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Until December last year music was simply a hobby for Alex Crossan, aka Mura Masa. He may have had 7 million plays and 30,000 followers on Soundcloud but the 18 year old Channel Islander had never played his music live, DJ'd or even been to a gig himself. He had just started an English degree at Sussex University and was happy playing guitar and bass in function bands.
It was an email from Jakarta Records that changed everything. The Cologne-based label (previously home to Kaytranada, Iamnobodi and Sango) felt Mura Masa's mixtape 'Soundtrack To A Death' was too good to sit on Soundcloud and persuaded him to release it with them.
The following 3 months were a whirlwind, with 30 spins on Radio 1, a sold out debut show & a top 5 position on the itunes electronic chart in the UK and US. At one point Mura Masa had 4 tracks in the HypeMachine top 50 and remix requests from Ed Sheeran, Ellie Goulding, RL Grime and iLoveMakonnen in his inbox, whilst still juggling his degree.
So as Mura Masa prepares for his first official EP release the stakes are very different and he has upped his game accordingly. As well as the sampling for which he known, Mura Masa plays live piano, guitar, drums and even sings on Someday Somewhere. He is keen to show that he is a musician and songwriter as well as a beat-maker and has called on new friends Nao, Denai Moore and Jay Prince to feature on tracks.
Paul Epworth (Producer for Bloc Party, Adele, Santogold): 'That 18 year old is taking over the world right now and he's just delivering the most deeply textured music around, we have got such a talent on our hands in the form of Mura Masa and i think the UK has finally got our very own Kaytranada and it's not beyond him to overtake that, so good, ridiculous....

Over the last sixteen years Moods & Grooves has amassed a staggeringly impressive label family that includes names like Theo Parrish, Mr G, Kyle Hall, Rick Wade, Andres & Kenny Dixon Jr. aka Moodymann. This May the legendary Detroit label returns with a seminal thirteen-track album from veteran DJ & producer Joe Le Bon entitled 'House Music Love Music'.

With this new LP Jarno Eerola aka Joe Le Bon demonstrates his inimitable production prowess, garnered from a musical career spanning more than twenty years and encompassing releases on labels such as International Deejay Gigolo Records, Pro-Tez, Plastik.FM and Blumenbeat. Alongside his own output the Berlin-based artist has written tracks and remixes for numerous producers, most notably composing DJ Hells chart- smashing remix of Tim Deluxe 'Transformations' which saw six continuous weeks at number one on Beatport.

Jarno's polished production ability and aptitude for exploring diverse sounds and rhythms whilst maintaining a resolute warmth and depth to every cut is the most prevalent footnote across the course of the album. For 'Ghosts On Cassette' the Berlin-based producer works whirring space-like atmospherics over hypnotic beats and shuffling snares to dish up a smooth and captivating opener. 'For Yasuni' and 'The Road Is Under Repair' get worked over subtle synth patterns and crisp percussion to offer up some of the more emotive provisions on the album. This in contrast to the deep driving beats of 'House Music Love Music' and the more club-ready tracks like '82 Degrees' or 'Like Cotton Deep Orchestra' truly exemplifies the wide-ranging nature of the album.

All in all Joe Le Bon has structured a sublime body of work that can be enjoyed in the comfort of your own home or the middle of a dance floor, each and every track oozes depth and sits as a true testament to his abilities in the studio.

Following up his appearance on Part 4 of our Strength In Numbers compilation, we are ecstatic to present some fresh material from no other than DJ Slip. A name that has been on the tongue of anyone entrenched in the US techno scene since the early 90's, DJ Slip has entranced audiences for years with his brilliantly bizarre take on sonics. Remix duties this time around come from Berghain resident DJ and all around musical powerhouse, Answer Code Request.

Planting the listener on some foreign stratospheres has always been DJ Slip's expertise, and 'Highland' comes as no exception. Echoed synth stabs detune into the dark while a barrage of claps and clangs provide an onslaught of percussive cleverness that is a signature of the Slip sound. 'Aerial' comes at you like a plane colliding with the earth, a kamikaze of dissonance spiraling downwards and then
in reverse. It's driving tempo, surreal drones, and thudding toms cascade into an intense peak time experience. Answer Code Request provides the perfect counter as a remix, smoothing out the edges into a refined, psychedelic expedition that breathes and shifts as it tunnels deeper. All three tracks together create a diverse and gripping package with something suitable for all times of the night.

Fresh from the success of 'Say You Won't Ever', Wallflower return with their second single 'Manifest', an ode to honouring what naturally unfolds through surrendering to the Process; not to be confused with having manifest intent of a desired outcome consistently held in the mind's eye.

Leah Floyeur's vibrant piano and Alison Marks' haunting and
mantric vocals combine beautifully with the deeper moody strings to produce a delicately illuminating piece.

The package includes a couple of strong re-interpretations.

On the A Side by Gerd Janson and Phillip Lauer team up again for Rebirth to deliver a mix set to become a classic, combining an old school house feeling with a pulsing disco bass and atmospheric pads.

The vocals shine once more on what is sure to become a real dance-floor filler ! On the B side, Keinemusik's boss Rampa creates a strong remix combining raw percussion and tambourine with an intense synth line to build tension and energy.

'We Start Over' arrived on the desks at International Feel and it felt perfect for us. Deep electronics, a lovely mood, forward thinking and a gorgeous vocal from Trudie Dawn Smith. Lots to play with from a remix perspective and a great original track in itself. Steve Cobby is a British producer, musician, composer, and DJ, based in Kingston-upon-Hull, Yorkshire. He co-founded Fila Brazillia in 1990 and released 10 critically acclaimed LP's and produced over 70 remixes for artists as diverse as Radiohead, Busta Rhymes, Black Uhuru and A Certain Ratio. Cobby now releases music via his own label Déclassé label. His latest and third solo LP 'Saudade' was released in March 2014 and received considerable critical acclaim.

The first 12" consists of the original version and on the flip a remix by Apiento & Lx (their first track together since the underground classic 'The Orange Place' ). The remix is slow trance in its purest sense, made for lasers and dark nightclubs. It's already receiving club play and has been named by Andrew Weatherall and Sean Johnston's ALFOS as "one of the records of the summer". High praise.

On the second 12" the reins have been handed to Gerd Janson & Phillip Lauer a.k.a Tuff City Kids - two people making some of the finest house at their at the moment with Janson also getting massively known globally for his DJing. Their remixes are made for the clubs. The 'Garage Dub' is classic New York house that is as deep as you like and one of those hooky ones that does everything perfectly. The other, 'Private Acid Mix ' goes heavy on the beats and drops the 303 in a fine style with the vocal looped and twisted.

As you would expect from International Feel this is classy and classic club music covered from all angles from a balearic original, a deep chug remix from Apiento & Lx and the Tuff City Kids bringing the house vibe. Deep deep deep.

Gatupreto, enigmatic duo, hiding their identity while exploring the common ground between an idealized African feeling and the classic references of the dance movement from the 80's and 90's. The art Gatupreto generates is simple, unpretentious and sincere, it owes to the classic rave vibe as much as to the rawness of hip hop.. as much to the sunset of Cape Verde as to the sunrise of the Lisbon riverside.
Gatupreto is a binomial entity that refers to itself as one, it was rescued from anonymity by TINK! Music, newly founded label split between Amsterdam and Lisbon. To the extend of most people's knowledge, Gatupreto comes from a colorful Lisbon suburb where they inhabit a luxurious house, on an isolated hill where music is made every day.
Those who have seen them perform live say they are frenetic and deep in their sound. At night all cats are black.

'Psych', the long-awaited Freaks album released in 2014 gets a re-release in 2015 with some brand new remixes.
Freaks, a musical partnership between Luke Solomon and Justin Harris that's spanned twenty years and includes the Music For Freaks label, four albums, and an avalanche of singles on the likes of Playhouse and Hot Creations to Crosstown Rebels, News and International Deejay Gigolos. The album was released to rave reviews and featured a much awaited gathering of material from the late 00s onwards, including collaborations with Robert Owens, Stella Attar and Diz Washington.
This 12" includes interpretations from Dave Aju, Jamie 3:26 and Freaks.For over a decade, San Francisco innovator and a vital part of Circus Company, Dave Aju has been producing and performing his unique brand of electronic dance music, a consistently fresh and expressive sound.
His remix of 'Situations' makes no exception, a strong piece of jacking house music with bubbling sub bass, strong raw percussive beats, and an effective use of Diz' vocals and the flute sound. On the B Side 'Misfits' is reworked by Chicago's master Jamie 3:26 who turns the tune into an acid house monster and by Freaks themselves who extend their Original version for dance floor action. A strong package...and more to come !

One year has passed since the last release in this series and, as always, the Tramp Records crew have been working hard during the last 12 months to come up with an equally fine selection of tunes for this brand new volume. Our aim is to keep up with the quality of each release, a task which certainly does not get any easier as we step forward into the twenty first century.

There is no need to praise this selection of tracks. It is larger-than-life. And those who do not recognize the distinctiveness of it should better seek medical advice. The most astounding fact is certainly that 99% of the record buying public have never heard any of these tunes, most likely not even the artists. And we are not talking of people who solely listen to mainstream music. No. Even music lovers who believe that they have a good portion of knowledge when it comes to jazz and soul music will be left speechless.

You can skip to any song on this album and you won't be disappointed. The only premise is that you are a fan of raw, earthy soul and jazz music. If this is the case then you can't go wrong. Rene Bailey, Matilda Haywood, Lee Mitchell, Nu Art Quartet, to name a few. It is high time to introduce all these names to a broad audience and to prevent that they vanish into thin air. The Movements series was coined to introduce music lovers to so far unheard musical treasures. Tunes which only hardcore record collectors have had the privilege to enjoy it...until now.

Another Various Artists special from the mighty Bokhari camp...

Two fresh tracks from the Lord Lucan-esque disappearing Russian, Kirill Tipo, whom we've been chasing since 2012!

Creta Kano on the flip gives us a slice of electro that sounds like it could have been made in 1988, with a bassline that'll be in your head for days. Still high from the Scott Grooves props of his last venture with Bokhari, Joe Europe returns with another slice of deepness for those who like some musical content in their house !

I am very happy and excited to present the new EP by 'Claudia Anderson' on Singular Rec., it's her second release on the label and it's a real pleasure.
She cooked a really varied record once again, 'Liquid Forms' takes place on A1 and it's real voodoo here, the effect of this track is very unique, it's space and deep, surrounded by many little effects that give such a special result, then comes 'Neutral State', a timeless dub & house feeling, very loopy, that reminded me some STL cuts.
'Be One' opens the B... I ve been really sensible to its very sexy percussion's play and delayed lead, it transports literally during all the length, it's very high quality.
To end properly this ep, Claudia did a superb ambient cut, everybody knows I love ambient and so here I ve been charmed... it's a deep, noisy atmospheric track that close the all perfectly, with simple little percussions that come and go, just what it takes...
It's a confirmation of all the good I thought about Claudia's talent, a very subtle, deep and charming record, and I hope you will like it as much as I do!
Marcelus.

Speedy Ortiz is proud to announce their sophomore album, Foil Deer, which will be released via Carpark Records on April 20th.

'Major Arcana' released in 2013 won them glowing reviews , features and several UK tours (highlights below):

- 4 PAGE NME FEATURE

- 9/10 LEAD REVIEW IN NME: 'One of the reasons 'Major Arcana' works so well is because it's addictive and fun. The guitars and bass sound incredible, like the last Deerhunter album without the Yankee Doodle Dandy'

8/10 Drowned In Sound : ' Speedy Ortiz are way too euphoric and glorious to suffer for their artfulness. Stripping away the frills, at heart Major Arcana is a mournful treasure that asks to be celebrated.'

*NME RADAR FEATURE: 'What's miraculous, though, is that Major Arcana doesn't sound at all self-pitying; it's torrid Slint-meets-Pavement rattle bolsters Sadie's relished words so that yelling along is an exercise in gleefully exorcising your own demons'

8.4 ON PITCHFORK: : 'There's the squalling, guitar-on-guitar carnage of Archers of Loaf, the grungy mysticism of Helium (Dupuis lifted the title Major Arcana from a book she was reading on black magic), and of course the deadpan wit of vintage Liz Phair ('I was never the witch that you made me to be,' Dupuis tells a burnt-out old flame on 'Plough', 'Still you picked a virgin over me').

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
Deluxe LP Is as above but with metallic gold coloured vinyl, and sticker.(200 ONLY FOR UK)
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge!

When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first few years teaching writing at UMass Amherst. She's drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band's 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock.

The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members' lives in general. They would get the damn flowers themselves.

Dupuis wrote much of Foil Deer at her mother's home in the Connecticut woods, where the songwriter imposed a self-regulated exile and physical cleansing of sorts, finding that many of the songs came to her while running or swimming alone. "I gave up wasting mental energy on people who didn't have my back," she says. "Listening to our old records, I get the sense I was putting myself in horrible situations just to write sad songs. This music isn't coming from a dark place, and without slipping into self-empowerment jargon, it feels stronger." Many of the songs deal with a similar sense of starting over, editing out the unnecessary drama. "Boys be sensitive and girls be, be aggressive," she sings on "Mister Difficult."

And while their debut album was recorded on the fly, Speedy Ortiz spent almost a month in the studio on Foil Deer. Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style. "The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy," Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike. For all the lyrical complexity and guitar-based excursions Speedy Ortiz have built their reputation on to this point, Foil Deer has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
CD comes in digipak with a folded poster approximating the chapbook in the LP.

After their stunning 2014 debut EP I.D.', SHADOW MOVEMENT, created by music producers Raphael Bartel and Raul Monteiro, return to the scene with their second single WHALES' released by the label D.O.C. created by acclaimed producer Gui Boratto.

WHALES' was announced at ADE (Amsterdam Dance Event) on 2014 and has been long expected by music lovers.

The new EP has two tracks: WHALES PART ONE' and its progression WHALES PART TWO' and is released on vinyl, in a limited edition.

It will be the fourth release from the label D.O.C., the EP brings all the darkness and deep harmonies with a melodic touch the duo is known for, it's an exciting step for the project and the label alike - we can't wait where they'll go next.

We are very happy to start this new edition of Deeply Rooted releases with Insolate 'Mood Module E.P', produced by the very talented Miss Sunshine.
All artists on the new series will work under a new name,new projects and new collaborations. Going back to the roots of techno and house and let the music do the speaking and not the (hyped) names of the producers. Listen with an open mind to these releases approved by the Deeply Rooted (House) label. And as we all know... Dj Deep is a legend with his work as resident dj of the Rex since the very first days, a record collector and music lover extraordinaire, someone who is just like Laurent Garnier on of the key figures in the french house and techno scene for many years. Big up for him daring to choose a different path with his label, always trying to find new inspirations!

The ep goes through different mood and feelings, Epic is a straight up Techno journey, Werk is a great rhythm track that keeps building all the way through!, Parch is a dark and heavy uncompromising track, the record ends with Tuga a deeper and more mysterious jam. We hope you'll like it as much as we do!
Enjoy.
Dj Deep.

Dear reader,

since Ramona presented all her disciples work throughout the first Lifesaver compilation in 2013, it's now time for another episode of togetherness. Summoning all of her artists around Frankfurt and those who live around the world, Ramona is now ready to present the Lifesaver Compilation 2. 

Kicked off by one of the Frankfurt young guns, the compilation leans into a melody-driven warm-up with a slight hint of analogue soul - "Digital Revolution" by Orson Wells. Next up is the Italian-born and now Berlin-based Massimiliano Pagliara. His contribution "Phasing Down The Sea" enriches the second Lifesaver installment with some of his signature synth-lines paired with a classic chicago-driven beat. The secret weapon from Kilianstädten also known as Mr. Melody, who goes by the name of Lauer, delivers a dark-italo and wave-ish piece topped off with the famous Lauer-craziness called "Language". Roman Flügel, the man of the hour, reinvents classic UK bleep-techno with Tender Hooligan". Another member of the young-guns-club, Chinaski, brings his certain level of synthesizer-love to the table with a track called Futuresex". Portable, one of Ramona's most delicate flowers, teamed up with Lcio again - together they created a hieroglyphic and deep-driven piece of music: "Dive In". TCB, also known as the only member of The Citizen's Band, delivers "Byrdmap", a solid piece of spheric deep and broken music. "Brainwashed" by Benedikt Frey marks the end of the compilation and simultaneously shows his dimension of futuristic dark-disco acid-madness. 

The Lifesaver compilation will be released as a double 12"-vinyl. Additionally Live At Robert Johnson will release an Extension-10"-vinyl containing two brand new tracks by the infamous Hotel Lauer and Tuff City Kids end of March 2015.

Be prepared,
Ramona

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

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

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

Absent EP produced by the Spanish musician Sendo, is the result of his lifelong passion for sci-films and the aim to translate these movies into sound. Three tracks engaged into esoteric electronic and ambient-styled music. A very adventurous trip through utterly deep soundscapes and mysteriously rattling compositions with a cinematic approach.

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

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

Concept e25 is back! Wax Classic 15 sees Concept e25's third release on the label in the space of just a year! The demand has been overwhelming for more garage house hits with that added subtle, French flourish. We heard those cries, so here we have another slammin' four track record from the man himself! The opening track of the EP, 'Sing!', is destined for greatness this summer on dance floors everywhere. For me, this will be the go-to track of the record for most DJs out there. On this track, Concept e25 combines a pumping Kerri style bassline with beautiful sustained chords, feel good vox cuts and the occasional sax line. Proper hands-in-the-air vibes here! 'Giving It' takes the EP into a deeper realm, one that evokes images of late evening summer sunsets. However, the garage swing and signature Concept e25 bass sound is still present. 'Lies' leads with moody chords before introducing a vocal that will be stuck in your head for a long time! Again, we have a smooth sax line to accompany the vocal up to the track's climax. Rounding out this solid release is 'Feel This Way'. Here, the punchy bass hits are united with an acid line that bubbles underneath, before being unleashed halfway through the track in a warehouse-reminiscent burst of resonance.

New artist on Black Market, A Thousand Years (real name Zeke Africa) grew up in Devon. As son of a jazz pianist... he started producing with Dance Ejay though as soon as he entered his teens and kept evolving in the decade since. The name A Thousand Years is inspired by sci-fi and reflects his own futuristic take on house music.

'Decadubs 5' is a vinyl-only double-pack companion to 'Hyperdub 10.4', the fourth and final CD in Hyperdub's series of collections throughout 2014 to mark the label's first decade in existence. Both 'Decadubs 5' and its full-length parental set explore the club spaces opened up by house, garage and techno, as viewed through Hyperdub's singular filters. Side 1 leads out with 'Lambeth', a long awaited previously unreleased track by Burial, with an unusually triumphant and - compared to recent extended montages - relatively direct 2step feel. This is followed by the low slung tech-garage of Kode9's 'Oh', while on the flip the whole of Side 2 is given over to the lush deep house of Cooly G's 'Love Again'. Side 3 opens with the fathoms-deep bubbling bass and synth washes of DVA's extremely psychedelic 'Monophonic Nightmare', then Dorian Concept turns in a quirky remix of Martyn's classic 'Mega Drive Generation', which originally appeared on Hyperdub's fifth anniversary compilation in 2009. Side 4 reveals another classic from the vaults in the shape of Cooly G's skeletal house cut 'Him Da Biz', and the EP comes to a close with energy levels turned up on Funkystepz's 'Vice Versa', a track much in demand since it first appeared on Kode9's 'Rinse 22' mix compilation from 2013.




E C2 | Martyn - Mega Drive Generation (Dorian Concept Remix)

The mighty Bohari return with another in their split-single series, showcasing new and exciting artists.

We have no idea who Barrut Fulsara is and he won't tell us a thing - all we know is that he has been in the game for a long time, and that this new moniker is for his excursions into deeper territory.
We're just happy he chose Bokhari as the outlet.

Joe Europe on the flip delivers the kind of synth-laden quirky house that we love at Bokhari and we're pleased for this beautiful track to finally see the light of day...

Listen to this if you like: anything that we've put out last year, wrapped together in a lovely double pack of a 12 and 10. The Roundup part 1 is the first part of an annual recurring event: the big Heist family remix EP, where all artist names get put in a big bowl, and by luck of the draw, find themselves remixing (and remixed by) another Heist artist. We've got Max Graef remixing Detroit Swindle and turning the break up into a full on Graef-affair. The label heads themselves take 'The Organ Grinder"'s 'Change all the time' and turn into a deep Chicago-esque tune and completing the 12, there's Frits Wentink's take on Bluebottle, experimenting with his trademark shuffle. On the 10, Standout track of the first year of Heist 'Jungle' gets a lovely rework by Nachtbraker, giving it a more 4x4 feel than the original and The Organ Grinder who turns Frits Wentink's Schrewd into a full on Filter house cut. The artwork is handmade and photographed by Baster. Sincerely yours, Lars & Maarten

Reminiscent of a time where we were releasing 4-tracks sampler every month (remember the Secret Gems From The Vault) It is naturally that we thought about a various artists sampler in order to introduce the new wild bunch.
I said new but some of them are pretty familiar, which is the case with the almighty D'julz or Raw District for an incredible update on 2007 « Fast Forward » which deserves its title, Do I need to introduce D'Julz I don't think so, one of the most sought-after French dj and producer, he never disappoints.
Then we are pleased to welcome Accatone, having several EP's and remixes released since 2008 and a full album in 2012 on labels like Dabit, Apparel, Piston Recordings, Roots & Wings, One to One, to name some, and having his work remixed by legendary Matthew Herbert or Jay Tripwire (Poker Flat, Tonality), Piek, (Cadenza, Paulatine, diynamic), Accatone is becoming a full-grown producer by conquering the likes of Dj Sneak, Laurent Garnier, Stacey Pullen, Slam, Timo Maas, Danny Tennaglia, Olderic, David Labeij, Mirco Violi, Severino Panzeta (Horse Meat Disco), Paco Osuna and many others !
Scan Mode aka Alberto Sánchez began his career in the year 1998 and has since traveled throughout the Spanish territory, performing in major venues and festivals alongside the likes of Jeff Mills, Sven Väth, Dubfire, Marco Carola and Richie Hawtin to name a few. He is regarded as an eclectic artist who has taken different professional profiles during his musical career. His music is on the edge of House and Techno with brilliant melodies and rhytmic, Kike Henriquez began editing in Alex Flatner's labels, Later released on labels like BluFin, Greenhorn and with some of the best artists from the tech-house & deep-house scene, Introduced to David Duriez by Something Different(s head honcho Jesus Pablo, Kike soon joined the task force behind this new BR100 release, Another artist to watch out.

Early Support from:

Raresh / Nathan Coles / Dan Ghenacia / Claudio Coccoluto / Fred Everything / Tiger Stripes / Doc Martin / Shur-i-kan / Luke Solomon & more

In the beginning of the 80's reggae music became increasingly in tune with what was happening in Kingston's dancehalls....probably more so than at any time since the sound system operators had started to make their own shuffle and boogie in the late 50's..
The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real,raw roots of the music...brash,confidient,young record producers who were totally in tune with the youth audience stepped forward and seized the moment...
Oswald'Ossie'Thomas began his apprenticeship in the music business at the age of fourteen and served his time as a record salesman for Bunny 'Striker 'Lee and Winston 'Niney the Observer' Holness before moving on to Miss Sonia Pottingers Tip Top Records...
'I ended up working in three record stores on Orange Street from 1976 to 1981...Yeah man,Me deh 'pon me bicycle till I buy my motorcycle..Them days records were coming out left right and centre..everyday'
Ossie Thomas...
It was during his time with Miss Pottinger that Ossie began to produce records for himself and in 1979 Ossie and Phillip Morgan began The Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue.
And the man who had made his name in the business selling other people's records now became one of the most important and influential record producers of the era..

Poker Flat Recordings has been dealing out underground house music with a unique twist since 1999; from the defining debut 'Loverboy' through the Bugnology series, acclaimed albums and worldwide club hits, Steve Bug's essential imprint has unearthed new talent, developed rising stars and welcomed veterans into the fold. Steve Bug's reputation as an exceptionally gifted DJ, producer and music connoisseur is about to carry the beloved imprint to its 15th anniversary, which will be celebrated with its finest collection of raw talent yet, starting with this first installment of the anniversary series called 4 Jacks. Following the winning format of the series thus far, Part 3 boasts two slamming new remixes of classics from the vault, and two brand spanking new tracks from Poker Flat's stellar roster. Argy's 'Love Dose' of 2005 marked the debut of one of the scene's most fascinating newcomers, and defined the sound of minimal courtesy of an unforgettable remix by Luciano; now getting a 2014 update, the track has been taken to by the talented duo Audiofly, who makeover its identity with their signature sleek deep tech style. Two heavyweights go up against each other next, as Joeski tackles the Martin Landsky classic 'Reject

Saxophonist Sean Khan is a multi-instrumentalist distinguished for his ability to fuse traditional jazz with contemporary styles. His involvement in the West London broken beat scene as band leader of the cult soul/ jazz outfit SK Radicals and as a collaborator with the likes of the Bugz in the Attic collective, have seen his unique breed of jazz put to full effect in London's clubs, at nights like the legendary bruk orientated 'CoOp'.

In anticipation of Sean Khan's second album on Far Out Recordings: 'Muriel', this four track 12' release features remixes from 4hero and Nicola Conte with father of British Neo-Soul, Omar on vocal duties. 'Don't Let The Sun Go Down' is uplifting and sophisticated dance-floor jazz. Dego and Marc Mac (4hero), two pioneers of broken beat, jungle and UK dance music as a whole, re-work the single from 'Muriel' into a delicately crafted downtempo number, which tames the original somewhat with club focused intentions, yet retains all of its fluidity and groove. Along with the eminence of rhythmic elements, Omar's instantly recognizable, thick and soulful vocals are sparsely and subtly layered to create beguiling, unconventional harmonies. Elevating the track to its peak, Sean Khan's exquisite alto sax solo demonstrates both his technical prowess and keen understanding of jazz's history, whilst working to carve out its future. The B side hosts Nicola Conte's remix of 'Things to Say'. Renowned for his input and influence in the lineage of acid jazz and fusion, as a producer, Dj and musician, Nicola Conte provides a deeper, darker take on Sean Khan's unique blend of jazz. A bouncy 4/4 house beat skips along beneath contemplative, whirring Rhodes, while the ghostly soulful vocals of Diana Martinez and samples of Sean Khan's expressive sax playing see the track taken to more introspective yet still clearly club focused territory. The final track is the intro to 'Sister Soul', previewing more material from Muriel, Sean Khan's forthcoming studio album on Far Out Recordings.

Zeitgeber and L.B Dub Corp split the second in Stroboscopic Artefacts' series of fifth anniversary records. Zeitgeber is the collaborative project of SA label boss Lucy and Dutch techno royalty Speedy J. Their joint alias birthed an exceptional long-player last year and has since been presented as a b2b act at festivals and clubs around the world. 'Totemism' is their first officially released output since that album, and is every bit as compelling. 'Totemism' opens with distant, reverberating bells and a thin film of hiss and crackle. But, one minute in, heavy and incessant drums cut through the ambience, hitting you straight in the chest. The surrounding atmosphere evolves and filters in-and-out of the mix until, halfway through, the track takes an unexpected turn with an elastic bassline and acid squelches. Then, the drums hit you again. This is an 11 minute masterclass in widescreen, narrative techno from two of the scene's most experienced and inventive producers. Luke Slater, a man of many aliases, slips into L.B Dub Corp mode for the B-side of this record. This particular moniker of Slater's generally trades in raw, culturally-inspired house music, though has also appeared on Stroboscopic's Stellate series with two deep and beatless dubs. For his contribution to SA's 5 Year anniversary, Slater re-visits a classic club cut of his own, delivering 'Take It Down Again (In Dub)'. 'Take It Down Again' is a brilliantly-realised exercise in tension, dub delay and mixing board creativity, all made to shine by a dose of oddball musicality and sampling. This version of 2010's 'Take It Down' is more restrained and tonally varied, equipped to instil a brooding and tribal darkness on the floor.

Mathias 'SHOW-B' Schober makes his Pooledmusic debut with the Arps EP. A talented producer & engineer, Schober has been releasing under his SHOW-B alias since 2007, since when he has had EP releases on Poker Flat & Compost Black Label, an exclusive track featured on La Fleur's Watergate 16 compilation, and a release on Delusions of Grandeur with Milton Jackson as Pattern Select. The Arps EP sees SHOW-B blending his various talents in the A side 'Arps To Heaven', a heady deep house track with a swirling melody that recalls the trippier end of Strength Music and Deepblak's respective outputs. On the B1, Ian Pooley follows up his huge Innervisions EP 'Floris' and the Rejected re-issue of his anthem Chord Memory by fusing the original's psychedelic elements with a classic, irresistible Pooley groove. The B2, 'Isifuba', sees Schober focusing on a swinging house beat structure for the early hours dancefloors.

Since 2009, Vincent Koreman a.k.a. Drvg Cvltvre has been working on his own blend of dystopian acid, no wave and dooms day deephouse , which he proved impressively on his release on Crème Organization or Porn Wax. For his Permanent Vacation release he is perfecting his methods and style , which is equally influenced by Suicide, Sun Ra and Terrence Dixon. On remix duties for 'Night Time Is the Right Time' is original chief rocker and Omar S protégé OB Ignitt who puts some extra swing on top and makes sure that it is always the right time for this one.

After their very large re-make of 'Dinosaur's 'Kiss Me Again' on Volume 2, Pablo and Shoey go straight for the jugular again here, extending an old housed up bootleg version of Eddie Kendricks' 'Keep On Truckin' into 8 minutes of dancefloor devastation.
Pre- Discogs, pre MP3's of everything ever recorded on the 'net, this little gem was one of the most potent secret weapons for The Unabombers in the heyday of Electric Chair. Some old fashioned, dusty crates digging by Pablo turned it up - now the world gets to have a listen !

Also included in the package is Detroit legend Terrence Parker and his deep, shimmering 1996 house classic 'Your Love', an after hours staple for the DTS boys since year dot.
Drenched in a hypnotic organ loop and a beautiful, tender vocal, it's house music with a warm heart and a sharp kick, perfect for a 'Let's All Have A Hug' moment at 5am !

The unsung hero of melodic techno prepares to step up to the Poker Flat plate for a second time, continuing the partnership that began with the epic 'Planet Funk EP' earlier this year. Vince Watson is a stalwart of the scene and truly in a league of his own: an unparalleled discography, a singular flair for arrangement, and a signature sound of lush layers and deep irresistible grooves. 'Rock It' is another complete chapter written in Watson's unique vocabulary. The EP's title track's swift pacing and bright multi chords-create a constant state of uplift and progression, movement and light. Subtle changes and hypnotic building loops drive this number towards a state of blissful contradiction: slow-burn euphoria. 'Sonar' contains all the scale, emotion and colour that the title may suggest; a prominent chord progression is sustained throughout, running through the track like a shot of neon, ensuring its future a peak time anthem. 'Feel It' is the yin to the yang of the previous tracks, easing into a looser, deeper tech house tempo, and unravelling tight melodic harmonies for breezy watercolour washes of pads.

* Partial Records come with two brand new tracks from roots veteran Danny Red whose recording career stretches back to the mid-80's when he was known by his deejay handle Danny Dread.
* Danny, who is one of the most respected, lyrically-savvy and consistently reliable voices on the UK/European circuit with his classic `Jahvovia' being the best-selling single in that genre over the last few years. He also worked with Leftfield on the track `Inspection'.
* Both tracks here come with respective dubs mixed and produced by Dougie `Conscious Sounds' Wardrop.

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

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

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

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

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

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

* A brutal digital roots meets dancehall rhythm produced by Dougie 'Conscious Sounds' Wardrop and ridden by hot up-and-coming singer/deejay out of Paris with his second release on Partial Records.
*Flip is over for pure dubwise satisfaction.

New York City, USA, 2014. A community filled with amazing shit and amazingly fucked up shit. This Yin Yang is an ever-present part of life, and it is this contradiction that Isaac Basker seeks to take on with Swishin' & Dishin,' his sophomore release on Play It Say What Records.

On A1, 'Swishin' & Dishin',' Isaac references NYC basketball legend, Walt 'Clyde' Frazier to define the city's Yin. Starting off like a certified banger; a simple 'bleep' blasts the track over a thumping kick and rhythmic percussion, as if attacked by a penetrating crossover dribble. Yet Isaac then drops his trademark melodic chords to turn the track into an authentic deep house groove.


With A2 Plan B Recordings boss DJ Spider provides his latest remix for Isaac, helming 'Swishin' & Dishin' (DJ Spider Mix).' The original is then obliterated into his classic raw, deep sound. Hard kicks, obscure female vocals, hats and snares form the basis of the track as we then get slowed chords to tease us until deeper sounds and syncopated percussion elevate the listeners mood before bringing the track back to the remix's original rawness.


B1, 'Slumlord Billionaires (5Pointz Of Light Mix),' Swishin' & Dishin's most dance floor friendly track, takes on the Yang of the city, using the to be demolished graffiti mecca 5Pointz as a point of reference. Yet, this is an uplifting build up banger of a track emphasizing human resilience in the face of doom. Booming drums start the song off until a single fluttering melodic chord drops. Then syncopated claps, and vocal hits arrive challenging 'the powers that be' to further enhance the song's call for dance floor resistance.



Then there is 'American't.' With B2 Isaac, takes dark analog keys and syncopated techno sensibilities over a simple eerie baseline to further emphasize the Yang. A manipulated vocal later emphasizes this further and another layer of angry, reflective keys drive the operatic finale of this definite New York release.

During the '70s, work days at Umiliani's Sound Workshop Studios were hectic; thousands of sessions were held in order to keep up with a very busy Italian movie industry: Hundreds of soundtracks alongside with music library were recorded and released on vinyl in very limited quantities for TV and film production use only. Those LPs are now proper collectors' items, extremely hard to find.

Filled with hypnotic bass lines, heavy drums and screaming fuzz guitars "Underground", the first LP of the fictitious group known as Braen's Machine, is one of the rarest and the most expensive of them all, always "reaching" sky high prices throughout the second hand vinyl market. A fast-beat jam with hammond scales and a twin lead guitar theme ("Flying") opens the A Side soon followed by "Imphormal", a classicfunk-beat-meetsfender- rhodes-and-psychedelic-guitar number. The music then switch to "thriller territories" with "Murder" which is based on prepared piano swells and a deeply hypnotic walking bass, reminiscent of the best Morricone's soundtracks for Dario Argento's movies. Two highly percussive songs complete the A Side: "Gap" is an improvised song with guitar and keyboards dwelling over an infectious drum rhythm while a marching snare and a vibraslap effect are the special features on "Militar Police".

The mood relaxes slightly on the opening of the B Side with a lazy jazz groove on "New Experience" but the rock influences are soon brought back on the following track "Fall Out". "Obstinacy" is all about keyboards with syncopated rhodes themes and distorted hammond sustained notes whilst the fuzz guitar is back again screaming through the left channel on the last song of the album, "Description". We could happly say that that was the golden age of the Italian music library. But who's behind the name "Braen's Machine" On the original cover the songs are credited to the composers Braen and Gisteri. Braen was a pseudonym often used by Alessandro Alessandroni, an extremely skilled and versatile musician, and one of Umiliani's closestcollaborators. He could write, conduct and arrange, he could sing (ever heard "Mah Na Mah Na"), he could whistle (ever heard Morricone's "For a fistful of dollars") and he could play almost anything: guitar, bass tuba, accordion, sitar and the list grows..... His first album "Alessandro Alessandroni e il suo complesso" (Sermi, 1969), had transformed the Italian library music from orchestral sound beds into the psychedelia we all love; the extremely fuzzy guitars are very "present" on "Underground" too. For a long time Gisteri's real identity was rather mysterious; often wrongly attributed to Umiliani. Gisteri was the pseudonym of Oronzo De Filippi, art name of Rino De Filippi, music supervisor to the Italian public broadcast company (RAI) between the '60s and the '70s. De Filippi composed other notable pieces such as "Riflessi" (Edipan, 1975) and "Nel mondo del lavoro" (Sermi, 1972).

De Filippi passed away few years ago but we were able to contact Alessandroni to talk about this LP. Remembering "Underground" recording session as one of the thousands he took part of, Alessandroni told us that this record was produced very quickly, in two days maximum. This was made possible by a team of wonderfully capable session musicians and the creative genius behind the mixing desk; this incredible combination helped to focus on the mood of each track even more. Unfortunately there are no liner notes but Alessandroni's memories and speculations, based on other music tracked in the same period at Soundworkshop by resident engineer Claudio Batussi, led us to identify this as the most probable lineup: Munari on drums, Majorana on bass, Vannucchi on keyboards and Alessandroni himself on guitar. For this reissue the sound has been restored and the cover art reproduced exactly as it was.

In 2012 Society of Silence released their first ep on their own imprint and, by being supported by such artists as Shake Shakir,
Efdemin, Signifying Monkey ep has been a great sucess, Nick Hoeppner has played their track 'B Workin' on his Fabric
podcast.2013 began with 'Matin noir' on Fragil musique. Once again they are exploring the expanse of Techno music and the
single is backed by a stunning remix from Ukrainian producer Vakula. And in june 2013, it's on Dj Gilb'R label Versatile that
Society of Silence fourth ep Unijambist has been released, followed by To the Maggot ep in january 2014.Now it's time for the
parisian duo to reveal SOS02, their new maxi, back on their own imprint. Chroma is a jacking techno track with deep dub
synth's chords. The release also comes with a Tunnel track, for dark clubs and Tascam Dub, which is a low-fi tape stretched
track. The ep is already supported by Nick Hoppner and Anton Zap

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

You Know Who You Were Multi-faceted producer and DJ Ben Westbeech has accomplished something that eludes most artists - after ten years in the industry he successfully stands with 'one foot in the underground, one in the commercial' - and nowhere is this more apparent than on his first release on Aus Music as Breach which see's Ben digging deeper than ever before. After a year of high-power, unshakably catchy chart topping singles ("Jack' and 'Everything You Never Had"), a killer collaboration with Naked Naked cohorts Dark Sky and a well-received DJ-Kicks mix, Breach indulges some of his more underground and experimental tendencies on the 'Artis' EP. Bringing in bits of his past (the exotic, colorful vibe of 'Fatherless' can be detected in the lush atmosphere of 'Artis") along with some sounds newer to the moniker, Breach gets beautifully moody here and will once again keep people guessing as to what's coming next...