic wizardry. His latest album "Hideland" has been released in August 2016 on Recognition.

Cassette includes a free downloadcode - redeem via Bandcamp
After their latest release on Kitball Records HANNE & LORE are now back on their own Imprint HEULSUSE. The catchy Maintrack HUSHLE is kept in total HANNE & LORE style and drives its way euphorically into the head; rolling drums, hypnotic lead sounds, funky vocal snippets and an almost cheeky groove make HUSHLE to a true peaktime track. BEBETTA is throwing a dazzling remix of HUSHLE onto the dancefloor, full of tmospheric frequency and warmth between the FX sounds and soft Chicago claps. HANNE & LORE are turning down the speed by slipping LOST IN RIMINI, a crispy 80s house track, into our little Italo Disco.

Double 180 gram, half-speed vinyl re-release of the orchestral epic. Norwegian Grammy-nominated and critically acclaimed masterpiece «The Mechanical Fair» finally gets it's long awaited vinyl release

Jampacked with a wellspring of harmonic slingshots, pumping beats and melodic rollercoasters, critics called The Mechanical Fair «the best movie you'll never see» and drew comparisons to Igor Stravinsky's «The Rite of Spring» upon it's original release in 2014. It's apparent appeal to an surprisingly wide range of musical communities finally brought it right into DJ dance-wiz Todd Terje's hands. And make no mistake: the physicist hands doesn't settle for an iPad. It craves vinyl. His wholehearted endorsement led the captain of the Olsen Family to clear the rights, assemble his own killer remix and requisition Grammy-winning cutting engineer Matt Colton for a gorgeous double 180 gram, half-speed vinyl re-release of the orchestral epic.

Originally written for a quintet including heavily merited jazz cats Erik Nylander, Ole Morten Vågan, Petter Vågan and Even Helte Hermansen in 2013, The Mechanical Fair expanded at the initiative of the Trondheim Chamber Music Festival, growing bolder and more powerful with the addition of the adventurous and Grammy-winning chamber orchestra The Trondheim Soloists in 2014.

Having just spearheaded seven genre-blending shows in just six days as the «Artist in Residence» of this years prestigious Molde International Jazz Festival, the multi award-winning Norwegian violinist/multiinstrumentalist, composer and producer Ola Kvernberg (35) can look back at an already impressive recording- and performing career. The once 17 year old jazz manouche violin sensation quickly and impatiently moved beyond the jazz realm for inspiration - resulting in seven albums as a solo artist, eight feature films as a movie score composer and countless additional recordings as a sideman. His list of collaborators range from jazz legends Pat Metheny and Joshua Redman, via post/prog-rock act Motorpsycho, to collaborations with world renowned novelists Lars Saabye Christensen and Jo Nesbø. His fearless attitude and relentless drive towards the boundaries of genres has given him a well-earned high standing on the Scandinavian scene today.

Don't miss out on this rollercoasting, genre-twisting magnum opus as it finally hits is true potential on the Olsen label on November 11 this fall.

Newborn Munich based label Slam City Jams comes around the corner with its first release from young gun Gonima straight outta Montreal, Canada. His Grids EP An exciting mixture of swinging distorted drums, catchy melodies and hazy atmospheres. You can definitely spot Gonima's passion for DX7 adventures, analog drums and tape hiss right here. Opener "Grids" starts off with lush synth blips, 707 drums and a bassline Bootsy Collins would give high-fives for. "Subdivided" is one of these tracks that shows you that it doesn't need more than a few elements to get you going: A rough kick drum, cowbells and a smooth pad that gets slapped by just one bass note. The last original on B2 is the ambient-like "Organ Tutorials", which shifts your mind directly to outer space. And as if all this wasn't enough, someone really special did a great remix job - Khotin from 1080p fame, who gave the A2 cut a treat with his unique trademark sound. Four house and ambient tracks both for the floor and the couch. Or as Gonima puts it: "An EP that has the sound of visiting home in the winter and rediscovering environments frequented in the past, birthing previously obscured memories. The sounds within are a ritual dance to stay warm through the procession of the seasons"

Repress
Solid red 12 vinyl comes accompanied with a limited edition double sided 'Redders' Ep poster (insert). Vinyl purchase includes EP instrumentals as a digital download (Critical Store exclusive)

A man who guested on many a Critical release finally brings his very own EP with the hugeproduction backing of Gorgon Sound, Sam Binga, Hyroglifics and Moresounds. An onslaught of halftime bassline, dancehall and electronic twists in one EP ready to floor the room!

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

After the first Ricardo Tobar remix edition (featuring remixes by John Tejada and Fairmont) on Cocoon Recordings we are proud to present the next chapter with remixes by Lawrence and Midnight Operator (Mathew and Nathan Jonson). 2016 seems to continue as we started it: With high quality music by great artists presenting us amazing techno in an unique and tasty style. Midnight Operator, the joint project of the two Jonson brothers, picked Tobars Angora' for their remix and the result appears very fresh and housey. Their bassline programming adds a nice italo-disco vibe to their version of Angora". Together with their strings and melody-parts the Midnight Operator remix is turning into the perfect soundtrack for the upcoming spring nights: We hear flowers, birds, butterflies and feel the warm air ... not to mention that our feet start moving and dancing. Dial mastermind Lawrence contributes the fourth remix to Tobars album: His version of Red Light' explores the emotional side of techno and house. We dive into deep spaces, spheric melodies and an atmosphere close to the vibe of the great works of Kraftwerk - this is impressive! Lawrence Red Light' version presents the musical side of techno to us - a timeless piece of music with a chill-out flavoured beat and synth programming.

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

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

Cyclo is relaunching with an absolute classic track from its extensive back catalogue. Produced by Derrick Carter & Chris Nazuka the Chicago house classic Rednail Kidz "Do My Thing" was an underground smash when it was first released at the end of the 90's. Clubs nights such as Space at Bar Rhumba rocked hard to the incessant groove of this track. We have included a remastered original with 3 remixes:The Nacho Marco remix takes "Do My Thing" into big room territory. Nacho works closely with Roland and on this remix you can witness Big 303 lines and huge bass that will rock most discerning floors.Hallo Halo (Jon Dasilva & Jonas Nilsson) remix the track superbly and add their trademark warm tech sound.Mystic Bill creates a stunning, deep, Chicago inspired, sonic journey of a remix where less is, most certainly, more. Your Only Friend (AKA Tres Manos) adds some warm acid lines and some extra synths for his remix (digital edition only).
We hope you will enjoy these tracks as much as we are !

***WAREHOUSE FIND LAST FEW COPIES REDUCED***Hot on the heels of 'Ruled by Passion, Destroyed by Lust', their debut album as The Asphodells, Andrew Weatherall and Timothy J. Fairplay have offered up the entire album for remixing by some established and emerging artists. The first of these to be released are by Wooden Shjips and Daniel Avery, neither of whom should need any introduction.

One of Sweden's best kept techno secrets, KAB, is back with a vengeance. Remix done by Karl M. Dreamy, deep and funky EP for your soul!

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

Jel Ford returns to Drumcode after his highly anticipated remix of Alan Fitzpatrick's For An Endless Night.
Ford laces his three electrifying, new original tracks with a high energy that are guaranteed to get any dance floor rocking.
Heavily featuring on Adam Beyer's Drumcode radio both Red Mist and Overcast have gained heavy support from DJ's and fans alike. Ode To Basement' is an end of night smasher that will make everyone melt into the ground as it is caressed out of the sound system.

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

Riding high on the success of a second release that introduced A-Scott & Chad to the Constant Sound fold, the third instalment finds Burnski back in the saddle to offer up "Changes", getting into a more techno-oriented frame of mind without losing that warmth and playful sensibility he has made his own over the years.

After strong remixes from Trus'me, Steve O'Sullivan and Cab Drivers on previous releases, Constant Sound 003 gives another opportunity for the label to call upon the finest in the business to reinterpret the original material.

In keeping with the heads-down workout tones of Burnski's original, it makes perfect sense to invite an artist as accomplished as Deadbeat up for a remix. Scott Monteith has long been a stellar example of how to push dub techno in thrilling new directions and it shows on his version of "Changes".

Kris Wadsworth has just as much to say for himself after years spent crafting heavyweight house and techno with a mercenary instinct matched by lashings of machine soul. He reduces the original track into a stripped down techno dub perfect for late at night.

It's yet another step forwards for a label committed to delivering nothing but the highest quality house and techno for those who seek a touch more depth from their music.

With releases on established labels like Force Inc., Cytrax, Lo-Fi Stereo, Morris / Audio, Delay or Background, he made his way with his tricky electronic sound. He started his own label, Edit that embraces the concepts of reuse and redefinition. Components are generated, arranged and fine-tuned. They are stripped apart, processed and rearranged. Sophisticated editing techniques enable this process to continue without end. The resulting audio productions become remixes of themselves.

Shimmer was the record that put Stefan Goldmann on the map of techno. The dark and throbbing tracks, reduced to the essentials, were love at first sight for many of the DJs who ruled the scene back in 2004. Josh Wink threw in one of his most focused remixes for Stefan Goldmann's debut on Ovum - which was also the first one by a German artist on the label. As so often in dance music, things have come full circle. About time to give a mint copy of "Shimmer" to the DJs who play this prototypic sound today. Remastered meticulously by Rashad Becker at D&M, with the title track cut to a full 12" side, it never sounded better.

Hlanganani Music proudly presents its second release from young fast-rising producer Deep Sixty. Although his name is little known outside of Soweto and Johannesburg, already Thabiso Mamogwa has shown the determination to reach beyond his immediate world and make his musical message heard. In 2010 he made it to London to take part in the Red Bull Music Academy, which is when the HLANG team first heard the tracks that make up the Mme Hayo EP. From the same momentous trip, Mamogwa managed to get into a studio with Todd Osborn (a.k.a. Osborne, Soundmurderer), resulting in the "Thursday Nights" track which Mamogwa has self-released.
The purpose of Hlanganani is to provide a channel for the talented producers of South Africa to present their craft beyond the limited reach of their own country, opening their music up to collaboration and cultural crossover in the process. With his tenacious attitude and distinctive fusion of African traditions and contemporary techno influences, Mamogwa represents the perfect example of what the label is striving for, hence they waited five years to be able to release Mme Hayo.

Alphahouse imprint deliver the 'YY' EP from Italian duo MFS: Observatory, backed with a remix from label-head Butane & Alexi Delano.

MFS: Observatory is the collaborative guise of Italian duo Matthias Tuchetti, Francesco Cozzolino. The outfit are relative newcomers having only released material since late 2014 and here we see them take a huge leap in their career stepping into international water via the Alphahouse imprint, slotting them alongside heavy hitters like Skudge, Mark Broom, Alexi Delano, Butane, and Ricardo Villalobos on the stellar roster. With a Little Helpers release also confirmed in 2015, this is a duo on the rise.

Opening up the EP is 'Observatory Y1' which see the duo deliver a haunting slice of electronica fueled by smoky atmospherics, meandering arpeggio synth hooks and raw weighty rhythms to smoothly set the tone for what's to come. 'Observatory Y2' provides a more reduced, but still heavy, groove with bubbling synth drones, menacing stabs, a bumpy bass hook and mesmeric vocal murmurs.

On the flip side Alexi Delano collaborates with Alphahouse founder Butane to reshape 'Observatory Y2' into pure vibe. The duo provides a typically infectious groovy number, which evolves over six and half minutes with a subtle dubbed out hook taking over the last half of the track. 'Observatory Y3' rounds things off afterhours-style, laying the focus on a sparse rhythmic foundation while howling sweeps and spaced out vocals fuel the psychedelia.

Before they head underground to finish their new the globally-loved Hamburg duo Digitalism are unleashing their first 'pure' club track since the red hot 'Fahrenheit 32' in January 2014.
Digitalism's brand new track 'Roller' does exactly what it says on the tin. Full of raucous energy, the track mirrors the freshness that could be found on Digitalism's debut album 'Idealism' back in 2007.
Mixed by Matt Wiggins at Paul Epworth's Church Studios, 'Roller' comes complete with a delightfully low-slung remix from another duo who are currently on top form, Dense & Pika. Alongside two bonus DJ-Tools 'Roll-A-Pella' and 'Beats-A-Pella' which will all be housed on a limited edition 12' that's sure to go down an absolute treat with Digitalism's loyal and dedicated fan base.
Vital Sales Points:
DJ support from Boys Noize, Busy P, Mason, Harvard Bass, Adam Bayer
Radio Support from BBC Radio 1's B-Traits (16th May 2015), Pete Tong's Evolution Show on iHeart Radio (30th June 2015), Tom Robinson on BBC Radio 6 (16th May 2015), KLP's (House Party Playlist) on Triple J Radio (2nd May 2015), Nemone on BBC Radio 6 (9th May 2015), Mornings with Zan Rowe on Triple J Radio (12th May 2015)
Press Support from Mixmag (Electro Tune of the Month June 2015 issue),

* Hospital Records present their latest compilation 'Fast Soul Music' - a welcomed lesson in the art of soul-inspired drum & bass of the high-speed variety. After nineteen years spent building upon it's lounge-core esthetic their extensive library of smooth-rolling sounds is at the ready, now it's time to get retrospective.

* From the work of thirty artists, a carefully selected forty-six tracks highlight the quintessential sounds of soul music in the Hospital Records back catalogue. Not only effortlessly blending classics from Hospital mainstays London Elektricity, High Contrast, Danny Byrd, Nu:Tone, S.P.Y and Logistics but also showcasing the fresh wave of talent that's reached our ears in recent years. The work of Fred V & Grafix, Hugh Hardie, Keeno, Etherwood, Anile, Tokyo Prose and Technimatic showcasing just how prominent soul music is in drum & bass today.

* Accompanying this two-CD collectors item is a perfectly polished mix by longstanding practitioner and newest member of the Hospital A+R team, Nu:Tone. With over two hours of soul-inspired sounds that effortlessly create the ideal soundtrack for any daydream-filled afternoon.

* With a nod back to London Elektricity's '03 classic 'Fast Soul Music' and a look forward to the fresh influx of talent passing through, Hospital Record's latest compilation provides any drum & bass fan with a chance to rediscover those once forgotten gems and dust off the cobwebs from their favourite nostalgia-fuelling drum & bass anthems.

* Digital Marketing: Youtube upload schedule for music and video content on Hospital Records YouTube channel - (260k subscribers), cross promotion exclusive mix upload with UKF Youtube channel.

* Press / Promotion: Comprehensive campaign in-house serving all UK music and dance titles as well as national, regional and student press - Mixmag, DJ, Trap, Notion, Music Week, Future Music, Time Out, Metro, London Evening Standard, The Guardian, The Independent, Dazed + Confused, Vice, The Wire, The Fly, Vice Magazine, Clash. Kmag (interview), D&BA (interview). UKF Website and Youtube Channel. Reddit AMA, FACT Mag TV interview.

* Radio / Internet: Comprehensive in house campain from Hospital Records. BBC Radio1 & 1Xtra support from Mistajam, Friction, B Traits, Annie Mac, Andi Durrant (Kiss), Eddy Temple-Morris (X-FM), DJ Hype (Kiss), D&BA TV Takeover, Rinse FM Hospital Records Show, Hospital Podcast Hospital Records Podcast USA series, Kmag Podcast, Ministry of Sound Podcast. D&BA Podcast, Hospital records Website, Hospital Facebook (262K Likes), Twitter (64K Followers), Soundcloud (48k followers), YouTube (238k subscribers), Hospital Records Mailing List (53k Subscribers)






aG CD 1-7 | Logistics feat. Nightshade and Sarah Callander 'Crystal Skies'
















DISC 2

Uncto's seminal 2013 release Pain was an uncompromising exercise in rhythmical brutality amidst a conflux of themes of suffering, industry, man, and machine.
The record now sees itself reinterpreted and reimagined under the auspices of some of the scene's most eminent and accomplished forerunners in what is perhaps, as it arrives on an opulent red double-vinyl format, the label's most ambitious addition to its catalog to date.

Long-time trailblazers Exium first take on 'Dirty Minds' as they apply their unequalled peak-time treatment. While retaining the driving force of the original, the Spanish duo transmute its somber sense of narrative into a singular and infective pattern that unrelentingly maintains its intensity throughout. In contrast, Frenchman Mondkopf's reconstruction is a radical departure from its progenitor, almost as if the merciless titular oppressor ('Schinder') has been injected with an empathogenic truth serum and made to face the toll of his deeds. Serving as his final penance, the resultant insuppressible melodic radiance gushes to the fore as powerfully as his remorse and tears.
Continuing on the second record, Canadians Orphx draw upon the immense and unwieldy cyclicality of 'Judas Cradle' as they deconstruct the torture device into a prolonged yet unfaltering dirge. Harnessing the raw power of the original, they adroitly fuel and layer the modular solemn synths of the drawn-out nine minute epic. Finally, the unequivocal master of industrial cannonry, Ancient Methods (DE), takes on and reins in the unyielding beast of 'It,' leaving the monster not only tamed but fully subjugated to his will. Now capable of executing the most inscrutable order, itsees itself violently degenerated to the barest of elements and recombined anew, with the cadence of its frame shifted and staggered to the striding rhythm of a being more machine than flesh. Providing solace and closure are Uncto themselves, as they complement the compositions with two droning interludes.

Mastered by CGB at Berlin's Dubplates & Mastering, Pain Remixes will be available at fine vinyl retailers

This EP was made during a period where my whole outlook on everything was transforming. The Voidloss project started as an investigation, I was conducting a lot of research and study on the mind, the occult, on different thought modes, and the Voidloss project represented this. The idea was about a leap in to the void. A leap of abandonment into the dark, with total acceptance, total commitment. The idea was to lose myself to the void. This was mainly a spiritual journey for me, and could be best explained by 3 things, the void of Miyamoto Musashi from Go Rin No Sho, The concept of the Tao from the writings of Lao Tzu, and the concept of the abyss from the works of Aleister Crowley. Part of this journey deep inside the self was frightening and horrific, the total loss of self, of all identity and ego, and part of it was beautiful and enlightening. I wanted the music to reflect this, and I wanted the music to change as I changed, as I went to and through all these interesting places. In essence this was about freedom. So fast forward some years and I felt I had sharpened my mind quite effectively, the music had twisted and changed and flowed with me. At the point I began making the music for this EP, I had grown quite angry with the amount of conformity I was perceiving in life. Politically, socially, musically, there was this drive of conformity in the world. I think part of it, and only a part, comes from the prevalence of social media, the need to belong and to be liked, the idea of judging yourself and your works through the perception of others. Musically I felt that within techno there was a tendency for the music to fit within a set of confines dictated by fashion and hype, and this was reducing the diversity of the music, it seemed also that the practices of commercial music were seeping in to techno as the music became more popular. Hype and business driven decisions, brand building and so on. I always felt techno was more about art, and I began to get frustrated. Equally I felt that politically there was less and less choice, as all decisions seemed to lead to the same outcomes. I became more interested in the concept of anarchism, of the idea that government was no longer needed. I have always in my life had a drive to question everything. I've always been 'naughty' and rebellious and done things my way, to my advantage or my disadvantage, I could never accept being anything other than myself all the way. If everyone walks in one direction, I will walk the other way, even if it takes me over the edge of a precipice, just to see what is there. All this stuff influences my music, and during the period of making this EP I was angry, kicking against the things I no longer liked or wanted, screaming dissent. There is a lot of anger and rage, and of course rebellion. I wanted the music to capture that unbridled fury you have when you are in your late teens, when you just start learning about yourself and you start rebelling and questioning things around the time the world is really pushing you to conform. I was soundtracking my own philosophical riot. Previous to this my Voidloss stuff had been more introverted, more pensive and melancholy, more self destructive, more cerebral. For this new music I wanted something more immediate but without being too obvious. In terms of the choices I made I still leaned more towards broken rhythms for beat structure. I find it very difficult to do anything interesting with 4x4 kicks any more, it's too rigid for me, it limits my freedom. I like the looseness you get from more 'drummer' like beats, I guess probably because I have been playing drums all my life. The challenge is to get the same rolling power from broken rhythms as you get from 4 to the floor. It's not easy, there is a ridiculous amount of trial and error and the rejection percentage is high. I also was trying to use less 'synthy' sounds. I wanted to try to take a more acousmatic approach to sound design. With the current modular synth revival in techno I was hearing a lot of 'old' synth sounds re-emerging, and this didn't seem like a progression to me. I wanted to make sounds that were hard to source for the listener, where they weren't sure if it was synth or real world sample, digital or analogue. This involved a lot of experimentation. My process involved a lot of field recording, especially with contact microphones, which open up a whole new world of interesting sounds. You are effectively recording sounds through objects in the environment, 'hearing' the world as these objects hear them, I was using guitars, feedback loops, handmade instruments as well. So I was combining this with different synthesis, granular synthesis, sample synthesis, physical modelling, FM synthesis and of course analogue. Everything was reprocessed and re-synthesised, I tried hard to obscure the source and make something new as much as possible. The stuff on this EP was part of my live PA for some time, so as I learned how the music worked live I could go back and make changes, sometimes the environment I was playing in transformed the sound as well, and so I would try to go back an incorporate this in to the music. For remixes I wanted to choose artists that I respected for their vision as well as for their output, so my list of people I wanted was extremely short. Inigo Kennedy has always been an artist I have respected greatly. His music has always been unique to himself, he remains outside of fashions and trends even though his name has become very big recently. He takes risks with his work, experimenting and exploring, yet remaining relevant to the club, and just tirelessly forging ahead, seemingly for the sake of art above all else. And he's just a really nice guy to deal with. His remix is everything I expected it to be in that it is the unexpected. Regis is another artist who forges his own path in music, you cant really even begin to discuss the avantgarde in techno without including his name, he is one of the foundation stones for artistry and the outsider mentality in techno. His music is always unique to his own vision, and along with it comes an interesting artistic philosophy taking in situationism, post punk and industrial ideology and a good dose of tricksterism ala PT Barnum, all of which comes out in his music and the way it is presented. The man is a truly singular force and it is an honour to have him on this record. Overall the concept here is that of rebellion and dissent. Of asking questions, following your own path, of maintaining some place in yourself that burns like a forest fire.

Whether or not I have succeeded I guess is down to the listener, I'm never happy with my music, I keep wanting to move forwards, or somewhere else, and am constantly trying and failing to capture some essence of perfection. But like Bukowski said
'It's the only good fight there is'

Raw District is Belgian duo Vernon Bara and Massimo DaCosta, Under the Vernon&DaCosta moniker, they have released music on labels such as OM Records, AMA Rec, Robsoul, Aroma, OFF, Icon, Doubledown and many more of the world's finest underground house labels.

They have remixed artists such as Brett Johnson, Fred Everything, Style of Eye, Miguel Migs and JT Donaldson and have garnered a reputation as important international producers and DJs with respect paid by great DJs like Luciano, Ricardo Villalobos, Jamie Jones, Mark Farina and DJ Sneak.

Vernon Bara also makes music as Ultrasone alongside Igor Vicente, which is a more techno orientated project that can count releases on Hot Creation and Supplement Facts to its name.

Ladybird is well known for being the singer of Soldiers Of Twilight and vocalist on one of the most famous Llorca's song My Precious Thing among the tons of project she been working for, One of the best, if not the best, soulful singer in Paris,
And now they can add to their resume that there are the very first new release on the briquerouge reboot, Orchestrated by David Duriez himself, the label is back for a new series of releases and reworks from the back catalogue with brand new top names added to the roster.

On this release you can enjoy top remix works by the likes of Nacho Marco (Ovum / Loudeast / Saw) and the head honcho David Duriez (2020Vision / Ovum / Classic) both on the acid side but in a very different way, A very complete package for the deep house heads as well as proper house djs.
DJ SUPPORT:

Detroit Swindle
Richy Ahmed
Jamie Anderson
Kiko Navarro
Chilli Davis
Inland Knights
Spencer Broughton
Orde Meikle Slam
Jozif
Bryan Zents
Flash Brothers
DJ T
Dubfire
nathan detroit
Hernan Cattaneo
Snooba
Tristan da Cunha basics, redux , 2020
Julian M
Florian Meindl
Sleazy Mcqueen
Dan Ghenacia
Chris Fortier
Jussu Pekka
Peter Gelderblom
Phonogenic
The Henchmen
Nuno Dos Santos
Tiger Stripes
Agoria
Timo Garcia
Ekkohaus

Phiorio's Animals release has been a labour of love. After co-running Metroline Limited for the past 6 years and after a series of digital releases and remixes for both Metroline and Retrometro (as well as Letroom Limited and MBF amongst others), Phiorio's vinyl debut on ML finally sees the light of day. The choice of remixers has also been laborious but over at Metroline HQ we are really happy that in the end we managed to secure two stunning reworks by the likes of the more and more in demand French producer Doubtingthomas (with releases on labels such as Hummingbird, Organic and of course, Metroline Limited) and the super-hot up and coming Russian producers Adjustment Bureau. The EP opening track Ninja Cat is a deep and quirky number. The groove is tight with heavy drums and crisp percussions. An acid b-line leads the way while atmospherics pop in and out until an off key synth appears and adds a level of spookiness to the proceedings. Doubtinthomas remix take things into even deeper territory. His landmark reduced drum programming is very noticeable here with shuffled up percussions, lush pads and a very heavy bass to guarantee maximum impact on the dancefloor. Superpupider is a no-nonsense straight up dark and dirty techno tool. It's all about the groove with this track, the drums lead the way with clever use of filtered hats and percussions. That said, Phiorio's ability with abstract sound is still in evidence with plenty of spooky voices, pads and noises firing off in all directions. Adjustment Bureau remix of Ninja Cat completes our tasty package. The Russian duo's (soon to release a stunning debut EP on Hypertone) approach is in line with modern trippy and experimental techno and has a distinctive 'Romanian' vibe. They used the original elements of the track and added extra percussive and vocal samples to create an epic, intricate and groovy paranoid funk number.

'You become responsible, forever, for what you've tamed", Antoine de Saint-Exupéry writes in his modern fairy tale 'The Little Prince', in which his protagonist travels through various worlds in search of friendship and benevolence. The quote is, no doubt, fitting for Niko Schwind, since the Berlin-based DJ and producer consistently demonstrates a deeply anchored love for and close bond to house music, the art form he himself has tamed. As a DJ, he travels the globe, having played in Europe, Australia, Thailand, Brazil, the US and Mexico, and in his sets he creates a feeling of connectedness between himself and others, as well as within the crowd. On Stil vor Talent, Niko Schwind now presents the fruit of his labour in the from of his third album: 'Grippin' World' captivates the listeners with its versatility and coherence, and kidnaps them to a world of sound, made up of elegantly reduced grooves, organic arrangements and accessible vocal-melodies. With 'Perfect Fit', the first single of the album, we are handed an absolute highlight, as Heartbeat's warm voice and a simple guitar-loop form a flawless musical symbiosis, accentuated by a synthetically creaking bass-line. Niko thus proofs he's more than capable of practicing restrained Minimalism with a pop-impact. 'Perfect Fit' then gets the floor treatment: while Niko turns in a reduced, tool-oriented club cut, the hitherto unknown Proud bursts onto the scene with a dreamy arrangement centred around atmospheric synths on his remix. Grippin'!

After two strong releases on Electronical Reeds, the Brussels-based artist Exon Bacon inaugurates Play Label Records with his latest EP, Watching Dogs. Play Label Records is the extension of the collective Play Label that has become a key player in the music scene of Brussels with more than hundreds of events to its credit. This first release sets up the artistic direction of this label that seeks to develope a real dancefloor approach and a strong party spirit.

The release is opened by the original mix that could be summarize with the expression 'powerful bassline, persistent heady voice and burning dancefloor'. The Parisian duo Villanova embarks us into a spin with a darker atmosphere, a deep foreground voice and a strong and repetitive gimmick. This remix reminds us why this Parisian duo knows such rapid ascent on the worldwide electronic scene. The Berlin-based and San Francisco born artist Yooj takes the opposite course to two first tracks with a deeper approach and a lighter atmosphere to offer a sunny and tasty deep house track that will delight all the dancefloor. Lastly, DC Salas, another Belgian talent, filters the voice, redefines the percussion and opens the horizon to take the direction of Tech House track.

This Exon Bacon's EP acts as the foundation stone of a future label to keep an eye on and to follow with a great attention.

In the 1970s the American composer Henry Flynt started a series of pieces under the title - New American Ethnic Music'. In so doing he worked together native styles of music such as blues, Country or Hillbilly with electronic production methods to make something altogether new. So far in Germany it has never been attempted to rework folklore electronically for a compilation. However, this picture changes if one redefines the idea of who the population is. Incomers have brought new - national anthems' to Germany, which means: even the Portuguese Fado, the African Gnawa, the Croatian Klapa or the Vietnamese Quan ho are these days at home in Germany.
With the cultural project - Heimatlieder aus Deutschland' ('Native songs from Germany') founded by former Spex editor Mark Terkessidis and label manager Jochen Kühling all the various styles of traditional folk music now found in Germany has been collected. Thirteen of the songs recorded for the project have now been transformed by contemporary electronic producers to present a - New German Ethnic Music'. But why remixes For one thing electronic music has recently focused a lot on the past (Ghost Music, Hypnagogic Pop etc.) - electronic editing is well suited to follow the effects of the immigrant music which the - imaginary national anthems' has created. Furthermore the project's instigators were curious how - electronic musicians' would handle folk music and folk songs which is a hugely difficult task. To this end artists were sought out who could get along with the idea of each music style and who are known to already have experimented with the human voice. The results are as varied as the music styles and Djs involved. Some melodies remain completely intact while others are abstracted beyond recognition.
Margaret Dygas' associative approach ensured that she presents a polish song about a girls arranged marriage with a claustrophobic feeling. With his remix of the Marrabenta of Mozambique Mark Ernestus has continued the rhythmic experiments he is known for with Jeri Jeri. Thomas Mahmoud translated Gnawa into dub and finally Ulrich Schnauss turned the song of the Italian Chorus of - Donni So' into a hymn for the horizon-expanding power of migration.
Hopefully this compilation will also expand some horizons.

Margaret Dygas - Impulse Remix



Thomas Mahmoud - Arab Disco Dub Remix

It's only early July, but 2013 has already proven to be a landmark year for production/DJ duo Deep'a & Biri. With a couple of their tracks being released on Transmat Records and appearing on Derrick May's mix compilations on the one hand, while on the other, getting signed to DJ Hell's International DJ Gigolo Records, where they released a single in April and have a full album forthcoming mid-September - it seems that all corners of the techno diaspora are ready to catch up on their sound. But it doesn't stop there, as they now launch their own Tel-Aviv based label, Black Crow. With a successful series of parties operating under the same name, bringing to Tel-Aviv a tasteful selection of the world's top class techno DJ's and live acts, Black Crow, the label, is set to counter-match this high standard with its musical output. Inaugurating the label is the imminent release of 'Redshift", produced in collaboration with their long-time partner and excellent producer on his own right, Gene. 'Redshift' has the signature Deep'a & Biri sound, a pumping Detroit-indebted roller, with shout snippets riding in & out the keys-led workout. Keeping it in the Mediterranean, Greek producer Argy provides the remix, accenting the baseline and adding a spoken vocal that takes 'Redshift' all the way to Chicago. Rounding off the package is 'Blueshift", which demonstrates the team's melodic tendencies, with its more spatial arrangement perfect for those deep space moments.

*The product of a move from South Carolina to Berkeley, CA and the subsequent extended separation from loved ones, Toro Y Moi's third full-length, Anything in Return, puts Chaz Bundick right in the middle of the producer/songwriter dichotomy that his first two albums established.
*There's a pervasive sense of peace with his tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production and putting forth the impression of unmediated id.
*The producer's hand is prominent- not least in the sampled "yeah"s and "uh"s that give the album a hip-hop-indebted confidence- and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like "High Living" and "Day One" show a considerably Californian influence, their languid funk redolent of a West Coast temperament, and elsewhere- not least on lead single, "So Many Details"- the record plays with darker atmospheres than we're used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter's return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist's essence.
*Born and raised in Columbia, South Carolina, Chaz Bundick has been toying with various musical projects since early adolescence. Having spent his formative years playing in punk and indie rock acts, his protean Toro Y Moi project has been his vessel for further musical exploration since 2001. During his time spent studying graphic design at the University of South Carolina, Chaz became increasingly focused on his solo work, incorporating electronics and allowing a wider range of influences- French house, Brian Wilson's pop, 80s R&B, and Stones Throw hip-hop- to show up in his music. By the time he graduated in spring 2009, Chaz had refined his sound to something all his own. Music journals across the board touted his hazy recordings as the sound of the summer, and he released his debut album, Causers of This in early 2010.
*Since then, Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the Toro Y Moi oeuvre. The funky psych-pop of 2011's Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking Out EP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer/songwriter spectrum in which he's worked since his debut, and Anything In Return is another exciting offering that shows he's still not ready to settle into any one genre.

with RV8, the osaka-based producer and musician AOKI takamasa continues his long-
term project that focuses on the modulation of rhythms and grooves. it began with his frst ep
‚rhythm variations' in 2009, released as part three of the unun-series. besides his collaboration
with raster-noton, he released records on several labels like commmons, progressive form
and op.disc, produced remixes for well-known musicians like ryuichi sakamoto or yoshihiro
hanno and played performances at, for example, elektra/montreal and club transmediale/
berlin, all in all making him a renowned producer in japan and beyond.
starting with a frework of bleeps and bops, already the very frst minutes of his new
record reveal aoki's preference for vibrating beats and likewise his playful approach to music,
generating a sound that is aiming at the dance foor.
like the frst ones, almost all tracks of the record are characterized by a constant modulation
of chords and lines that sometimes appears somehow hyperactive, but nevertheless results
in a natural fow that perfectly refects AOKI's laid-back attitude combined with his will to
produce danceable and funky music.
the fuent arrangement is only interrupted by the third track which forms a caesura by
being more reduced and slower. in contrast to this, the following tracks present a faster
tempo and an increased intensity; and whereas the frst tracks refect downbeat and r'n'b
infuences due to their broken beats and chunky sound, the later songs are characterized by
a more sleek and technoid style, incorporating dribbling basses, clappy sounding snares and
modulated voice snippets.
although all of the musical components are constantly broken down, modulated, and
rearranged, the overall sound of the record is dense and compact, featuring a groove made
up of numerous elements that are complexly intertwined. the eight tracks of the record ft
seamlessly together and create a composition that nearly functions like a dj set.
the album was mastered by yoshinori sunahara. needless to say that RV8 will be released
as cd and lp.
[A] a1 | rhythm variation 02 [B] a2 | rhythm variation 04 [C] a3 | rhythm variation 05 [D] b1 | rhythm variation 06 [E] b2 | rhythm variation 07

JOHN TEJADA'S 'The Predicting Machine' (KOMPAKT CD 102 / KOMPAKT 267) hits the shelves on September 10th, and his second full-length for Kompakt after highly acclaimed 'Parabolas' (KOMPAKT CD 93 / KOMPAKT 234) will also feature album opener ORBITER, a glistening highlight and stand-out track more than deserving of a solo strut down the red carpet. That's where mad scientists SIMIAN MOBILE DISCO enter the picture, procuring just the right amount of flash with not one, but two expertly crafted remixes.

With his sophomore album Ghost People appearing on 2011's end of the year charts for the likes of Mixmag (#6), Clash Magazine (#9), DJ Magazine (#9), Data Transmission (Album of the Year), Martyn returns to Brainfeeder to release a follow-up 12' this March.

The 12' leads with "Hello Darkness", previously unreleased and exclusive to the release, Martyn shuffles through a rhythmic bassline and feeling of, indeed, darkness from the very first beat. In typical Martyn fashion, the track skips its way through genre conventions, landing in a flux between 2-step, driving techno and old rave (the latter specifically heard in his ethereal and scaling upper melodies). "Hello Darkness" could lend itself to the rawest, grittiest warehouse, yet simultaneously breeds a subtle feeling of elation and release, and keeps the listener guessing with a variety of quirky sound collages.
It also features a remix of "Bauplan", Night Slugs bosses L-Vis 1990 and Bok Bok bringing the most sinister corners of London into their remix, with a heavy grime lean and a pervading feeling of tension. Erratic samples (sounds of a tweeting bird one moment, the cocking of a gun the next) appear in-between a snap beat, metallic stabs and an apocalyptic build-up of percussion and synths. Pulsing in and out of a highly volatile atmosphere, almost as if the track is alive and breathing, this "Bauplan" almost feels like an unrelated beast until Martyn's melody lines start to unfold halfway through the track.
To finish there is an exclusive remix of "We Are You In The Future", a favourite from the Ghost People LP amongst critics and DJs across the board. Techno's notorious man in the red mask - Redshape - steps up to create a deep and dark Detroit interpretation of Martyn's freewheeling, sci-fi-enhanced joyride. Laced with ominous vocal samples ('It may be an accidental side effect of the drug'), the future takes on a slightly more dystopian feel with Redshape's melancholic strings, unpredictable percussion builds and a lingering, creeping reinterpretation of the track's original melodies. A definitive nod to the epic work of Derrick May and Carl Craig, with a hint of Kenny Larkin's intricate builds.
"By the time the imitators catch up, he'll be light years ahead." DJ Mag

2024 Repress

Hurray! PROFAN is back from the future to complicate things again. But let's have a look back in the past: in the mid-1990s, Wolfgang Voigt, under his innumerable aliases (M:I:5, Digital, Grungerman, Wasserman …), unsettled the minimal world and its straight grooves with his right-at-the-threshold-of-pain abstract techno. As a DJ, you sometimes even thought that the vinyl was scratched. "Distort the listening habits until they break up" has always been the leitmotiv of this exceptional artist from Cologne. In 2000 however, after having created another promising trademark: WASSERMANN - W.I.R. that - in spite of or because of its unconventional structure (abstract beat, German vocals) - ranked among the number one hits in any important club and DJ charts and which was even remixed by Sven Väth, Wolfgang Voigt decided to discontinue the label for a while. PROFAN produced two sublabels each devoted to the refinement of specific minimal variants: STUDIO 1 and FREILAND. FREILAND in particular was and still is one of Voigt's projects that manifests his artistic and deconstrucivist approach to the aesthetics of techno beats. FREILAND's concept is radical: the only reference to techno is the bass drum and a sound reduced to the utmost that is moving around it. No wonder that now, eight years after the last PROFAN release, Wolfgang Voigt is back under his alias FREILAND. With KLAVIERMUSIK (piano music), Voigt continues his way towards atonality and electronic art music. The straight bass drum still is the only pulsatile instrument and sometimes it is not even that. WOLFGANG VOIGT / FREILAND - KLAVIERMUSIK is radical, puristic, uncompromising, elegiac, difficult, defiant, true and absolutely necessary. The record, including artcover designed by Wolfgang Voigt is strictly limited.. Greed sucks.