Поиск:sam o b

* From the vaults of veteran Dubplate-Master Keety Roots' Black Legacy Studio comes this slice of instrumental dubwise meditation dating from early 1990's.
* `Why' originally came on the `Dungeons of Babylon EP' from 1994 which fetches `silly money' on the collectors market, making this reissue a god-send for fans of this genre.
* On the flip side is a previously unreleased dub mix of the same tune.

Weird-Pop-Männerfreundschaft: Connan Mockasin und LA Priest vereinen ihre Kräfte unter dem Moniker Soft Hair!

Unter dem Moniker Soft Hair haben sich gleich zwei Enfants Terribles der Szene zusammengefunden. Sam (Eastgate) Dust ist bereits unter seinem Pseudonym LA Priest Mitglied der Domino Familie. Zusammen mit Connan Mockasin haben beide jetzt die Haare schön. Soft Hair ist ein Projekt, das Mockasin und Dust schon vor über fünf Jahren auf Facebook angekündigt hatten. Das war etwa ein Jahr, nachdem die beiden sich auf der letzten Tour von Late Of The Pier kennengelernt hatten. Connan hatte damals den Support für Sam Dusts Band gespielt. Während Sam Dust aber die Welt bereiste, seine eigenen Instrumente erfand, malte und Bildhauerei lernte, bevor er 2015 als LA Priest sein Solo Debüt "Inji" veröffentlichte, veröffentlichte Mockasin mit "Forever Dolphin Love" und "Caramel" sogar zwei vielbeachtete Alben, tourte mit denen durch die ganze Welt und arbeitete mit Künstlern wie Vince Staples, Charlotte Gainsbourg und James Blake. Es ist so also kaum verwunderlich, dass es mehr als fünf Jahre gedauert hat, bis das Album der beiden fertig wurde. Alle Songs wurden in einer Sozialwohnung in St. Anne und einer Fabrik in Sneinton in Nottingham aufgenommen, über einer Autoreparaturwerkstatt und einem alten Schulgebäude in Anawhata, Neuseeland, im Keller und Schlafzimmer von Sams Haus in Loughborough, in Connans Wohnung nahe Old Street, London, im Studio Ferber, Paris, in einem Bungalow in Kurby Muxloe, in Leicestershire und ein bisschen auch in Hotels überall in Europa

Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
Arthur Forests name should be more widely known in the world of dance music, the man lent his expert to touch to more than one classic record emanating from Detroit during his time and has quietly left an indelible fingerprint on House and Techno history. Here at Mint Condition and for our third release we are extremely proud to present one of Art Forest's (in our opinion) finest moments - The majestic, futuristic 'Expectations' EP. Released in 1992, this 4 track EP has always been sought after by Detroit lovers worldwide. Often very difficult to track down and commanding high prices on the second hand market, this 12" is a real rarity. Showcasing a style that stands out from a lot of records released around the same period "Expectations" still sounds so killer today. Listen to "Flow with me" on the b-side, an insanely deep, melancholic piece of Detroit house, steeped in motor city futurism (those synth pads!) and with an otherworldly vocal performance from Dan Carter it ticks all the boxes, absolutely sublime and worth the admission fee here alone. Stunning.
If you're up to your neck in the history of Detroit dance music, or if you've literally just stumbled upon this entire world of amazing music (Welcome!) you'll want a piece of this. Beautifully crafted deepness from a quiet master of the artform, what's not to dig MC003 has been reissued with the permission and involvement of Arthur Forest and remastered by London's very own Curvepusher. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!
'Mint Condition - We're out there'

First out in our 30yrs anniversary "year" is a collaboration between Eargoggle & Villa Abo. That means Electro meets slammin techno & house as well as a Little cutie in the end. About 300x pressed....

The name Tochno, Russian for "Precisely" speaks for itself, being a hardcore, pure and at the same time straight-to-the-heart Minimal Techno music producing firm.
Tochno is the product of a long gestation of its creators. Waiting for the right time to get on the stage, it will bring Minimal Techno to the levels they deserve with a no-BS attitude and hours of top quality beats.
Tochno won't bring you the latest and shiniest plastic puppets of the market. We have gathered real artists, throbbing with desire to divulgate their music and they will do so in a way you won't forget.
And it's not just the attitude, our music comes on vinyl only. You won't find any material for talentless time wasters here. Only analog music to be handled by expert and loving hands.

Early support from Mamiko Motto, Glenn Astro, Ame, Pathaan (BBC Worldwide), Jamie George (Rinse), B Traits, Charlie Tee (Kiss), Jodie Wisternoff, Damian Lazarus, Tensnake, Anushka, Detroit Swindle, Claptone, Dubfire, Iron Curtis, Breach, Auntie Flo, Matt Karmil, Edmondson.... and Jamie xx

Marbled Green Vinyl
EarToGround label boss ''Gareth Wild'' comes up with a solo effort for Planet Rhythm. "Warriors In The Dance EP'' consists out of 4 dance floor cuts which all have a somewhat dark approach to them. Nevertheless, Gareth Wild shows his versatility throughout these cuts which span from Percussive to more ominous cuts. All of them contain the same feel for fat textures and dance floor appeal.

Barcelona based YAKAZI imprint proudly reaches its fifth installment in the form of a synergic collaborative release signed by chilean artists Alexi Delano and Marcelo Rosselot, counting also with canadian Buchla wizard Marc Houle in the role of never-failing remixer. Presented as a two sided release, and splitted in two original tracks plus Marc Houle's remix, YAKAZI maintains its unwavering commitment to their core values, to move people through good music, prevailing fads and trends and strengthening the label's very own sonic identity. On this occasion, Alexi Delano, a close relative to the label that was also featured on label's previous compilation, joins forces with his studio fellow Marcelo Rosselot building up "Take Me / It's On me", two finely-crafted excursions of heavy bass minimalism and dark vivacious techno based on subtle vocal samples, trippy synth-chords, and layered drum patterns constantly evolving throughout both progressions sounding uniformly fantastic, without falling into the obviousness of a long steady beat narrative and keeping in mind how to charm the dancefloor in style.

From the whip-like crack of Yako's signature staccato vocals and impossible-to-memorize lyrics to the relentless overdrive tempo of their oneof-a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith. The demos for Fetch, their first studio album since the severely fried pop-punk of 1997's Bambi's Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including
their ability to concentrate on recording. Which stopped completely.

Once they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.


Fetch scrapes glam shimmers off punk's outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata's guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick. The album is juiced with electronics and post-rock production, tempering what could easily be a
tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White's blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild
lychees keeping time on an Ankgor Wat tin roof during a monsoon.

They've been performing live as a duo since summer 2012, and will do the same for their '2 do what 2 fetch' tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on
2009's Lite Live: Ver. 0.0. Yako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper. - First record as a duo expands the M-B sound
into multiple dimensions - LP includes digital download card; first
pressing on clear vinyl

TS07 is the 4th EP of the TONE SERIES project and in line with the previous three releases TS08, -09 and -10. However, while MACHINE DREAM freezes you up with its winter grooves whilst on your way to the club, KEEP THE BOMB warms you up as soon as you get inside. Whereas MACHINE DREAM unveals shamanik percussions driving a tribal acid vibe with a big amount of pads that make the track ramping crescendo up, KEEP THE BOMB establishes itself as a major dance floor tune with its killer beast, cruising vibe and staccato voice percussion. With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, MACHINE DREAM and KEEP THE BOMB distinguish themselves from each other through their vibes and colours, although they remain in the same spirit. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality comes out of colours.TONE SERIES was born from the collaboration between late Villa's former bouncer (one of the most underground clubs of Berlin) Wolfram, French music producer, live performer and DJ David K, and LumièresLaNuit's co-founder and An der Grenze's founder.

London born Paul Rose's career has been intrinsically linked to Hotflush Recordings, the label he set up in 2003. Coming back full circle to his formative mid-90s days of following Colin Faver and Jeff Mills, Rose's fabric appearances have evolved over the years from bass music Fridays to the house and techno of Saturday nights.
This 10' sampler, taken from the 90th instalment of the world's leading house and techno mix series from London's renowned fabric nightclub features two tracks from fabric90 Scuba mix, both taken from Scuba's own label, Hotflush.

Limited edition remastered LP of an unknown group from Venezuela : Grupo Almendra, they released only one Album in 1978 today very hard to find containing a powerful mix of jazz latin funk and cosmic disco. Each song is unique!

Bordello A Parigi. Ali Renault. A gin and tonic combo if there ever was one. The UK synthesizer savant lands with a four tracker of leftfield electro pop. 'Altro Mondo' screams out of the traps, bulbous bass lines elbow sweetened chords and snapping beats. 'Fume' grows from the same soil. Analogue warmth is brushed, even bruised, by the crack and whip of rhythms; a touch of EBM bitterness blended with Italo hope. Nowhere is this more evident than in...'Nowhere', a buckled dancefloor romp with the king of Milano, Fred Ventura, offering vocals. Uabos maintains the tension for the finale, uplifting house currents coursing through his remix of 'Lenticular'.

Drums, bass, saxophone. Three main ingrediences for the three members in Kriget. In this gorgeous 7" they've added mad nice electronics. It's krauty, spacey, free jazzy etcetera, so forth, blah blah blah. Lets settle at free music for free people.
A-side Dincons bass seduces you so subtle that you hardly notice that you're about to take off for a ride that you can't fight. Only feel. When you think you've landed safe and sound its time for side
B: Sama kicks of like a no-nonsense session with a sleazy elektroschaman who wants to hypnotize and program you with so vicious methods that the CIA would be impressed. When the acid kicks in at the end it's time to breathe slowly and quietly repeat for yourself:
Keep calm and remember that being paranoid doesn't mean they aren't after you.

Banoffee Pies Black Label Series 02.1 lands exploring more deep minimal bumpers for the floor. BPBL02.1 offers another Unknown sample heavy edit, an insert from Bristol local and label friend Crump, and tracks from their newest label affiliates, Jase and Pablo Marco.Groovy business from the Banoffee camp. Heat!

'Figa de Guiné' is an uptempo jazzy bossa groove, laden with percussion and drums taken from the 'Semideus' soap opera. Originally released on 'Semideus' soundtrack by Som Livre in 1973. 'Alibabá Alibabou' - uptempo funky samba from the legendary Novos Baianos, big on the horns and chorus vocals. Originally released on a 4-track 7' EP in 1979, entitled 'Trio Electrico'.

Bristol based Afro-beat band, Matuki are releasing their debut 7 single on December 2nd via Stutter & Twitch, featuring an exclusive remix by Shunya. As each side of the record paints a juxtaposing image, Matuki drives forward as they make a name for themselves as Bristol's most engaging afro-funk band. Side A 'Sanimenteren' showcases fiery horn melodies and liquid guitar riffs, whereas Side B 'INJO' changes direction completely, as Manchester producer Shunya takes the reins. By morphing Matuki's steadfast rhythm into a lucid downtempo glitch, Shunya creates a unique and mesmerizing new perspective towards the urban band's signature style. Likened to the legends Fela Kuti and Afro Manding the authentic Afro band punctured Bristol's music scene after an exceptional debut performance at Glastonbury's Glade Stage, blending jazz & psychedelic influences with urban-funk. The result Mesmerizing tracks and heavyweight horn lines that reflect on how the 12-piece collective are never afraid to venture out of their comfort zone, to create something special.Turbo-boosted grooves and fusing Afro Manding with intoxicating Fela Kuti horn lines, Matuki creates a rhythm so deep and hypnotic, it takes you on a journey' - Rhythm Passport'Matuki mix the classic ingredients - brass, beats, vocals and electricity - into something suitably hot'n'spicy..., If Bristol's Afrobeat scene gets any hotter we might as well move to Lagos' - Canteen Bristol. Fronted by master drummer and vocalist, Abraham Ebou Sanyang (Savanna, Magoma), Matuki mixes traditional afro-beat sounds with heavy doses of contemporary urban funk, into an exciting concoction of world music. The ensemble recently expanded after merging their sound with the Bristol Jazz Student ensemble Jamba Horns, and has previously collaborated with an array of versatile musicians including the Bristol Samba community. After the success of their debut performance, Matuki saw airplay from Bristol based DJ Hiphoppapotamus, and Miles Chambers of Lyrical Minded as well as BCFM, Bristol City Radio, Radio Ujima and Radio Helsinki, as an energizing sound bled into the airwaves. Touring the UK festival circuit, performing at Secret Garden Party, Green Man, Farmfest, Kendal Calling, Glastonbury to name a few, saw Matuki turn unassuming audiences into dancing frenzies, wherever they play.

Lessismore (formerly Lessismorecordings) was launched 10 years ago, and has been on hold for a few years. At the time the transition from vinyl to digital didn't feel right and now that the vinyl market is coming up again the love and faith to release a beautiful product (vinyl with cool artwork) is back.This 10 year anniversary is a good reason to revive from hibernation state and to start sharing great music again. The first few releases from the relaunch will represent re-releases of the strongest EP's from the back catalogue with remixes by respected artists.

The Alexis Tyrel remix of Estroe's Taxotere has a palpable energy which comes from the masterful fusion of pounding kicks and luminous synth stabs that swell and bulge out through the mix like bright flashes of summer lightning.

The Advent remix of MBC's Zeitlupe starts with a galloping synth that builds in intensity. Just as one is lulled into a "false feel" of the track, the synth part transforms into the syncopated groove of the original version. The track fluctuates between both patterns periodically. With several intriguing modifications of the main sound throughout, and with a pacey aggression, this track is both fierce and deep.

Gideon also remixes Zeitlupe and in his version the intensity is increased a little more. The main groove is prevalent again which drives this remix. However, the real profound sections are where the beat breaks down and yields to the resonantly electrifying lead synth which consumes all in its path. Conspicuously powerful and driving.

Once more on remix duties, this time Gideon interprets Alexis Tyrel's H for Hustler. Rhythm and percussion based, it exemplifies Lessismore's ethic - it is both fundamental and bold. Strong and steady machine like beats push the track along relentlessly while industrial scrapes grind away on top. The "Hustler" sample is sporadically placed but is still used enough to give a hypnotic feel to its use.

The original version of H for Hustler by Alexis Tyrel focuses on the basic elements that are at the core of timeless dance classics. The captivating and hypnotizing beat powers its way throughout. The "Hustler" sample is used rhythmically to great effect while the perfectly aimed machine-gun snares find their mark and are perfectly positioned to hold attention and build atmosphere where needed.

THEM records welcomes back Hiroaki Iizuka for the its fifth outing. Having supplied the 'The Run' as the labels first record, here Iizuka doubles its play time and track listing length in his stunning Voodoo EP. The extra time offered allows Iizuka to flex more of his versatile style. THEM as a label sets out to eschew a Techno norm largely made up of a traditional 4 x 4 sound. Having come from a London background, the curating of the label gives a nod to the rave sounds of the Capital - especially D&B, Garage, Breakbeat Hardcore and Grime. That is to say of course along with its characteristic aesthetic of Horror and The Gothic.
In Iizuka THEM found a common ground: Based in Hokkaido, Japan, Iizuka does not share the same London influences, yet shares their base values and thrust. Common themes of his sound involve broken and syncopated beats, and a rave energy. This is what lead him to being the first and prime THEM stable artist. Voodoo EP showcases this breadth of Iizuka's style, from tracks that could easily fit into any Grime set, such as Primitive Acid, to the more melodic tones of Floating Point, in which Hiroaki guides THEM into previously untrodden ground for the imprint.

This is the second 12" of a 2-part series of 12"s that will be released digitally as a full-length LP.
After a split single with Muslimgauze and a single of their own on Optimo Trax, we are delighted to present the first Optimo Trax album release by Italy's Underspreche. The album is split across two four- track EPs, released two weeks apart (and also as a complete digital album).
We try to avoid over-hyping our releases, but this one is really fully deserving of the hyperbole I am about to bestow on it. Underspreche first sent me some music a few years ago and seeing them grow and develop has been nothing short of astonishing. I think this is some of the most nuanced and advanced music that Optimo Trax has ever released. There are several dancefloor destroyers here but also music for more developed/leading-edge floors too, as well as some music simply designed to make one's mind melt.

It is very rare that I listen to 4/4 music at home, but this album has been a constant on my hi-fi since it was sent to me.
Super-advanced, organic sampling, inspired vocalisations, acute psychedelic modular sequences, forward- thinking drum programming, this is exactly what I hoped Optimo Trax would be about when I started the label.
From Underspreche's souls to yours.

The terrific opening salvo of this thrilling prospect of a label, imprint of the eleven-strong, Bristol-based collective.

Intensely intimate, dread ruminations about racism, being and the UK — rooted in the dub poetry of LKJ and Mutubaruka — in tense, widescreen settings by Amos Childs, out of Jabu and O$VMV$M, and Sam Kidel, moonlighting from The Death Of Rave.

Hotly recommended.

'Gloria Glorinha' - quirky, upbeat MPB-funk with soaring vocals, JB esque stabs, horns and bubbling piano. Originally released as part of a 4-track 7' EP on Odeon from 1970. This is the third appearance for Antonio Adolfo in the Brazil 45 series, previously with 'Transamazonica' (BRZ45.11) and 'Dois Minutos De Uma Nova Dia' (BRZ45.048).

'Coqueiro Verde' is taken from Erasmo's sought after 'Erasmo Carlos E Os Tremendões' LP from 1970 on RGE. Uplifting percussive Samba/MPB laiden with horns and woodwind. Erasmo - one of the leading figures in 70/80s Brazilian alongside Jorge Ben, Tim Maia and Veloso - also appears on our 'Brazilian Beats

Brooklyn' compilation with the brilliant 'Jeep', this is his first appearance in the Brazil 45's series.

TreVision is the rare conjunction of the Berlin based acts Florian Meindl, Sierra Sam and Pascal Hetzel in the form of a wild & gear-heavy Techno live act.
This first release is a result of two techno jams: in the studio and in a club using 2 modular setups, a TR909, MPC1000, delay pedal, Analog Rytm and Moog filter. After a small editing and mastering, here is Trevision 01.

Kepler. makes the second contribution to Silencio's catalog with "Planetary Systems I".
With refined ethereal elements rendered from what is surely an eerie origin, "186f", is truly engaging. This track is fueled with a seductive synth heralded by haunting vocals that effectively whisper over its steady, punchy bass line. Meandering in the background is the type of idiophone sound one would associate with a hand-percussion triangle instrument. Its particular effect provides a complex, rolling rhythm that vibrates in a beautiful tone until its objective has been achieved.

On the B-side "452b" is a great track to open up a set with, gentle yet still energetic in how it introduces itself to the audience. It begins with a series of echoing sounds that rise and dive throughout, seemingly reflected off the surface of one's subconscious, in a satisfying manner. Accompanied by a deep pulsating bass line that accents its driving drums, this track will set the tone time and time again.
Imagine the dawning of a realization formed from an inspiring event in nature. The second track, "Luzon", features a laid back tropical tempo and samples that feel transported from a lush, rhythmic rainforest. Kepler expresses this vision within the confines of a catchy groove, utilizing subtle bird sounds and rattles that resonate over layers of atmospheric synth. This is emotional music meant to move a crowd or manufacture a sincere moment of clarity.

This is the first 12' of a 2-part series of 12's that will be released digitally as a full-length LP.
After a split single with Muslimgauze and a single of their own on Optimo Trax, we are delighted to present the first Optimo Trax album release by Italy's Underspreche. The album is split across two four- track EPs, released two weeks apart (and also as a complete digital album).
We try to avoid over-hyping our releases, but this one is really fully deserving of the hyperbole I am about to bestow on it. Underspreche first sent me some music a few years ago and seeing them grow and develop has been nothing short of astonishing. I think this is some of the most nuanced and advanced music that Optimo Trax has ever released. There are several dancefloor destroyers here but also music for more developed/leading-edge floors too, as well as some music simply designed to make one's mind melt.

It is very rare that I listen to 4/4 music at home, but this album has been a constant on my hi-fi since it was sent to me.
Super-advanced, organic sampling, inspired vocalisations, acute psychedelic modular sequences, forward- thinking drum programming, this is exactly what I hoped Optimo Trax would be about when I started the label.
From Underspreche's souls to yours.

The Erefora Land" is the first solo record by Johan Kaseta, Lehult founding member. It's a nostalgic, hazy affair where the tracks work both on a dancefloor and as the score to an imaginary Super Nin-tendo RPG. Squelching vocal samples ("Hi!") and bubbling synths are reminiscent of the oldschool, synth-laden nineties game soundtracks young Kaseta still can't get enough of. "The Erefora Land" is like coming across the soundtrack to Earthbound after having forgotten to have ever played it - suddenly a rush of sights, sounds and smells from the past come back to you and gently pull you in. Kaseta takes this nostalgia of the forgotten and puts it into his very own context: shuffling hihats, missed drops - a playful version of house music. Swept up to the shores of Erefora land, you're greeted by "Lei Tindissima". A seductive, blistering track on the verge of falling apart yet always staying groovy and pumping. Being somewhat ambient and airy, yet relentlessly moving, "Erefora Steps" is not just a charm to listen to, it is also one hell of a weapon in the club - tested by yours truly intensively. Grooving on a broken, somewhat latin type of bounce, there are several twists and turns between heavenly pads, psycho-vocals and, of course, echoed airhorns.The third cut, "U Timmi", is a laid back Sunday afternoon jam. Despite being light, smooth and grooving, it's layered samples and micro melodies draw you further into the mysterious sound world of Erefora land.Finally, "Me times U" could almost be the theme tune of "Erefora Land", it's blissful chords so close to a conclusion yet always behind a veil of waterfalls, trickling shakers and swooping filters.

Here comes R-Zone 05, this time coming from a pair of established producers who work both solo and as a duo (and one of them runs a prominent German label). The first track is 'Jungle Fever', a slowed down, dub-culture tinged track of sampled loon bird calls, tooting melodies and raw metallic drums that churn deep down below. It's the sort of track that needs to be played in summer, ideally with a reefer on the go. 'Down-E rave' again calls on druggy references for its inspiration - this time E'd-up dancefloors in the mid-nineties. It's a lazy beat with curious vocal stabs, prominent drum breaks and plenty of deft synth work that takes you up, up and away in style. The flip-side sees two versions of 'nRg Zone'. The Happy Mix is a rinsed out and tripped out track of streaming melodies, more old school and rough drums and plenty of bright, pixelated melodies stabs as well as softer background pads. The Moody Mix operates much more down in the darkened doldrums. It seems to have heavy heart and sultry mood as the percussion churns on beneath golden streaming pads and like everything on the R-Zone series, is stuffed with plenty of very real atmosphere.

In the lead up to their 5th year as a label Music is love celebrate by continuing their infamous VA series the 'LOVEBOX'. Sticking to the winning formula of a hefty double vinyl package comprising of 8 tracks from 8 top artists, this time they have some familiar people alongside new faces to the label.
Kicking off the package in fine form is South London's prodigy Wbeeza and his track 'Bodyman'. It's as if this track announces the the opening of the VA with its beat-less and thickly textured opening... when that beat drops you know your in it!
Label main stay Jamie Trench is up next with his track 'Oil Spill ', this sees Jamie veering away from his tech house roots, delivering a quirky house track laced with an almost footwork groove.
On the Flip we see more new additions to the MIL roster as Ingi Visions ( Samuel Deep & Julian Alexander ) drop Nauyaca, a deep druggy track, with the kind of hypnotic flow and delicate arrangement the pair have become known for. Liam Geddes finishes up the B side , fresh from dropping the previous release on Music is Love his track 'reach out' continues to stamp his unique sound on the label.
And it don't stop...
As we reach for the second vinyl in this double pack we are greeted with a familiar site in the shape of Dutch duo New Jack City. 'Pick Me up' is everything you want from a NJC track, big, bumpy and beautiful.
Mak & Pasteman counter with their very cool track 'U Said', the boys are in serious form at the moment and this track is no different. Slick drum workouts decked out with Juno licks, what's not to love.
The final side welcomes another new act to the stable. Am Unit present their track 'Bang Dat'. With 'Bicep' style production values echoing throughout this track and THAT break, this one will be big.
Closing out the final track is label boss, Oli Furness. 'Broken Summers'. A huge 808 rave workout. Broken beats and sub rattling kicks are the setting for this track, finely polished electronic music for those with a fondness for rave.

Minimal Wave present a unique collaboration between one of their long time favorite artists, In Aeternam Vale and Anneq, a stunning young Madrid-based vocalist originally from Minsk, Belarus. In Aeternam Vale and Anneq met in 2011 and began to collaborate in 2015. In Aeternam Vale, originally from Lyon, has been making synthesizer based electronic music since the early 80s, when he began to self-release many of his recordings on cassette. As the years went on his cold and caustic synthpunk sound, often primitive and hypnotic evolved into rhythmic, throbbing music for the dance floor, his own unique style of techno.

On this record, In Aeternam Vale and Anneq come together to create two very different versions of the same track, one fit for the club and the other a more intimate version, for quiet listening at home. Je Ai Dissous, the opener, is a dark smoky track with a hypnotic, cyclical underlay reminiscent of early industrial music while the Page R Version of the same track trandscends the floor and becomes completely filmic. Anneq's seductive vocal is suspended in a beatless, cavernous void. Side B opens with Tendencia, a very classic catchy minimal wave style track, sung in Spanish. The V6 version of Tendencia again focuses on Anneq's voice set in a darker, slower more atmospheric melody. The four tracks culminate in an elegant and thoughtful collaboration from these two strong talents that complement one another so well.

The "Je Ai Dissous" EP is pressed on 160 gram deep purple "spilled" inside electric blue transparent vinyl, limited to 999 copies and housed in a gloss printed sleeve.

The second outing from BTG follows, in tradition, their 2 originals and 2 remixes format. This time round TOYC creates a slower paced dance floor obliterator titled 'Kicks' sounding like a wonky laser gun trapped inside a broken 808 landing somewhere between broken techno and bass. On the remix Project Mooncircle and 20/20 LDN affiliated Deft deconstructs and reconstructs TOYC's track into a maximalist beast fusing the current sounds of 160 BPM 170 BPM and half­time DnB with the technical precision of Amon Tobin. Up next the booty­shaking stormer they call Itoa, known for releases on Bad Taste and being featured in storming 160­/170bpm sets by DJs and tastemakers such as Om Unit and Sam Binga. 'Snake Pass' is a classic Itoa track, playful bouncing subs and flickering percussion and shards of vocal, landing somewhere between footwork and booty bass. BTG co­founder Etch sets the pace with his remix of Snake Pass, coming through with a schizophrenic beats influenced sub heavy stepper that slowly evolves into a breakbeat onslaught.

Aussie rare groove ensemble Kerbside Collection's second album of instrumental funk and jazz grooves "Trash Or Treasure" (released May 2015) gets the remix, rework and re-use treatment with a variety of re-interpretations with everything from downtempo hip- hop/neo-soul and dusty analogue lounge beats, to fuzzy, Balearic electronic club workouts and even some broken beat flavours.Kicking off this limited edition 12" vinyl, AV artist/DJ/Producer Sampology lights up the sitar disco vibes of "Strawberry Fields" taking the track into sizzling Balearic, club work-out territory with added afro percussion, squelchy wobbles and effects, perfect for summer festivals and hazy end-of-night vibes. Vinnie Laduce's follows with his cruisy vocoder and lo-fi indie beats reconstruction of "Shake 'n' Bake", while another local Brisbane producer TwoDee (who also appears on "Mind the Curb" remixed) delivers an eighties, electro break flavoured re-work of 'Rabbit Hole'.Side B starts JNBO (The Cactus Channel bass player) and his unique wonky, analogue and quirky touch to the title track for a fuzzed out, analogue electronics burner for fans of Floating Points, Cro Magnon, Dabrye and Dimlite (bounced to tape no-less for added bump!). Closing in on this special vinyl is Kerbside's drummer Paprika who takes the coastal groove of 'Bogangar' to the afro side with his 'Mountain Air Afro- dub', recreating a low slung, Tony Allen styled afrobeat groove with added melodic movements and dubby effects, while he adds another remix taking "Trash Or Treasure" into future jazz/broken beat territory with added percussion, moog bass and a surprise heavy change up at the end, almost reflective of some classic Fat Freddy's Drop!

The motorcity boys are back with LOVEiT003 a fresh sounding 4 tracker strongly reflecting the diversity of styles found at their parties. lds kicks thing off with 909 To Heaven, a jacking and balearic workout with a rootstrax, Chicago style bassline keeping the floor hypnotised until the small hours of the morning. Snares, Kicks & Rhodes is a more laid back jam. Lazy warm pads and a slow winding sub bass rise and fall intermittently only to be interrupted by a lo-fi distorted bass that snaps you right out of that trance. Nico Brun opens the flip side with an absolute banger, hazily reminiscent of that 90's warehouse rave. lds and Nico Brun close the EP with an atmospheric collaboration perfect to start or end the night with. Splashy beats keep up the footwork whilst pulsating synth sounds slowly wind together and drop with a beautifully crafted sample that's guaranteed to bring some sexyness back to the dance floor. This EP will definitely be a regular addition to your record bag to spread those warm summer party sounds. - Bruno Farace Early Support: XDB (Echochord / Dolly): "Debut ep" Congrats! End Monologue is my favourite.

Absolutely classic double header of brand new mixes from the mighty Mike Maurro! A Detroit classic goes head to head with another solid gold Philly classic on this 12" of exclusive mixes lifted from his "Peak Hour remixes" project, all produced from the original master tapes. The Spinners evergreen Soul classic "I'll Be Around" takes up the A-side with Mike's trademark respectful flourishes evident - a restrained, classy version of this all-time anthem is what we're treated to by someone who truly understands the originals and feels the music. A must have for all serious Soul lovers out there. On the B-side we have The Trammps stellar "The Night The Lights Went Out", a long time favourite that has been extensively sampled by numerous House artists and The Trammps paean to the infamous city wide blackout during the summer of '77 in NYC that ended up subsequently reshaping popular culture as we know it. Maurro's mix, as always, has respectfully rearranged the track in such a way that he's managed to put a new spin on a legendary disco classic focussing on the incredible arrangements of Norman Harris' original. Simply put, another set of essential mixes from a modern day master! File under - *Essential Disco*

The Tiger is back - finally on full length again! The second studio album for Tiger & Woods not only marks a desired return to a specific format, but is also a huge leap forward in their area of expertise: their brand of fun and functional dance music gets broadened by influences from electronica, italo disco and up-tempo house, while keeping a groove that is distinctly linked to what some people refer to as boogie. After travelling the world from left to right and from top to bottom with a live-set to boot and skilful DJ sets that resemble that genre melting approach, "On The Green Again" is the result of spending valuable studio time at the "Tiger's Lair" - a carefully-built new work place that plays its own part in the creative process of one of the most prolific production teams of our days, while simultaneously starting T&W Records for all sorts of adventures that are linked to Tiger & Woods, but not narrowed to a specific sound. See "Unleashed Tapes Vol. 1" for further reference. A double A-sided 12-inch that owes as much to disco as an influence as it pays homage to the funkier and brighter sides of house and techno. Honing a craft that is rooted in edit culture as an ethos, but has since long left that bumpy road dependable on samples and their clearance, T&W make "On The Green Again" work as the second album that defies the difficulty usually attached to such ventures. 10 brand-new tracks (and three previously released bonus tracks on the CD version) make up the course between peak-time prime cuts similar to "RockMeLoveMe" or "Come And Get My Lovin" and an almost heart-aching track like "Endless Affair". Mixed with bits and pieces in-between and neatly placed between a classic intro and outro segment, those tracks are testament

2024 Repress
"Apodiktische Gewissheit" ("apodeictic certainty") is the title of an audio-visual cooperative project from Berlin-based artist Gerhard Mantz and Wolfgang Voigt. The project is premised on a digital video piece from Gerhard Mantz. Steadily flowing geometric forms and themes move evenly around a fixed center towards the viewer. A hypnotic undertow-like effect of seductive beauty emerges - impossible to elude, whether you want to or not. Wolfgang Voigt seizes on the digital aesthetic and the mechanical flow of the images, giving them a musical equivalent. The result is a successful amalgamation of imagery and music that generates maximum intensity with minimum motion. An Impression of concurrency between loop-ish continuity and a constant forward thrust, always the same and always different, beginninglessness and endlessness is created.
The vinyl release at hand is a part of the audio-visual art installation "Apodiktische Gewissheit", developed in cooperation with Cologne-based gallery Hammelehle and Ahrens at Cologne's Gertrudenkirche and starting on Friday, November 4th 2016.

For those of you wondering what Adesse Versions was doing at our Heist Boiler Room this summer in London, the answer is here. The "Push it along" EP for Heist is Adesse Versions first appearance on our label and features 4 stunningly raw and warm originals, and an amazing remix by New York's ambassador of funk: Ge-Ology, together with multi-instrumentalist Marc de Clive-Lowe on keys.
After having released numerous records for Jackmaster's Numbers, Local Talk and Toy Tonics, we're happy to welcome Adesse Versions to the Heist family. When he sent us his demo's we had the tough job to choose the right tracks, cause there were just too many. The selection on the "Push it along EP" features what we feel are his purest work up to date. With only a small amount of elements, he manages to create such a big and warm sound, finding a great balance between gritty percussion, rich analog synths and funky sampling work.
Opening track Tout it is built around an ever evolving arpeggiated synth, a dancehall-esque percussive riddim and lovely pad work. It builds up slowly, without ever becoming dull, changing small elements and adding momentum with each step.
E to E is based on a chopped vocal looped to bits (only shouting: (E, E, E, E, E..), dancing hihats and a rolling bassline, whereas Geology flips the high energy original into a classic deephouse tune that fans of Larry Heard will love. The steady bassline and trianglework form a perfect canvas for MdcL's work on various synths, adding layer after layer of melodrama.
The title track goes for the same recipe as Tout it, with fierce snares laying down the rhythm and a far away disco sample adding the right dose of funk. Ebony Roses is the final track of the EP: A beatless groove built around a spoken word vocal with dreamy piano work around it building up suspense as the track evolves.
We've been playing this EP over the course of the last few months and it's been getting great response, so we're happy to finally share it with you.

Sincerely yours, Lars & Maarten

Meet Thorsteinssøn. The Iceland-born-Denmark-bred Gunnar Thor Viggosson better known as one half of 76-79 with Tommy Vicari Jnr and bossman at Comfortable Records and Vanity. Right now, though, we're calling him the man behind the first Pets artist album this year... Deliciously cosmic and cheerily schizophrenic, 'Academy Of Heroes' is inspired by a brilliant creative project Thorsteinssøn practiced during his years living in Amsterdam: Solar Industry Radio. A project that would begin with a made up artist or band name in styles ranging from cosmic funk,scandinavien disco to noise collages of the galaxies. A joyously backwards project that inspired a rich rainbow of styles, the content was then represented 24/7 online, collaged with strange jingles and sifi snippets. Genius. Returning to those creations, Thorsteinssøn and Pets have weaved together a full album that cherry picks from his thunderous proliferation: from the strutting west coast deep house of '1976' to the introverted electro boogie of 'N M T F R' by way of the poignant chords of 'Untitled Disco Six', the wry acid wriggles of 'Channel DISQ' and the Trans Am twinkles of 'Beneath A Steel Sky', the 14 collection acts as an immersive, timeless collage. A smorgasbord of synthetic exploration, rich in sci-fi, space and robotic sympathy, pieced together with the same spirit of his cult radio transmissions, it works just as well on the cans as it does in the dance... And it's en route with an equally alluring package of remixes. An album, a radio show for freaks or simply a journey into Thorsteinssøns world.. Whatever... He really is a creative maverick. !

Krishnanda is an album in the truest sense of the word - a spiritual, psychedelic Brazilian masterpiece from start to fnish - celebrated by everyone from Seu Jorge and Kassin to Floatng Points, Madlib and DJ Nuts. These days, originals change hands for thousands of dollars. Pedro dos Santos, born in Rio in 1919, was a percussionist virtuoso, composer and inventor of instru-
ments that apparently included oddites such as the 'Tamba' (electrifed bamboo drum) and the mouth berimbau whistle. Nicknamed Perdo 'Sorongo' afer the rhythm he invented, that features throughout 'Krishnanda'. A highly spiritual man who was regarded as a philosopher by many. He worked with greats including Baden Powell, Elis Regina, Maria Bethany, Elza Soares, Sebastão Tapajós, Roberto Ribeiro, Milton Nascimento, Clara Nunes, Paul Simon and Arthur Verocai, playing on
his legendary self-ttled LP. In the same vein as Verocai and his self-ttled LP, 'Krishnanda' was Pedro's chance to shine with his own, and only, solo recording. Krishnanda was produced by Hélcio Milito, the drummer of Tamba Trio, and arranged by conductor Joppa Lins, and originally released in 1968 on CBS (Brasil). Musically, the album touches folk, samba,
afro-brazilian and psychedelia plus added efects, with a lyrical depth and diversity to match; themes including morality, percepton, existence and ego. Despite the genius of the record and the infuence that it had on musicians at the tme of release, it
disappeared into obscurity. We frst discovered the record around 2003, through a friend Julio Dui. Around that tme Brazilian funk and bossa was the favour of the day, so didn't catch our ear immediately, however it contnued improve with age and now we consider it to be one of the best albums ever made, regardless of genre or origin.

Collabs Records is back with this second release ! This time with 2 major tracks from Rene Reiter and 2 excellent remixers, from Germany. "Defqon 4" is a hard percussive techno-monster and comes with a dark techno remix from Markus Weigelt.
"I love my gameboy" is a funtrack including 8 bit samples and comes with a dark deep techno remix from M.A.R.L.O.N.
This promo-vinyl is specially pressed for the Halloween party at the Sakog Club in Austria !

Limited Vinyl Double pack pressed on transparent Green & Blue Vinyl. Four tracks, the brand new VIP mix of Species and the Doc Scott inspired track Redeemer, along side Blood Red and the original mix of Species. Serum said of these tracks, they are inspired by the original Virus releases. I wanted to make something with a harder edge and modern production but without losing the grit or the groove. I sampled a lot of experimental electronic music from the 60s and 70s and used vintage style hardware to bring out the right character in the sounds.

The DBA DUBS series returns with a fresh tropical house roller from Samrai backed by a remix from Michigan resident James T. Cotton. Khadi brings together Samrai's tough drums and ethereal sun-kissed fx with a helping of keys from an anonymous local collaborator. On the flip JTC, the artist behind Dabrye, Sound Murderer and a host of other cult catalogues reinvents Khadi as a Detroit house stepper.

Manchester resident via the Midlands, Samrai makes up 50% of the Swing Ting production unit. He's released with distinguished labels such as Keysound, Niche & Bump and UTTU as well as collaborating with Ruf Dug, Murlo, Brackles & Hyperdub's Okzharp. His DJ sets take in x-amount of styles, always system-friendly with an emphasis on the soulful side of things.

Back in 2015 our bearded Dirtybird Player, Will Clarke, needed a secret weapon for some of his festival gigs for the Summer. He sampled the ghetto house legend, DJ Funk, who made an appearance on Dirtybird back in 2013 for the Kill Frenzy smash, 'Make That Booty Clap'. Will passed it on to the rest of the Dirtybird crew, and before we knew it the track took a life of it's own and quickly became one of the most requested tracks, even to this day. Will ended up linking with DJ Funk himself, and they turned what was a quick bootleg into a full blown collaboration.
Ladies & Gentlemen, 'Booty Percolatin'' is officially here.
For the flip side, we added Will's solo effort 'House Girl', a bumpin' ride with a contagious bassline and chanting vocals for all the 'House Boys' and 'House Girls'.

Aus Music follow up a string of new signings with the return of 2 of the long-standing staples - label owner Will Saul and long term affiliate Komon. The duo most recently collaborated on a 12 for Kompakt now together they ready the 'Eve's Seven' EP - a deep and dreamy 3-track EP that comes with a remix from recent signing Recloose. Bloom sets arresting riffs circling through rich textures that thicken and thin to startling effect. 'Eve's Seven' follows up with dusty drum samples and bold melodies before the Brooklyn native does what he does best in offering up a typically sunny take on Komon & Will Saul's 'Eve's Seven'. Sweeping filters and a short, driving bass line propel a highly energetic but playful rework primed for brimful dancefloors.

The first instalment in our new 'Mr Bongo Record Club' compilation series - a selection of favourites, recent discoveries and sought after obscurities, which form the basis of our DJ sets and our radio show of the same name. Including cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie Laverne, Barbosa and more. The original concept for 'Mr Bongo Record Club' was a radio show that allowed us to air our treasured record collections, recorded and broadcast once a
month. We wanted to create an outlet free from any genre or BPM restrictions, not constrained by the need to beat-mix every record, a space where we could play latest finds alongside favourites. The only self-imposed rule being that
it had to be played from vinyl. We have always DJ'd across-the-board, but playing in an eclectic way hasn't
always been easy. Recently DJ's such as MCDE, Floating Points, Nick The Record, Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and Young Marco - to name a few - have opened things up with very diverse sets to
younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco, boogie, jazz, house, techno and beyond.  
We're seeing a rare groove like sensibility. A shift towards the attitude of legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson, where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin
back to back. At the same time it isn't a nostalgic or retro movement, people have a progressive attitude and a thirst for new-old music. It is a vibrant and exciting time - we are proud to be a part of it.

Taken from the acclaimed "Migration" album, "Kypoli" sees Poirier sharing production duties with fellow Ninja Tune alumni and hot property Machinedrum. Taking vocal samples from Aleisha Lee (co-writer of Tinie Tempah's recent smash "Girls Like" amongst others) and twisting, chopping and manipulating them into a completely new composition, the pair create a brooding post-dancehall/soul fusion, gaining the perfect balance between ethereal beauty and heavy dancefloor menace. Bukem-esque pads and deep dub elegance give way to pounding kicks and floating harmonies, relentlessly building a wall of sonic beauty.

Remixes come from France's dub mad scientist Moresounds, who ups the jungle influence with a classic Reese-style bassline and signature rolling snare chops, whilst retaining the balance between dark & light and Montreal-based newcomer Thomas White who flips the vibe completely for a slo-mo Soulection style builder.

Veteran dub techno producer Brendon Moeller dons his Echologist alias on 'The Flame' EP.

The title track is the most experimental, opening the record with tripped-out machine melodies and off-beat drum hits. 'Kavorka' follows in the same vein but is more obviously dancefloor-focused. Its arps build up the tension until a thick 303 line takes things to tipping point and eventually release. On the B-side, 'Dirtbox' is a fast-paced, Echologist take on warehouse techno and a deep, atmospheric cut 'Candy Mountain' finishes the record in Moeller's signature style.

Mastered by Neel (EnissLab Studio, Rome). Pressed on 180g, 12' vinyl at Optimal Media, Germany. Packaged in a house sleeve. All artwork designed by Christopher Honeywell.

British producer Pris preps his sophomore EP for Avian.

Love, Labour, Loss marks the Berlin-based producer's second outing on Guy Brewer's Avian label, and a further refinement of a production aesthetic that pitches caustic, heads down tool Techno & greyscale IDM against more meditative Ambient & Drone recordings.

AVN026 tackles familiar themes, and the same low slung, deep-seated sense of unease found on earlier offerings, released via both Avian itself & Unbeknown To Us - the producer's own outlet, winds its way in and amongst the work. There's a lightness of touch to this most recent effort though, and experimentation with more overtly musical sequences proves fruitful, drawing on a previously untapped energy to great effect. The same goes for forays into more complex rhythmic structures - taught, processed percussion sits bright in the mix, working to generate an anxiety that is fast becoming a hallmark of the artist's work.

Whilst the material maintains a keen focus on the crushed, droning sonics that have come to characterise the label's output, Love Labour Loss, is an impressive development - offering at once both a new dimension to the artist's work, but also a congruent, streamlined addition to the Pris discography.

Double A-side from the legendary Brazilian disco-jazz-funk masters Banda Black Rio. Both cuts come from their brilliant 'Maria Fumaça' LP; an essential LP in our opinion, and one that we were delighted to be able to reissue in 2016.

Regularly played by the likes of Gilles Peterson and Theo Parrish.

Tight, tough drum grooves, funk bass, horns, guitars and keys feature on both tracks.

Cut loud and proud at 45rpm - as always - for 7'.

EYE is a project from Laurène Exposito from Rennes (France), where she runs the intimate label Waving Hands. EYE's debut album 'Sabine' takes us into Laurène's silk-covered dreamworld, at once mad and serene, sounding like a breeze and a blast at the same time. Bedtime stories or lucid nightmares You decide...

finally repressed

Back in February 2013, shortly after their impressive first release as a label, Music Is Love launched a double VA entitled Lovebox: an 8 track double-vinyl release that included tracks from 8 talented up-and-coming producers on their roster. By innovatively previewing the producers in this way, the label laid the foundations for what listeners could expect for each artists' subsequent EPs. The artists who released on it were not hyped up flavours of the month, but rather emerging talents who sat perfectly with the label's musical ethos - quality and original underground house with a contemporary, dynamic feel. Since the VA, the label have gone from strength to strength and have firmly established themselves as one of the most brightest house labels around in the UK.

Just over a year later and following in the success of its predecessor, MIL return with their second VA and with that, a chance for listeners to hear the new additions they've acquired, in addition to some already known faces. Liam Geddes opens proceedings with Untitled. A deep sense of soul permeates the whole track as a rumbling baseline imbues the beat with an ever-present sense of groove that never lets the head stop nodding. Geddes has really fine tuned and matured his sound over the past year, and this track is further evidence of his quality as a producer. The subtle percussive rhythms, electronic bleeps and synth nuances give this track a natural flow, as Geddes conjures something altogether more hypnotic, dark and purposeful.
Mr.KS, one of the newcomers to the label, outlines his coolly crafted style with track (Music) Makes Me Stronger. Brittle drums and deep warped synths suck you in and out and shape the structure of the beat, while afflicted chord patterns combine with the hypnotic repetition of a vocal sample to give the track a gesture towards techno but with a flow that pulls in house elements. Cassio Kohl introducers himself with a warm, melodic house number; rumbling synths circulate in the background of the track while ticking hi-hats and snares play off against the sumptuous vocal sample, which builds and falls back nicely into its original path until electronic glitches sporadically ease in and move the beat forward.

Jamie Trench has been making some serious headway of late and his track I Want You with Rebel serves a timely reminder of a producer on top form. A heavy, rolling baseline resonates intently, building against murky vocal samples, shuffling snares and off-beat key stabs that grow in presence and intensity - a track that will no doubt prove a high point in any DJ set. Label boss Oli Furness has a raw knack for creating crisp, heavy sounds and Take Monday Off remains on a similar path, albeit the beauty lies in the subtlety of arrangements rather than bigger hitting sounds. Chopped shimmying keys tease, filter and build fluently with urgent hi-hats and swinging drums that flourish harmoniously together, while an understated baseline adds weight and rhythmic groove typically inherent in Furness' work.

Italian heavyweight Tuccillo has released on some of the most reputable labels on the circuit - releases for 20:20 Vision and Freerange is evidence enough of his provenance - and this time he brings his baleric house sound with the impeccable sounds of DubFlanged Gru. Shimmering percussion shakes meander against the bumping bassline while the endearing, muffled vocals that threaten to break out are superseded by breeze-block keys that filter and descend into a chattering groove. Dutch producer U Know The Drill brings things back into heavier house territory with a no-nonsense, stripped-back stomper, the type of track we've been used to hearing on Dutch affiliates New Jack City's material. Heavy snares kick with a punch, and the deep drone-like vocal swings against the wobbling baseline and tapestry of electronic bleeps. Other sampled vocals and glitches weave in with the juxtaposing elements playing off one another to huge effect, ensuring that sheer energy pervades the track.

Jackson Ryland rounds off the heavy 8 track VA - scattering hi-hats and swirling pads build, while the shuffling drums roll on until fleeting chord flourishes and a musky vocal hook bring the track into wistful nostalgia. The elements of track balance superbly and are propelled forward by the intricate drum arrangements and well-crafted hi-hat/vocal combo.
The difference in approach and outcome from each artist results in yet another highly impressive outcome, with 8 high grade tracks that show another side to Music Is Love. The sounds are tougher and the mood is darker, but the premise of the whole MIL concept remains more apparent than ever with this release: sourcing fresh underground talent, curating original electronic music and evolving artists already on the roster.

When faced with the decision to take a different direction at the risk of getting lost in a synthetic sound or to further explore the same musical path, Vaudou Game didn't need to consult the oracle for very long when putting together their new album. Since their first acclaimed album, Apiafo and its irresistible single "Pas Contente", these Lyon natives never turned down the heat on over 130 stages across Europe, Africa, America and Asia. Peter Solo has displayed his amulets, charisma and yellow pants around the globe.When time came for them to harness their Afro-Funk sound for the second time, they turned their attention once again to their analog strengths. Vintage material, instruments produced in the 70's and cassette tapes were the "grigris" (or lucky charms) which proved most effective to ward off digital corruption of their music and return them to a tight-knit group with a solid groove.This unbeatable trance rhythm, inherited from James Brown and Fela, icons of Funk and Afrobeat, becomes trident when joined by Mawu, the creative voodoo divinity hidden in each of the group's notes. This inspiration transcends their spirit of communion, plunges them deeply into Mother Earth and results in the telepathic trance which is directly connected to Togo Peter's native Togo.Each song then becomes a celebration where the listener becomes the group's voodoo doll, embraced by the rhythm, submitting itself to the mercilessly metronomic cutting of guitars, struck by the copper-colored flashes of lightning forged by the African voodoo deity Hevioso, pierced by the psychedelic visions generated by the organs and a six-string guitar, cheerful songs, and hypnotic incantations.KIDAYU means "sharing" in Kabye, the language spoken in northern Togo. Sharing, is the philosophy of Vaudou Game - both in their recorded music and on stage.Vintage African funk tinged with voodoo chanting: Togolese Peter Solo and his fellow musicians from Lyon electrify us in a frenzied ceremony" - Télérama

The debut vinyl release of Detroit underground mainstay Sterling Toles features tracks produced between 1998 and 2006, recently unearthed by Sector 7-G Recordings. Sterling emerges from a scene of producers that prided themselves on sampling distressed vinyl and lo-fi analog production as a reflection of the mental and physical environment of the post-industrial city. Sterling carries that sonic dialect with him as he nomadically incorporates the language of other genres, variously exploring soul, ambient, Detroit techno, and folk sensibilities. From the ambient/folk impressions of "grace, i will now let go..." to "inga 135" sounding like 90's jazz-inspired hip-hop having a ghettotech dream, "Archival Arteries" is grounded in the sonic palette associated with Detroit's ethereal and minimalist boom bap hip-hop style. These tracks hold the imprints of Detroit's expansive musical institutions such as The Electrifying Mojo, The New Dance Show, and CBC radio's Brave New Waves. Created with just an Ensonic EPS sampler and a VS 1880, this EP captures the fluid musings of this indelible artist

Gerd Janson and Phillip Lauer are creatures of habit. Every week, the two club veterans meet up at Phillip's studio and spend an entire day making tunes. And while Gerd often likes to joke that his role in the arrangement is limited to making coffee and looking at his cell phone, it's clear that the two men have forged a potent partnership, one that's been responsible for an astonishing amount of dancefloor heat over the past few years.

Incredibly, this German pair has managed to maintain a relatively low profile, despite the steady stream of music they've released via well-respected labels like Unterton, Delsin, Internasjonal, Permanent Vacation and Live at Robert Johnson. And then there are the remixes—Azari & III, Scuba, The Juan Maclean, Fort Romeau, Avalon Emerson, Massimiliano Pagliara and Sinkane are just a small sampling of the artists who've enlisted Tuff City Kids to work their studio magic.

Throughout it all, there have been whispers of a proper Tuff City Kids album, and now that Adoldesscent has arrived, it will be all but impossible for the duo to linger in the background. After all, the LP is anything but shy—thanks in part to hooky vocal turns from the likes of Annie, Joe Goddard, Kelley Polar and Jasnau—and even the album's instrumental cuts feature some clear nods to various eras of dance-pop, from the boogie-inflected funk of 'Wake People' to the breakbeat techno of 'Boilered' and the tweaky rave nostalgia of 'Nordo.' Elsewhere, first single 'Labyrinth' is an infectious bit of new wave, while the guitar-driven 'Scared' recalls the gloomier side of '80s pop and 'Tell Me' is perhaps the record's most playfully soulful moment.

DJs will likely gravitate toward the darting strings of 'Aska' and breezy vibes of 'Farewell House,' yet Adoldesscent isn't entirely focused on the dancefloor. Dreamy opener 'Ophmar' evokes the legacy of John Carpenter, while the crunchy 'R-Mancer' offers up a sort of psychedelic synth freakout.

Much like the Tuff City Kids themselves, Adoldesscent isn't about any one style or sound in particular. It is, however, a cohesive effort, along with proof that the different corners of the electronic spectrum have a lot more in common than we'd all like to admit. More importantly, it's a whole lot of fun, and isn't that what dance music is supposed to be about anyways

The Kabalion ministry is pleased to present yet another elixir crafted by Danish producer Periskop.

Recorded nearly ten years ago (during the Fall of 2006), 'Thrust' consist of four deep thrusting techno tracks, each being a remix of the previous one. They share a common bass sound as baseline and a high tempo of 140 beats per minute throughout.

Pressed at 45 RPM.

Early support from Kwartz, Yuka, Antonio de Angelis, Gianluca Meloni, Iori, Jonas Kopp, Sam KDC and Luigi Tozzi to name a few.

Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield's relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani's house, so she grew up listening to the radio and was hypnotized after hearing 'Remember Love', by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, If you're into bands like Cabaret Voltaire or Flying Lizards, call me'.

The duo recorded their debut album Stadia' in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the 'cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier's processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we've added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.

All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. Powerful and evocative, soundtrack music for a rising storm or revolt.' Sound of Pig magazine 1985

Repress!

The two glorious 80s boogie tracks written and produced by Roy Ayers are released here on 7' single for the very first time.

The two songs were originally released back to back on 12' single for the Uno Melodic label, copies exchanging hands for over £400.

These are the only two known recordings by Ethel Beatty, It's Your Love' much sampled on the hip hop scene.

Wally Badarou was at the cutting edge musically with his fusion of African grooves with the emerging electro sounds of the early 1980s. His debut album 'Back To Scales' in 1980 has been long out of print and is considered a treasure by many connoisseurs. 
Wally plays synthesizer, co-writing and performing Level 42 often considered their 'fifth member'. He also played with Robert Palmer, Talking Heads, Foreigner, Grace Jones and Manu Dibango. He also known for a later hit single Chief Inspector', and Mambo' from the same year (1984) was sampled by Massive Attack
This is a great album deserving appreciation by a wider audience with such an amazing collection of important songs. It was recorded in France, the country of his birth, originally released on French label, Barclay

The second release on the vinyl only series of Apes Go Bananas finally drops. The label is the new imprint from Steve Bug and Clé, who together make up the production team for the releases. As with the well-received first EP, 'All We Have ' is straight-up, no-nonsense, dance floor-filling house tracks. Lead cut 'All We Have' settles right into the groove with crisp and funky percussion, chi-town chords and amazing vocal samples. It's got peak time written all over it. 'She Cargo' makes its influences pretty clear via the title, and the track certainly references some of the iconic sounds of the home of house. Thick, rubbery bass lines, squiggly synths and firing percussion combine to deliver a suitable a homage to the windy city. 'Ape Parade' is built from some similar materials, but the chords are a little more lush and deep - synth strings and keys add a sense of the epic, and everything is tied together with a sick kick / snare / hat pattern. Three modern killers for the floor, infused with the spirit of classic house.

Third release of Dancing like Quagmire, italian white label (vinyl only) born to make you dance shouting 'GIGGITY GIGGITY GO'!!! Mini-album with five tracks deeply rooted in 20th century Russian culture in which Neotnas is showing his poetic music style wandering between rough drum patterns, old dusty samples (hard to dig for sure) and hypnotics saxophone melodies. A-side starts with dreamy downtempo intro Elin, followed by crispy broken rhythms of Colourful Tension and closes with breezy and fluffy Don't Rush with Dubjazz. B-side contains mighty deep house trip Morning Way, and outro Come, where the main character is undoubtedly Ivan Pona's magic sax which created an illusory atmosphere over Neotnas's soul beat.

10 track Album from Willie Lindo released by Dub Store Records

10 track Album from King Tubbys released by Dub Store Records

Tor Goffer is a young and promising producer from Tel Aviv, dropping his debut EP in the 2nd release by No Waves.

Included are two big-room Dub Techno tracks, a driving Deep House tool, and a raw remix by TV.OUT.

TEE MANGO is the alter ego of Millionhands' founder Tom Mangan
and IMPERFECTIONS VOL. 1 is his debut Long Playing record.
After the success of his Theo Parrish inspired TRIBUTE 12s TEE MANGO returns
with IMPERFECTIONS VOL. 1.
Early support on this coming from: Caribou, Leon Vynehall, Axel Boman,
Tim Sweeney, Moxie, Wolf Music, Laurent Garnier, Kornel Kovacs
and a selection of others.
IMPERFECTIONS VOL. 1. is a celebration of off kilter electronic music.
Featuring vocal contributions from FEMME aka Laura Bettinson of Nigel Godrich's ULTRAISTA, and the Edo Van Breemen of Canadian pysch wizards Brasstronaut.
Full of pleasantly discordant musical mistakes and loose sample-laiden coincidences.
Fill your boots. x

"Rising 2016" is deep and dubby balearic tech house. Netto Houz sampled their classic Ladomat 2000 track "Rising" to produce two versions of a floating and swirling monster, a late transatlantic descendant of electronic krautrock as well as tracky Chicago House. The latter becomes evident when DJ Kriton reworks the drum parts in his jackin' "Rising Beats".
Get two copies of this 10th release on Knuggles Recordings and mix them from breaking dawn to bright morning sunlight!

Late September marks the arrival on the second edition of Unclear Records 'A Tribute To Klang Club' featuring Move D, Fred P, Christopher Rau and label-heads Easy To Remember.
The Unclear Records imprint has carved out quite the reputation over the past few years with an already impressive back catalogue featuring material from Juju + Jordash, Rick Wade, Gigi Masin and Gerry Read. Here thought we see the welcome return of the labels 'A Tribute To Klang Club' series with its second contribution, following the inaugural various artists package that boasted material from Baby Ford, Roman Fluegel and more.
Move D opens with 'Rise!' and delivers a typically brooding, hypnotic number before Fred P follows up with 'Lush Life' laying down raw acidic bass and ethereal pads alongside shuffled rhythms. On the flip Christopher Rau's 'Unclear Joint' ups the energy levels via weighty drums and intricate use of string, bass and vocal samples before label-heads Easy To Remember round off the package with 'I Don't Know' a stripped back house cut led by sparse percussion, jazzy synth licks and soft pads.
'A Tribute To Klang Club Vol.2' is out on Unclear Records 26th September 2016.

* Manchester's Walton returns to Tectonic following last year's explorations in grime flavoured house/techno offshoots on the killer 'Bulldoze EP'. This time Walton leads with a dance floor crushing anthem that cruises a cool line between grime and tribal dubstep. Featuring a looping Riko Dan sample, 'Gunman' sets a stone cold tone from the offset, hi-hats setting up the groove before a grime flavoured melody cuts in preparing you for the drop. When the bass and drums come crashing in they bounce off each other to produce a disorientating tribal rhythm that will set the dance floor alight!

* Flip for a slower, more gentle mood with 'Caught In A Trip'. Rolling at 126bpm, 'Caught In A Trip' builds around a developing melody played on a glockenspiel-esque instrument, backed with tribal percussion and a driving kick pattern. Ethereal in mood throughout, this one provides a lighter moment for the dance floor.

*Partial Records are proud to announce their 50th release!
*This one features the melodic and soulful vocals of El Indio - an ex-member of Reality Souljahs - who gives us a history lesson in true traditional roots and culture reggae style.
* This rides a cut of the same steppers rhythm featured on Danny Red's `False Preacher Man' (PRTL7033).
* Backed with a ruff and tuff dub version entitled `Royal Legacy Dub'.
* Produced by Liam McGurk and mixed by Dougie `Conscious Sounds'.

REPRESSED !!
Elleorde was born 3 years ago at Camp Cosmic, an anything-goes music festival in a Swedish forest that's recently been transferred to the countryside of Germany.
Elleorde's debut record shares the same themes as the fest - with a combination of time travel, the cosmos, space journeys, sunsets on exotic planets, and love in space.
The one-man UK project draws influences from Tantra to Ennio Morricone and everything in between.
Step in to the Time Travel Machine, Open Wide and Eat the Future.

So kam die Postmoderne über uns und machte aus vormals ehrbaren Kulturschaffenden Werksarbeiter, denen alle Schrauben abhanden gekommen schienen, im besten Fall. Mit minimaler Eigenleistung (nimmt man die unbeabsichtigten Fehler in der Produktion mal aus), aber bei maximaler Entgleisung entstand ein gänzlich neuer Berufszweig. Der grundsolide Werksarbeiter, mit Gema Anmeldung im Griff und guten Draht zu seinem Steuerberater. Um die quietschfidelen Arpeggio Terroristen soll es heute mal nicht gehen. Unsere Protagonisten dieser Geschichte sind andere. Wahnwitzige, Soziophobiker, Menschen mit gebrochenen Lebensläufen statt Joghurt im Rucksack, emsig agierende Mitstreiter mit Tupperdose in der Tasche für die Frühstückspause, willens den Kampf der letzten Kulturoffensive zu Ende zu bringen, samplen, pitchen, alles zerhacken und zu undefinierbaren Fetzen von Funk wieder zusammensetzen. Ausgeglichen vom Duft der Natur ankommend denFortschritt definieren wollen und den Strom in die Maschinen juckeln. Ästheten der Fehler waren geboren. Losgelöst vom Fließband. Hart & tief wird geackert geschwitzt, gebimmelt, der Filter aufgedreht, der Schmutz schaufelweise rangekarrt, bis die Stufe der Erlösung erreicht wird oder eben halt auch nicht. Das Leben ist nun mal kein einziger Orgasmus und der Funk entsteht in den Pausen wie die Befriedigung der Gier und der Besitz des Moments, weil das Leben ist doch nur ein Wimpernschlag und wir immer nur einen Abgrund entfernt von Weltekel oder Erlösung.

Some straight up banging mid 90's gear from Drew Sky under his Skyman alias. One for the DM freaks and collectors alike.
Direct, dancefloor damaging Acid in the shape of "Focus" bristles alongside the hyper Disco cut-up of "Peace of mind", strictly for the heads! Flip the record over to check the insane sax samples in "Skoba Dee" for maximum confusion in the dance! Massive record, pure power all the way through and an essential weapon for the record bag! Fully, legit reissue done with the permission and assistance of Dance Mania records and Mr. Parris Mitchell, Chicago USA.

This is the sampler of the Affkt new album 'Son of A Thousand Sounds' to be released by Sincopat. It includes collaborations with Upercent, Piek and Sutja Gutierrez.

The Pack contains 12" Vinyl + CD Album
This is the sampler of the Affkt new album 'Son of A Thousand Sounds' to be released by Sincopat. It includes collaborations with Upercent, Piek and Sutja Gutierrez.

Many of you will remember Manuel Göttsching by his Masterpiece E2-E4 and know the fact it got sampled by far more than once. Think Sueno Latino' to start with... and the plethora of further re-recordings by Derrick May, Joe Claussell, and a bootleg by Carl Craig that prove how Now' and Iconic Manuel´s Work is. The 2006 edition Joaquin Joe Claussell meets Manuel Göttsching' is the first attempt to bring these once illegal mixes finally to a broader and wider audience. It comes with 2 very rare and first time officially released tribute mixes of 1970´s Göttsching Classics, carefully remodeled by Joe Claussell (21.12 minute Deeper Distance' plus 10.17 Minute Ain´t No Time For Tears"). The last words, however, are left to MG himself, with Shuttlecock", a final eighteen minute excursion, which has Manuel improvise over a soft carpet of delayed bell sounds, before the guitar fades away and the track deepens and thickens, like a dark river sweeping along ever more motives and harmonies. A perfectly balanced collaboration released on both CD and LP. Consisting of 3 concert recordings which were originally released on the 6th CD Album Private Tapes : Tracks 1 und 3 were recorded at Bataclan in Paris, 12/1976, Track 2 in Berlin 8/1979

In My Room proudly presents 'Fixion', the fourth full-length offering from Anders Trentemøller. With 'Fixion', Anders has crafted a logical successor to 2013's 'Lost' - a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a full-band. In much the same manner that 'Lost' built on from the somber cinematic classic that was 'Into The Great Wide Yonder', 'Fixion' has embraced the Danish artist's trademark melancholy and matured it into something uniquely atmospheric and darkly romantic.

Limited Deluxe Collectors Edition 2LP,180g, Gatefold with Spot Varnish+ MP3 Download + Download Bonus Track Rework!

In My Room proudly presents 'Fixion', the fourth full-length offering from Anders Trentemøller. With 'Fixion', Anders has crafted a logical successor to 2013's 'Lost' - a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a full-band. In much the same manner that 'Lost' built on from the somber cinematic classic that was 'Into The Great Wide Yonder', 'Fixion' has embraced the Danish artist's trademark melancholy and matured it into something uniquely atmospheric and darkly romantic.

For his next release on Soundway Records,
Los Angeles-based Dexter Story hooks up with long time friend and compatriot of music, the saxophonist, jazz composer, producer and band-leader Kamasi Washington. A fierce, rumbling electro Ethio-Funk groove provides the platform for an intense and powerful interplay between Washington on tenor sax and Todd Simon on trumpet. An instrumental cover version of Tilahun Gessesse's 1970s cut of the same name, it's Story's homage to the oppressed Oromo people of Southern Ethiopia. Backed on the flip by the one cut from Story's 'Wondem' long-player that did not make it to vinyl when the LP version was cut, Nia Andrew's
sublime and atmospheric collaboration on Eastern Prayer
will keep all those happy who grumbled at it's exclusion
from wax first time around. This is a record that no lover
of Ethio-Jazz, Afro-Beat or Funk should be excused for not
owning.

Boris Werner returns with 'Daymare Dreamer EP' featuring collaborations with noisemaker 'Gretz & Rival of Mars' as well as 'Cinema Royale' and two fresh solo tracks 'Dance of the Hump Back Whale' and 'Frustration (No Strings Attached'). This EP by Werner, known for his infamous 23 hour DJ set in Amsterdam, kicks off with the title tune 'Daymare Dreamer' riding it's way in at 7min40secs in total for a breezy welcome of classic Werner style house beats. This opening track bubbles with roots influence that fans will be familiar with as well as some slick vocal slices drifting in and out. Having previously realised mixes and podcasts alongside the likes of beat creators and funky jammers such as Dj Buck, Lazare Hoche & Malin Génie, William Djoko, and Dj Deeon this new release comes after many live shows and events including his live set from an old wine bodega. His summer calendar is booked up with international tour dates at some of the most spot on locales for dance floor showdowns. This wealth of tour experiences, inspiration and excitement can be felt from the jazzy Dance of the Hump Back Whale' through to the funky pulsations of 'Frustration (No Strings Attached). 'King Hassan a track created with 'Cinema Royale' features superb 80s style house/electro cow-bell samples, mysterious murky baselines and forward motion keyboard funk.

Synths Versus Me is a prolific duo formed by Vanessa Asbert and Nico Cabañas. They already put out a bunch of releases edited by Oráculo Records. Minimal Synth, EBM and Cold Wave from Lloret de Mar (Spain).

This 12' EP (ltd. 300 copies) includes two brand new tracks and two exclusive remixes. The original version of 1987' is an atomic bomb of pure vintage EBM in the vein of Signal Aout 42 and Front 242. The remix done by Dirk Da Davo from The Neon Judgement keeps the feeling of the track but adding some drums, guitar samplers and sequences trademarked by this Belgian legend. On the b-side there is the original mix of Aimless Device', an electro-pop tune with catchy melodies, analogic bass lines and female voices. The remix prepared for this track by the new american sensation Boy Harsher is a surefire dancefloor full of hypnotic beats and dark atmospheres. All tracks remastered by Eric Van Wonterghem at Prodam Studios (Berlin).

Susso, aka bassist / producer Huw Bennet, creates music inspired by, and directly sampling, the magnifcent sounds of the Mandinka people, recorded during a recent trip to Gambia.
Initally travelling with the aim of gaining perspectve as a musician and to discover a new world of music frst hand, Huw found himself humbled by such a welcoming community of artsts, mostly belonging to the celebrated Suso and Kuyateh griot families.
The tracks are composed entrely from original source material, feld recordings and Huw's talents as a mult-instrumentalist; performing tuned percussion from the region including
the Mandinka Balafon, Kutringding drum, aswell drawing on his skill as a professional upright / electric bassist. The music produced has a contemporary electronic sound, whilst
stll paying homage to a traditonal Gambian aesthetc. Keira (meaning peace) guides the listener through Huw's journey up the River Gambia, being welcomed into remote dusty villages, where your people are the most important thing in life.

REPRESSED !! Available for the first time in 25 years Death Waltz Recording Company are immensely proud to be reissuing the score to Twin Peaks an era defining TV show and Soundtrack. Freshly re-mastered for this re-release and approved by both director David Lynch and composer Angelo Badalamenti.I'm glad that after 25 years, Death Waltz Recording Company has re-released the original soundtrack for Twin Peaks for a new audience to enjoy. This is my defining work as a composer and I'm happy it will get a fresh listen; Angelo Badalamenti 2016
Artwork by Sam Smith
Layout by Jay Shaw
Director approved artwork
Sleeve notes By Angelo Badalamenti
Vinyl re-master by Tal Miller
Laquers cut by David Cheppa at Plush Vinyl
180G damn fine coffee colour vinyl
425gsm Gatefold sleeve housed inside a bespoke white die cut outer jacket with white spot varnish finish, complete with obi strip.

We want to present to your attention a compilation that consists of the Russian musicians' works. They're stylistically different, but in the same time they've got one energy and close affinity with classical sound. Musicians in this compilation represent a little-known stratum of a new Russian electronic scene. Their music embodies positive transformation of cultural values of our present and future. We'd like to thank all the musicians and those who support us. Peace!:)

Next installment of Rex Ilusivi archive uncoverings - This time a live concert from SNP (srpsko narodno pozoriste / serbian national theatre) in Novi Sad, Serbia. Again it's a sublime masterclass in layering and mixing from the much revered King Of Illusion. TIP!
.
'To this day Rex Ilusivii remains an enigma of the global music culture, caught between late cold war electronic spheres, classic and the power of found sound. A musician from the Southeast European counterculture, whose art today seems to be the worldly intelligence of the modern age. Listening to the early music of Mitar Subotic sounds like catching the future even tough you know here sounds the past. How can somebody be light years ahead of most of his contemporaries in terms of individuality and uncompromising vision, creating such musical narratives with a feeling for outernational space' It must have been the signs of his time in Yugoslavia, that lead him to compositions in which two or more antithetic forces fight each other for the cause of an unheard harmony that melts industrial, sample art, Musique concr'te and ambient. His 'Koncert SNP' from 1983 demonstrates his ingeniousness to the core ' about 38 minutes of experiment and appeal that move playful between demonstrative frankness and seductive sensuality. You hear pulsating synthesizer bliss, widescreen sample art full of Bosch-like images and elusively drama catchiness that absorbs deep. So deep that words can't express their meaning. Only notes can spell out the score. Listening to his live recording several times without a break reveals also a story arc of literary transcendence. And as transcendence is something beyond speech, the music of Rex Ilusivii can't be narrowed down in phrases. Only one thing must be recommended: surrender to it and it will surrender to you.
Michael Leuffen in June 2016

TS08 is the 3rd EP of the TONE SERIES project and in line with the previous two releases TS09 and TS10. However, its two tracks HAWAIAN JAM and 24 BAR PER DAY present rather refreshing grooves, right on time for the summer.

HAWAIAN JAM makes you feel like in a Jeep, driving around the Hill of Mauï while looking at the best waves. And whereas HAWAIAN JAM follows the rythm of cutting edge and caraibian slide guitars with a touch of reggae, 24 BAR PER DAY unveals jumping drums and druggie pumping sounds surrounded by bitchy voice cuts.

With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, HAWAIAN JAM and 24 BAR PER DAY distinguish themselves from each other through their vibes and colours, although they remain in the same spirit.

TONE SERIES was born from the collaboration between Villa's former bouncer (one of the most underground clubs of Berlin) - Wolfram, French music producer, live performer and DJ - David K, and LumièresLaNuit's co-founder and An der Grenze's
founder - Edouard. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality
comes out of colours.

Chances are you've already danced to one of his sets at Panorama Bar - Matthew Styles has been a regular guest DJ at the club for several years -, but you've probably also come across at least one record with music that went through the Englishman's meticulous hands. While Matthew has released great but small numbers of 12"es on various labels since 2007, his credits in mixing, engineering and mastering exceed his solo discography by far.
With the Metro EP we're finally offering a full solo release by Matthew Styles on Ostgut Ton, accounting for his consistent productional finesse, especially with his original track "Liquid Sky" (on Nick Höppner's Panorama Bar 04, 2012) and his 'Dub Mix' of Dinky's "Planes" (on Ostgut Ton / Zehn, 2015).
"I've never worked on a sequential set of songs that came out on the same record," Matthew commented on this 12". As with his productional approach in general, the Metro EP has a certain timelessness: "One piece is from 8 years ago, one from 3 years ago and another from around the time of the recent birth of my second son. I'll leave it up to the listener to guess which is which."
The eponymous "Metro" on A is an elated seven-minute, trippy, meandering analogue synth exploration in House and Cosmic Disco. "Wave 6" opens the flipside with a simple yet beguiling melody: 6 notes dancing completely beatless in 5/4 time, meandering repetitively and escalating towards a blissful - yet only anticipated - climax. "Border" on B2 is a solid addition to the long history of Dub Techno - smooth, steady, super layed back, but also offering many colorful melodic elements.
(de) Gut möglich, dass du schon einmal zu einem seiner DJ-Sets in der Panorama Bar getanzt hast - Matthew Styles spielt seit Jahren regelmäßig am Wriezener Bahnhof -, aber sicherlich hast du wenigstens eine Platte gehört, die vorher durch die akribischen Hände des Engländers gegangen ist. Obwohl Matthew seit 2007 tolle aber wenige 12"es auf verschiedenen Labels veröffentlicht hat, übertreffen seine Credits als Mixer, Engineer und in Mastering seine Solodiskografie bei weitem.
Mit der Metro EP hat Ostgut Ton nun endlich ein volles Solorelease von Matthew Styles im Angebot, das seiner konsistenten Produktionfinesse - besonders bei seinem Track "Liquid Sky" (auf Nick Höppners Panorama Bar 04, 2012) und seinem 'Dub Mix' von Dinkys "Planes" (auf Ostgut Ton / Zehn, 2015) - Rechnung trägt.
"Ich habe noch nie aufeinanderfolgend Stücke produziert, die dann auf derselben Platte erschienen wären", kommentierte Matthew diese 12". Wie generell bei seinen Produktionen besticht die Metro EP durch eine gewisse Zeitlosigkeit: "Ein Stück ist acht Jahre alt, eines von vor drei Jahren, ein anderes von kurz nach der Geburt meines zweiten Sohnes. Die zeitliche Einordnung möchte ich dem Hörer überlassen."
Das gleichbetitelte "Metro" auf A ist eine beschwingte 7-minütige, trippige, mäandernde Analog-Synth-Erkundung in House und Cosmic Disco. "Wave 6" beginnt die B-Seite mit einer einfachen aber betörenden Melodie: 6 Noten tanzen beatbefreit im 5/4-Takt, treiben repetitiv und ansteigend auf einen beseelten - aber nur erhofften - Höhepunkt zu. "Border" auf B2 ist eine solide Dreingabe zur langen Geschichte von Dub Techno: sanft, stetig, super entspannt, aber mit vielen melodischen Elementen.

Drumcode reserve their Limited branch of releases for the special and outstanding productions. Pressing them onto vinyl only, providing the perfect collectors item and sound that techno lovers worldwide constantly pursue.
The current catalogue of Drumcode Limited releases include names such as Adam Beyer, Alan Fitzpatrick, Tom Demac & Glimpse, Ben Sims, Steve Rachmad, 2000 and One and Marco Faraone. dubspeeka proudly joins the list of acclaimed artists to present the forthcoming vinyl only DCLTD20 - sk30.

Continuing his surge through the world of techno, the Bristol based producer has never strayed from the sound that has proven to be so popular amongst colleagues and fans alike.
The dark, haunting and powerful tones that resonate from the opening track sk30 showcase why dubspeeka has made his mark on the underground scene for a number of years.

Once again the chilling synth arrangements that have become synonymous with dubspeeka's style echo throughout the track clashing against the distorted vocal sample.

Yet another example of dubspeeka's unparalleled studio work, the production is intricately woven together with a tight thunderous kick drum demonstrating his prominence as an underground artist of the highest caliber.
Markus Suckut provides excellent support on remix duties for sk30.
Another purveyor of a unique sound, the German-based producer doesn't hold back
when tackling this mammoth remix.
The hard and relentless bassline conjures the perfect background for the bubbling synth tones and echoing percussion.
Markus Suckut demonstrates his skill and experimentat
ion that he pours into his own
production with the powerful and enthralling remix of sk30.

BLUSH_RESPONSE's cyberpunk sharpness meets the cold, mechanical, sample-obsessed EBM of SRIN.

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

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