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

Kyle Hall back on Hyperdub for our 10th Anniversary - Yes please. In fact this is more or less a long delayed EP from the vaults, recorded around the same time as his 2010 'Kaychunk' EP ... which just goes to show how ahead of the curve the young Detroit producer is. Starting with 'Girl U So Strong', the track riffs on a distorted arpeggiating bassline, seasick organ and a dubbed out voice, and a flicking metronomic note, starting slowly before shuffling drums give the track some rhythmic focus. Soon a warm melody builds over some happy arpeggios, and the whole track feels like a product of brilliant spontaneous energy. 'Take Me Away' works an 8 bit bassline, bleeps and throbs into an off beat shuffle over a pulsing bass drum, loose and happy, dosed with sunshine and space.

Following on from his contribution to the various artists Multi-Dimensional World EP (ASG/DE002) Stanny Franssen returns to the De:tuned stable for a solo release with 4 tracks of floor friendly yet versatile techno.
Stanny has been one of the key players in the Belgian techno scene. Starting out as a DJ in the infamous Montini club, he soon ventured into production; first as part of Propionic and later on solo. Stanny used the moniker 'G-Force' or simply 'GF' for most of his earlier productions. Under this name he released two albums which were very well received at the time: Electronic Lesson Part 1 and 2.
The tracks on offer here are very much in the same vein as the Electronic Lesson albums. Multi-Vintages 2 and 3 have that distinct psychedelic and otherworldly groove that is typical of Stanny's tracks from the 90s. Multi-Vintages 4 reminds us of Umek's old output and features a pounding kick accompanied by a twisted synth stab. Stanny goes wild on the effects in the breakdowns making this a track for the peak-time hours. On the last track Stanny goes into 303 mode. Multi-Vintages 5 is a bubbling, funky acid cut that has all the qualities of a well-produced Hardfloor track.
This release will be available on sturdy 180 gr black vinyl and is limited to 250 copies, stay tuned!

So it seems that 2013 was the year Skudge team decided to camp by the pressing plant! The Skudge imprint is indeed growing along its artists as we're now ready to embrace longer formats, a testimony to the future and most than anything a continuous effort to grasp the present's relevancy.
After their wonderful EP from a year ago, the Fishermen are ready to take you on a diving trip with their very first album, an accomplishment in itself With 'Patterns and Paths', Thomas Jaldemark (YTA) and Martin Skoggehall (MRSK, Smell The Flesh) have crafted a rather mesmerizing story of abstract and figurative tropes altogether, and eerie is probably the best word to describe the general mood of this, but hard and raw eeriness! The affair starts with 'Green Horn', a gentle foreplay setting the tone for an imminent journey into the lightless abysses. 'Hope Is gone' further enhances the incoming grim turn of events in a coil-like fashion before 'Serpents' makes our feet and hips take over our fear of the unknown. The trance has indeed begun and we're soon entering a hidden warehouse rave cave of un-earthy shamanism, the unforgiving stomp of 'Get None'. 'Dyspnea' manages to find a path into deeper regions the groove shift towards a darker funk with 'Lost Teeth', a caribbean techno banger that'd wake any zombie in the making! 'The Four Skulls' suddenly hints of a safer journey with healing percs and melancholic pads, but 'Rise' soon shatters those false hopes with an evil lurking motoric groove. Then, you hit 'Scurvy' where the pace slows down a little only to introduce the seductive side of this gloomy adventure, a challenge to you feet inducing lascivious moves. Keeping you in trance, 'In Solitude' kind of combines both previous tracks strengths with an added Twin Peaks value. Now finally reaching the far bottom of the ocean, the mood gets even more claustrophobic with 'Sunken Mosque', the last stage of this trance before maybe getting back to the surface. Indeed, if 'Torments' might let you catch a breath of air, it is filled with minerals, the world above has changed, and you might very well feel safer back under the water, a reverse mirror to Mike Ink's old Gas project. While this tour guide concludes his narration, the Skudge camp proudly hopes to see you embark on it very soon!

Together Old-Skool Acid House Alert! These tracks were recorded by Jordan Fields in Chicago during the late 80's. Just recently re-discovered on reel to reel tapes and as soon as we heard these beauties, we knew the world needs to have these on vinyl! Starting off with 'Among The Kloudz' which is a very raw & mental analog groovin' acid-house track. On the flipside you'll find 'Keepin' It Together", a warm soulful but yet club friendly Mr Fingers, Virgo Four alike track. This EP is for all the true Chicago heads, enjoy!

2nd remix single of the session 2 by kuniyuki&henrik schwarz.
we invited two very hot new artist.

one is henrik schwarz's children "johannes brecht.
his debut single on sunday music was highly acclaimed.
his new single is coming on mule musiq very soon!

one more is talented producer in glasgow.his release on phonica or ene are our
favorite release.
lord of the isle 12" on mule musiq is also coming.

both remix are simply excellent.

Alessio 'AlexSoul' Pagliaroli returns to Whasdat Music this time with the distinctive voice of none other than Arnold Jarvis. This piece simply titled "Tonite" has already become a crowd favorite of Terry Hunter's 'BANG' party Sundays in Chicago, received major play from Kai Alce and Norm Talley at Movement festival in Detroit, and is in the rotation of other top DJs: Louie Vega, Moodymann, Rick Wilhite, just to name a few. AlexSoul's Main Vocal and Dub bring a powerful sensation; Thumping baseline, and traveling synths - Arnold Jarvis' Vocal is as good today as it was with the amazing 'Inspiration'. Following up is Pirahnahead's 'Wayback Mix', which takes us back to the Paradise Garage (and one of Larry's favorites) complete with crowd ambience, - those who know this classic re-touch will be in for a surprise. Last but not least - is Norm Talley's 'DeepTroit' Mix - get ready cause this is DETROIT in all it's glory, and sets the tone; A dark room, atmosphere and a system on bump, as soon as you press play. Real Right.

17 years after first releasing a cassette EP from label boss Marsel van der Wielen under his Peel Seamus guise, Delsin is soon to hit the landmark category number of 100.
Truth is, taking into account choice re-issues and specials such as the recent house series, there have already been scores more than 100 releases. Nevertheless, in that time the Dutch label has become synonymous with a wide range of timeless sounds from house to techno to dub to electronica, nurturing and championing some of the most respect names in the scene.

To mark the occasion, the label is to release five new various artist EPs (100 copies will be special, limited and coloured vinyl exclusively available through the Delsin web shop with a collector's box) that will be compiled onto one special CD compilation come the final release.

'After many different life cycles, with this compilation I try to go back to the core of Delsin, to showcase more otherworldly/dreamy/soulful but still raw techno sounds from a selection of key artists who best represent the label,' says Marsel. 'The tracks are all individual offerings but are tied together with the common themes of the label, and as a compilation will paint a nice overall picture that is not shy of moving away from the dancefloor side of things.'

Across the five EPs you can expect tracks from newbies and old favourites alike, including Sawlin and Delta Funktionen, John Beltran and Bleak, Redshape and Convextion and plenty more. The first - like all of them - features three tracks, one each from Gerry Read, Unbroken Dub and Claro Intelecto.

Repress

PRSPCT XTRM 007 by Dither will be hitting the streets soon.

2 banging tracks of XTRM-ly epic proportion by the handsome, sexy, talented Dutch producer: DITHER

On the A side we have: Digital Chemistry
Need a bomb to get the party started. This 180 BPM monster track is guaranteed to do this.
Industrial Hardcore Drum & Bass designed to put a smile on your face! J

On the flip of this release we have: Adopted The Dark
Dither really adopted the dark on this one. 175 BPM Dark and heavy Industrial Hardcore Power!!!

Hope you guys enjoy this release as much as we do and play the fuck out of it!!!!

Alignment is back with its fist vinyl outing of the year for the main label. This time introducing 'Quartz' a production due hailing from
Cardiff. The pair have been making some heavy waves in the scene of late with their heavy gritty productions. A release lately on IM:
LTD has made the scene take note of what their about, now they present the 3 track EP on Alignment. Bone Marrow, Cut Deep and
the digital exclusive 'If Ever' will be available in early June 2013.
Support for the tracks already comes in the form of Doc Scott, Skeptical and Dub Phizix.
Also watch out for their remix of Traces 'Sonar' coming soon on 117.

irst remix single cut from latest eddie c album "country city country". we invited two favorite new producers. one is italian edit master "marvin&guy". after the big success of their record on let's get lost, they are into more original production. their remix is simply killer for dancefloor. brightest hope from australia "tornado wallace" reconstructed original of kraut rock oriented tune to excellent psychedelic slow mo house. it's for the fan of quiet village or andrew weatherall. vol.2 of remix single with kza&young marco is coming very soon!

Alex Font is a serious guy who knows that now is his time. A multi-instrumentalist, as well as a producer and DJ, he can sometimes be seen on stage in trademark shirt and bow tie. He declares himself a lover of vinyl and, above all, what he calls real house. I think that says it all.

'NOW IS MY TIME' is the fifth release on the Oblack label and is available in black vinyl and digital. It is undeniable proof that Alex Font has arrived and is now a permanent force on the House scene, mainly in soul and dance, but who also knows how to reinvent his sound using new tech. Always with an eye on the future of sound innovation, he still manages to keep hold of his roots and respect his great influences. Well, nothing less would do. On this EP you can tell that Alex Font (remember, this is one serious guy) knows what he has in his hands and spinning on his turntable. His knowledge of musical composition, harmony and engineering skills jump out at you as soon as the first beat of 'Now is my time' hits the speakers: darkness, sophistication, soul and groove. There's a perfect command of tempo, of where, when and how. You pick up on the instrumental skills which allow him to do what he wants, when he wants. That's what's so great about this: you're struck by the ease of how such perfect technique and astoundingly good taste come together. Digitally analogical (or is it the other way round), this is the deeply profound vs. the dancefloor. It fascinates and liberates, carrying you off through different dimensions before breaking out of itself, with no need for artificial fanfares as it's so perfectly defined by Chicagoan pianos, hi-hats, funkoid vocals, etc. He's simply extraordinary: Alex Font signed by Oblack 005.

The remix by Martinez gives this track a technical edge and club splendor. Leaving out the more classic elements of house that are present in the original, the Swedish producer slows things down so that it doesn't lose any of its elegance, but at the same time the track gains punch on the dancefloor, and there's no doubt that it works. As cool as it is effective at inciting dance and everything else that comes with gyrating your pelvis in the early hours of the morning.

Finally, the Argentinian Shall Ocin plays the scoundrel here by adding diverse electronic elements that take the track into a new dimension. By giving the vocal more prominence, here it takes centre stage, and over a well-layered tech-house base, it makes the tremendous savoir faire of the original literally surf, while at the same time respecting and completing it.

In the end, it's great that you know that this is your time and that you want to share it, through Oblack and on vinyl, with all of us. Thanks comrade.

*Winston Wright is another unsung hero from the Jamaican musical
cannon. Although many might not know his name, you will have
heard him on many records in your collections. When we say that
it was he who played that classic Hammond organ riff on the
1969 'Liquidator' classic, as part of the Harry J Allstars, we might
begin to appreciate his talents that bit more. But not only this, many
1970's classics carry his organ, piano and arranging skills and
even before that time, many tunes cut in the 1960's,as part of Duke
Reid's house band Tommy McCook's Supersonics, carried the

Winston Wright signature sound.

Winston Wright (b 1944 , Jamaica) began his musical career in
the 1960's as a session player and soon became an integral part
of the Treasure Isle Studio house band, that became known as
Tommy McCook's Supersonics . He played on many of the
Rocksteady era hits that Duke Reid ruled the island with between
1966-1968.His mastery of the Hammond organ made him an in
demand session player. One such was Harry J studio's that had a
massive hit in the UK in 1969 with 'Liquidator' as the Harry J
Allstars of which Winston was a member. The same year saw him
cut some great tunes as part of Clancy Eccles' Dynamites.
The 1970's saw Winston Wright working closely with Dynamic
Sounds Studios' nucleus of musicians Cutting material for all the top
producers of the time including numerous sides for Bunny 'Striker'
Lee, which we have focused on for this set of tunes. From 1975
onwards Winston Wright was a member of Toots and the Maytals'
touring band, but we celebrate here his mighty fine studio work.
Adding his touches to many a fine rhythm as only Winston could
we hope you enjoy the set.

One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.



There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t Feelin’ Bitchy until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.



Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ’60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album Bitches Brew.



But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.



Her 1974 sophomore album They Say I’m Different features a worthy-of-framing futuristic cover challenging David Bowie’s science fiction funk with real rocking soul-fire, kicked off with the savagely sexual “Shoo-B-Doop and Cop Him” (later sampled by Ice Cube). Her follow up is full of classic cuts like “Don’t Call Her No Tramp” and the hilarious, hard, deep funk of “He Was A Big Freak.”

Kameezol 2 repress... A picture at a nice price !!! One of the very first hardfloor records... A dry medium kick, changing all the time during the tracks... Loads of fun in da mix... Lots of eyeblink and cheezy cook.... And what a beautyfull Picture Disc ! Woutcha ! You might have noticed that for the 10th years anniversary of Toolbox we decided to produce real loads of special things this year... Expect more soon !

Nico Purman, our Argentinean (soon to be Berlin based) drumline captain and all around groove slinger is back for his third instalment on the marching band in the sky that we call our Vakant home. played by andre galluzi, anthony collins, mathias kaden, ellen allien, d'julz, dario zenker, ivan smagghe, karotte, livio, mark henning and many more...

New Italian Base in Turin.Alessandro Magno is new artist very soon on great new label

Three select cuts from the long-awaited Bass Junkie album 'Comply'! 'Sub-mission' is the first nu-school electro track to chart at no. 1 in the Street Sounds electro chart, and is soon to feature on the 'Street Sounds Nu Electro 1' album!

Daptone bring you 'He Upset Your Dreams' from Hank "Soul Man" Mullen for their new reissue imprint, to share their love of some of their favourite rare and unreleased soulful tracks. The A side is an up-tempo groover concerning the saddest subject of all; not one, but two broken hearts. This is an effort from the Avengers on the Audel imprint out of Buffalo NY. The band formed in the mid-60s and toured a dynamic show with three very different vocalists: Hank Mullen, Moe Jones and Carlena Weaver; they released two singles in 1970 on their own label. In the 70s the group toured as backing band for Eddie Floyd, Arthur Conley, Betty Wright and Betty Swan. Sadly, soon after the records' release, Hank Mullen, then in his mid twenties, died tragically due to a heart attack.

Kenny Gino and Big Mike a.k.a. the Solid Gold Playaz both started playing records in the late 70's/early 80's. Having family from Chicago, who were DJ's and down with some of the big guys at the time, "heavily influenced our music and production styles" both say. "Living so close to the city, we could go down to all the legendary night spots. The Rainbow and the Warehouse, the Box, the Shelter... places where you could just feel the vibe. And you could hear guys like Farley Funkin' Keith, Ron Hardy, and Jammin' Gerald (the Chicago DJ/producer who is Kenny's cousin) play these incredible records". They both were hooked on the house sound, and would bring it back to their home, a small city named Racine, Wisconsin, located about an hour and half north of Chicago. They continued to develop their DJ and production skills into the 90's, but musically, weren't taking things very seriously until they met Chicago producer Louis Bell. He introduced them to many of the people who were building the mid-90's Chicago sound. "Louis gave us access... access to places we hadn't been before. He took us into the offices of Cajual/Relief Records and Underground Construction, and suddenly we were face to face with guys who were doing what we wanted to do... Cajmere, Paul Johnson, Glenn Underground... showing us that we could do this too. We did a few releases just to get our name out, and soon we had some pretty big named DJ's playing our music. We had DJ's actually looking for our records, and telling us how much they liked our sounds... that just blew us away, especially with very little promotion and in the limited numbers we were pressing... our music just started to build a name for itself."