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Echocord sub-label Echo Echo continues this July with Orbite's 'Interstellar' EP, a threetracker from the Berlin- based producer. Orbite is a brand new project founded in Berlin, Germany with a nod towards the raw, dubby sounds often heard across the clubs in the city, and where better to inaugurate things than the recently launched sub-label of Copenhagen's Echocord, one of the leading imprints in the realms of Dub Techno, home to pioneering acts like Rod Modell/Deepchord, Pole and Fluxion who have paved the way for Orbite's own twist on the genre. The ethereal pad textures of 'Skylar' lead on the package, deftly evolving alongside bubbling synth tones, swelling chords and shuffled percussion to create a create dynamically unfolding six and a half minute cut. 'Moment' follows, edging things further into dubbed-out territories with heavily delayed dub echoes and mesmeric spoken word poetry intertwining to create a, hypnotic beatless soundscape. 'Organi' closes the record with emotive, billowing pads, warm bell like tones and vocal murmurs running alongside swinging shakers and stripped-back micro-house percussion.

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First Word Records is very proud to present the debut album by Children of Zeus - 'Travel Light'. It's been a long road leading to this album for Tyler Daley and Konny Kon.

They first embarked on their expedition into the music game two decades back - Tyler entered the scene as a songwriter, producer and vocalist, originally under the moniker Hoodman, whilst Konny began MCing, DJing and beat-making for hip hop crews The Microdisiacs and Broke'n'£nglish, along with DRS & Strategy.

To date, Children of Zeus have released three sell-out singles on First Word ('Still Standing', 'I Can't Wait' and 'Slow Down') and a compilation EP comprised of tracks made by the duo over the last decade entitled 'The Story So Far...'. Children of Zeus are finally at the stage where they are releasing their debut album proper, the over-riding ethos of which is about keeping their eyes on the road ahead, whilst shedding the baggage they've accumulated over the years - 'Travel Light'.

Features mainly come from Manny family, ( K S R ), LayFullStop, Metrodome (Levelz) and former Broke 'n' £nglish spar DRS. Guest production comes in the form of Switzerland's Sebb Bash, Nottingham's Juga-Naut, and London's Beat Butcha, and there's your favourite DJ's favourite DJ,

Mr Thing, slicing up the turntables on two tracks too. There's a few extra special ingredients on this album, along with their trademark sub-heavy, rhodes-laden hip hop soul hybrid. Reggae music has always been an integral piece of the CoZ sound-system ethic, so we see Tyler putting on his lover's rock hat for 'Hard Work', and they invite soul queen Terri Walker to join them on the fierce 'Sling Shot Riddim', while the album closes with the epic K15-produced jazz-bruk opus, 'Vibrations', on which Konny breaks it down quite simply: "high frequency means that you travel light, so get lifted yo, we'll live gifted".

Long as the journey has been, the time for looking back is over. This is about the present and future of Children of Zeus. A shining light in Manchester's now-school, and rightly heralded by many as the best new act to emerge in British soul music in the past decade. Aside from the above features, this project is written, performed and produced entirely by Tyler and Konny.
Since the crew first took flight, the end destination has never changed, the aim remains the same - to create timeless music, in their own unique style, without compromise, irrespective of industry and life distractions. The moral being this - travel light.

Speed For Lovers release debut album 'Hot Yoga Emoji' on society Records / Ubishi Recordings
Originally from Sheffield, Liverpool & The Forest Of Dean, the three lovers met in the network of little mesters music studios on John Street in Sheffield.Initially engineering, producing and playing on each other's projects, they subsequently teamed up to form Speed For Lovers in 2010.
The past eight years have been spent wearing out rave trainers, building studios in their attics and sheds, geeking out with Sound on Sound articles and faffing with tech.
With two members who came and stayed and one who couldn't leave, 'Hot Yoga Emoji' is the band's ode to Sheffield.
Field recordings of late nights out and early stumblings home link tracks together and place their moments of creation in the city.
Spurred on by Sheffield's Kabal nights and trips to The Electric Chair in Mcr, 'Hot Yoga Emoji' mixes live drums and bass guitar with pocket sound generators, old synths and vocals to create an album of irresistible live dance music.!

Mehmet Aslan returns to his own Fleeting Wax imprint, in order to deliver the first in a series of releases as part of a new project, ghost station, including a collaboration with fellow Turkish singer, songwriter and vocal producer, Idil Mese.


Efsun, translating to enchantment in Farsi, is the sound of Idil Mese transforming an understated, somewhat folksy instrumental of Aslan's into a bewitching and subtle musical spell. Initially tense,
Idil Mese's vocal spell wraps beautifully around a brittle guitar motif, inches above a sea of atmospheric ambience. In it's second half, synthesis and sitar unite, taking efsun into more revelatory territory, employing a playful melody and warm, cosmic textures.

Meanwhile, on 'ghost station', from which the project takes its name, layers of meaning and recording slowly unravel, revealing a compelling soundscape. Recorded in one take, and completed across one night, 'ghost station' began with Aslan and his sampler surfing the busy radio waves of Berlin, eventually settling on a beautiful score broadcast on one of the city's classical stations. Just as soon as Aslan had the frequency on lockdown, the signal disappeared unable to be retrieved quickly enough, if ever. Loosely inspired by the work of Swiss visual artist and musician Pipilotti Rist, the track instead unfolds woozily like a dream, undulating through offbeat bleeps, ghostly voices and improvised swells of noise, while still maintaining it's own quietly propulsive groove.

Sounding more like himself than ever on his own Fleeting Wax outlet and incorporating an impressive range of musical techniques over just two tracks, 'ghost station' further establishes Mehmet Aslan as a restlessly inventive musical talent. -Text by John Thorp

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The Gates of Charon, an original soundtrack, is the long-awaited result of two years of work by a multitude of outstanding producers from the bass music and drum 'n bass scenes. This deep, dark and weighty release comes at you with 26 tracks of professional soundscape production to tell a story of the fusion of the mystic and scientific to manipulate dark energy and explore the multiverse. This unique project will take listeners on an interplanetary journey of the highest order through sound and emotion. This is a limited edition release in a double gatefold full-art cover with 2 X 12" two-color 180g vinyl (limited to first 300 copies), with download codes (including bonus instrumental versions).

Iberian Juke Is Extremely Proud To Present 'take Me Back To The South', Sophomore Album By Label Founders Bsn Posse And Our First Ever 12" Vinyl Release. After Their Debut Lp 'forever' For British Label Slime Recordings 2015, The Duo From Málaga Has Been On Quite A Strong Form With A Handful Of Powerful Releases Including Several Eps For Iberian Juke, Modern Ruin Records, Below Music And Breaking Bass, The B-sides, Bootlegs And Remixes Project 'summer Madness Series', And Incursions For Label Imprints Sequel One Records, Hyperboloid Records Or Vandal Records.

With This Album Bsn Posse Want To Reflect Their Love, Respect And Passion For The Footwork Culture In General And For The City Of Chicago In Particular, With Its Guetto Suburbs Being The Origin And Starting Point Of The Juke And Footwork Movement. 'take Me Back To The South' Combines Masterfully In Eight Tracks Elements Of Jungle, Drum & Bass, Soul And Funk With The Classic Juke And Footwork Take At 160bpms.

The Lp Is A Sincere 'thank You' From The Duo To All The Humble Artists That Work Extremely Hard To Put Footwork Into The International Electronic Music Scene. Thanks To This Culture We Have Travelled To Incredible Places And Meet New People With The Only Aim Of Sharing Our Passion For The 160bpms.

Ground Tactics arises with a transformative release, building bridges between sonic fields. Immaterial Breath EP raises energy levels by creating peculiar momentums of inner reflection. Spanning from IDM to conceptual techno, every single element in his sound is hand crafted, transmitting intimate feelings through grainy textures and subtle distortions. Immaterial Breath projects disorder in construction, inducing a chronic loss of established conditioning, extending the mind to unfamiliar perspectives.

For A Long Time, Electronic Music Has Been Understood In Terms Of Sounds Rooted In Particular Places: The Styles Of House And Techno Inextricably Wedded To Detroit, Or The Early '90s Jungle Sound Which Carries Echoes Of London. But That's Something Which Is Changing - In Latin America More Than Anywhere Else. A New Project, Led By Gilles Peterson And Rum Maker Havana Club (that Created The Havana Cultura Platform In 2007 To Promote The Island's Contemporary Culture), Shines A Light On Cuba's Fast-mutating, Rhythmically-adventurous Underground. It's A Scene Where Old Ideas Are Transplanted Into New Contexts, And Like-minded Scenes Are Brought Together In New Dialogues.

Havana Cultura: ¡su´belo, Cuba! Showcases An Extended Network Of Like-minded, Forward-thinking Musicians Driving Cuba's Music Forward. Following Repeated Trips To Connect With Venues, Collectives And Djs, Peterson And Will Lv - One Half Of Lv, Who've Released On Hyperdub And Keysound Amongst Others - Linked Up With Dj Jigu¨e, A Much-respected Producer And Dj, Whose Guampara Label Has Charted New Directions For Cuban Music. He's Been Profiled By The Fader And Vice, And The Album Features His Extended Network Of Collaborators, Connecting Afro-cuban Traditions With Contemporary Movements And Ideas.

The Album Provides A Snapshot Of A Unique Club Culture That's Fast Evolving. On The One Hand, It's Indebted To Cuba's Unique Characteristics, Where Regularly-practised Traditions Are Coloured By Intermittently-experienced Cultures From Outside. On The Other, It's Part Of A Global Shift Toward De-centred Club Music, With Homegrown, Influence-grabbing Dance Cultures Tilting Attention From Club Culture's Traditional Epicentres. It Offers A New Side To Havana That's Firmly Rooted In Its Past.

Awanto 3 and Meditation Tunnel appear on the latest Blitz, DJ Tennis' ongoing, limited, vinyl-only series. These colourful records sometimes pop-up around Life and Death showcases, often featuring non-standard cuts + off-kilter attitudes.

Dekmantel affiliate, Awanto 3 offers-up an infectious after-party gem, with "The Phone We Call It." Slow-burning cosmic keyboards pair with elements of Detroit techno and a subtle wink to RDJ's masterstroke, Xtal.

The flip contains a killer from Meditation Tunnel, the newly-birthed dance project from The Rapture's Luke Jenner. La La La is a Blitz future-classic. Syncopated bass guitar, crusty synthetic strings and the purest of vocal performances - Blitz #2 is one to remember.

Prairie is the project of multi-instrumentalist and producer Marc Jacobs, hailing from Brussels with roots in The Netherlands. He previously released an EP (I'm so in love I almost forgot I survived a Disaster - 2013) and an LP (Like a Pack of Hounds - 2015) on the Berlin imprint Shitkatapult. On stage, Prairie plays with two or three musicians and together they re-create a free association of musical ideas and atmospheres. Prairie has played in selected venues and festivals across Europe and toured with Apparat in 2016.If the apocalypse was painted in several layers of pastel gouache, its soundtrack might be PRAIRIE's Flash Flood. Listening to the album, we drift through a series of frozen landscapes that gesture at a post-apocalyptic ambience. This is a kind of blackened music that has been left to sediment, excavated from traces in ice core samples. Flash Flood showcases a deep sensitivity to narrative and rich cinematic textures as Marc Jacobs returns with palimpsestic sonic layers. It has been three years since PRAIRIE's last release—the 2015 Cormac McCarthy-inspired Like a Pack of Hounds—and it is clear that it has been several years of pensive reflection. Now, PRAIRIE takes the sentiment of his 2012 debut, I'm So In Love I Almost Forgot I Survived A Disaster, several steps further: it is after the apocalypse, and no one has survived. And yet with Flash Flood, we can hear the hum of this impossible future.

'After the Flash Flood' introduces the sonic ruins of distorted guitars, field recordings, drum programming and synths that create the textures of the entire album. The melancholic and subdued black metal churn of 'Raindeath' becomes the cold backdrop for unnerving, paranoiac speech. The third track, 'Sisters', foregrounds this coldness while slowly moving away toward alternate vistas where the acoustic timbres of the saz-driven 'A Permanent War Economy' take over. 'Underwater Body Hunting' and 'Rabid Ibrahim' are hard hitting beat-oriented tracks that insist on burning slow. There is a patience with PRAIRIE's FLASH FLOOD that is difficult to deny. The lamentation of 'Elephants Will Rise Again' perhaps signals that it is not only the human that is lost after catastrophe. The album closes with 'Hard Water: Cracked Ice' and 'Hayashi Clock'. The former is a beautiful coalescence of clean harmonious tones and softly overdriven drums, while the latter brings us back to a meditative state, drifting through the final pastel tapestry.

"... his cosmos is located somewhere between Bohren & der Club of Gore and Sunn O))), ambient is as familiar to him as brachial sounds, and he is as much acquainted with guitars as with synths and modern technology" (GROOVE)

"... Like Ben Frost, (Prairie) exudes a certain harshness while tempering his work with moments of sublime beauty. This isn't club material, it's music for the hammer in one's hand, the confrontation of the demon, the soul-shattering revelation." (A Closer Listen)

After an excellent 12inch on Rosten label SSTROM drops his first full length Otider, which is by far the most diverse offering of the project encompassing elements of different genres and putting them in woolen and dense sonic textures. Otider could be loosely translated as un-times or non-times. It positions the tracks out of specific context and rather represents them as some rediscovered artifacts relating to personal experiences of the artist. Otider slightly distances SSTROM from techno label as the compositions elegantly drift between lush transparency and thick grooves of outsider/lo-fi house as in Kronofobi or Svvaren or sensitive, yet subtly monolith and mellow techno on Damm and I Huvudet. In Modernisten we can even trace echoes of coldwave/synth aesthetics with melancholic guitars sweeping over hypnotic rhythmic patterns, while closer Sov Nu introduces something which reminds a darker form of garage music with light synthpads constantly surfacing among raw mechanical beats. All the tracks were created over a relatively long period between 2010 and 2017 by employing the process where he let his hands work automatically without interference from his head. This freedom could be felt across the release, which juggles with different musical forms so lightly and organically, but at the same time maintains a coherent vision, which illustrates the vast scope and diversity of the artist.

LYBES DIMEM is a project by visual artist and musician Lukas Rehm. With a focus on digital sound-de- sign, elaborate beat structures and the use of error, the music plays with cognitive phenomena and abstraction while maintaining an emotional refuge. LYBES DIMEM is presented in formats ranging from spatial sound experiences to sy- nesthetic shows complementing the auditive layers with visualiza- tions of real-time data, computer graphics and moving image. Lukas Rehms installative art, and compo- sitions have been internationally presented and awarded with multi- ple emerging arts prices.

SYNCLEFT CHRONEM is the first album released by LYBES DIMEM in both digital and vinyl format and accompanied by a moving image artwork. The title reflects the pro- jects interest in the potential of difference, cognitive frictions and exertion: sync = variability in the processing of auditive and visual signals, syncleft = the synaptic cleft, which is a crucial empty spa- ce in biological neural networks, chronem = the chroneme as a the- oretical unit to measure the time of

an articulated sound. Mathemati- cally clean sounds juxtapose pat- terns and transitions familiar from the realm of organic acoustics. Multi-layered noise textures ex- plore the simulated space. A tem- porary continuity is provided by percussive and melodic elements, right until the next escalation, eventually awaiting a concluding resolution.

The visual language explores dif- ferent phenomena and techniques of cognition inspired by the rhe- torics of big science (computer graphics, discontinuity of materi- al, pop cultural references). Both the moving image artwork and the graphic design of the release pay tribute to the multi-layered appro- ach of the music. The design of the vinyl cover by studio BNAG.cc uses subtractive colour synthesis to interchange between abstract for- mality and representationalism.

SYNCLEFT CHRONEM is the first release by LYBES DIMEM on SVS Records following a first encounter at the SVS residency at the 4D Spa- tial Sound Institute in Budapest.

With MEL011, it is Melodies International's immense pleasure to direct their focus towards both Soul and House royalty, selecting and reissuing two of Frankie Knuckles' scarcer remixes of an all-time classic: Womack & Womack - MPB (Missin' Persons Bureau). Now known as Zekkariyas and Zeriiya, partners Cecil and Linda Womack, two eminent members in an extensive lineage of music artistry (i.e. Bobby Womack was Zekkariyas' brother, Zeriiya is Sam Cooke's daughter) engaged in one of music history's most successful and exciting singing and song writing partnerships in the early 1980s. Zeriiya says her process with Zekkariyas flowed like water, their shared complicity and talent led them to write and produce strings of chart topping hits and classic albums as Womack & Womack but also for other renowned artists of the time such as Patti Labelle, Teddy Pendergrass and the O'Jays to only name a few. The original version of Missin' Persons Bureau was first released in 1988 on 'Conscience' (Island Records), a classic album with impeccable instrumentation and thoughtful and relatable narratives that reflect on the nature of life, true friendship, love or in the case of MPB, it's subsequent loss. Following the release of the LP, Island records founder Chris Blackwell introduced the idea of getting Missin' Persons Bureau reworked by House legend Frankie Knuckles and whilst the Womacks weren't originally set on the idea of having their songs remixed by other artists, Blackwell, who Zeriiya describes as a 'record label manager seriously involved in making sure the project is what the creators really want it to be", had earned their trust. With these remixes, Frankie managed to turn a radio hit into underground club classics. The Paradise Ballroom mix conserves the essence of the original, reinterpreting the rhythm section whilst drawing it out over 8 minutes, with expert tension building and release clearly aimed at the dance floor.

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Soma Are Proud To Present The Debut Album From One Of Techno's Most Prolific And Renowned Producers, Tensal. As One Half Of The Duo Exium, Hector Sandoval Has Already Carved Out A Career In Techno Spanning Over 20 Years, With Countless Release On Their Self-run Nheoma, Warm Up Recordings & Pole Group, To Name But A Few. In 2014, He Started The Tensal Project As An Outlet For His Own Productions Which Allowed Him The Scope Of Pursuing The More Direct And Minimalistic Approach With His Music And Also His Dj'ing. After Hooking Up With The Soma Camp In Early 2017 And Releasing A Collection Of Well-refined Singles, Tensal Delivers His Debut Album, Graphical. Searching To Go Beyond The Realm Of Standard Techno, Tensal Lends His Considerable Production Experience To This Project And Creates A Sophisticated And Immersive Album Experience That Flows Gracefully Between Idm And Techno.

With The More Stripped Back Approach At The Forefront Of The Project, Belga Gives Us An Insight Of What To Expect From The Album; A Refined Sequence And Melodic Element Build Gracefully And Hypnotically, Ending Abruptly To Leave You Wanting More. Santolaya Picks Things Up And Brings With It A More Pensive And Exploratory View Before The Droning And Atmospheric Roj0 Leans On A Decidedly More Experimental Side. Aimed At Bringing Tension To The Project, Convulsa's Waves Of Sub Bass And Syncopated Percussion Set The Tone For A Pulsing And Edgy Affair. Tensal Brings 4x4 Into Play With Polariex. Slow Paced Yet Staunch In It's Approach, A Gritty Synth Hook Stands As The Backbone. A More Hypnotic Approach On Egoaio Looks To Bring In The Standard Tensal Sound But As Always, New And Experimental Sounds Are At The Forefront. Closing Out The Album, The Focus Begins To Shift To A More Dance Floor Orientated Attitude. Zomb Is A Quintessential Dj Tool, Drawing On The Power Of Restraint, As Its Gradual Swells Create Perfect Cohesion Throughout. P R U V I 4 Continues The Ongoing Theme Of Tension As Multi Layered Hooks Surge Forth Against A Backdrop Of Forceful Drums And Undulating Noise. Tensal Ends His Debut Lp On A High With The Punishing Mimix. Pounding Kicks And Twisted, Tripped Out Synths Are Driven In Intensity With Chopping High Hats That Slice Through With Vigour.

With Graphical, Tensal Has Constructed A Body Of Work That Is More Than The Sum Of Its Parts; Easily And Intelligently Displaying His Production Prowess By Crafting A Sonically Accomplished Album.

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We are extremely happy to welcome yet another talented crew from Italy in the Moonshine family. D-Operation Drop is a project born in 2010 thanks to the encounter of 5 university students wich found themselves sharing the same house and more importantly, love for music (In 2013 Zeemo joins the Crew, modifying the formation from 5 to 6 elements). After a couple of early collaborations, almost casual, Uniradio Cesena gives to D-Operation Drop the chance to lay the foundations of an underground music program on air twice a week. Thanks to this experience the group officially finds its frame and looks forward to its new goals such as producing, dj'ing and vj'ing. To date D-Operation Drop, after almost seven years of experience, has received support from Artists like J:Kenzo, Distance, N-Type, Icicle, Radikal Guru & many others. Releasing music with notable labels such as Lion Charge, Artikal Music UK, Subaltern and now Moonshine Recordings.

"A heavy selection of mod-rockers, garage and psych-funk tracks," runs the sub-title of new compilation series, Down In The Valley from Perfect Toy, encapsulating in a nutshell the multifarious pleasures on offer.

And what better way to open such a set than with Van Broussard's banging titty-shaker Mojo This is followed by The Little Bits' screaming garage-soul cut Girl Give Me Love (recorded when the band members were all between nine and twelve years old!) and Frozen Sun's Jamm Pt.1 - a monster psych-soul number secretly laid down in the lobby of radio station KTKT (in Tucson, AZ) on a Sunday after midnight and about as aptly named as a track can get. Phlegethon's You're No Good provides cover song thrills by getting heavy-psychedelic on the Clint Ballard-penned classic, while yet more garage-soul delights are locked down by offerings from The Chapters, The Looking Glass and The Four. Closing the set is Pump's previously unreleased Ashtray Candle 6:33 - a slow-grooving psych masterpiece.

Once again, Chan the Man - previously the guiding light for Perfect Toy's Down & Wired series - was the driving force behind this project. It is his incredible knowledge, combined with the network of record collectors, DJs and vinyl nerds that he has established over the past few decades which have made it possible to come up with such a high-octane selection of super-heavy and extremely rare tracks. Accompanied by detailed liner notes and never-before-seen photos of the artists, Down In The Valley 1 sets the bar high for future volumes.

"a Heavy Selection Of Mod-rockers, Garage And Psych-funk Tracks," Runs The Sub-title Of New Compilation Series, Down In The Valley From Perfect Toy, Encapsulating In A Nutshell The Multifarious Pleasures On Offer.

Volume 2 Continues The Good Work Of Volume 1 With Yet Another Breathtaking Selection. Morning Reign's Previously Unreleased Can't Get Enough Of It Provides Big-ass Funky Thrills Along With This Volume's Only Cover - The Penny Arcade's Mod-funk Take On Funky Way. Next Come Two Frantic Garage-soul Cuts From A Pair Of Super-obscure Groups: 1906 & Company And Band Of Gold While Rex Garvin & The Mighty Cravers' Titty-shaking Instrumental Strange Happenings Slows Things Down To A Monster Shimmy With Retro Horror Movie Vibes. The Animal Show Band's Tell Daddy Provides The Male Answer To Etta James' Tell Mama And Rocks Just As Hard As The Original While Gino Scorza's Funk-tinged Soul Heater Little By Little (which He Originally Privately Pressed Himself) Gets Reissued For The First Time. Closing The Album Is A Real Treasure By Big John K In The Shape Of His Heavyweight Slab Of Soulful Blues-funk - Poor Souls.

Once Again, Chan The Man - Previously The Guiding Light For Perfect Toy's Down & Wired Series - Was The Driving Force Behind This Project. It Is His Incredible Knowledge, Combined With The Network Of Record Collectors, Djs And Vinyl Nerds That He Has Established Over The Past Few Decades Which Have Made It Possible To Come Up With Such A High-octane Selection Of Super-heavy And Extremely Rare Tracks. Accompanied By Detailed Liner Notes And Never-before-seen Photos Of The Artists, Down In The Valley 2 Sets The Bar High For Future Volumes.

Scottish producer & DJ Graeme Clark AKA The Revenge releases his second album 'When The Thrill Comes' on his own Roar Groove imprint on 11th May 2018.

'When The Thrill Comes' is a demonstration of a producer achieving a point of maturity in their work, able to exercise a sense of restraint, to allow for their sound to have space. It is also the opportunity for The Revenge to explore his own electronic music roots with a deeper pared-back sound more in touch with his earliest production experiences in house and techno.

Clark is no novice to the art of production and the sweaty alchemy of animating bodies on dance floors. He has been producing and playing electronic music since 1995, in many forms, though is well known for 'some of finest modern disco dubs and re-edits on the block' (DJ Mag). This passion for dusty disco and deep cuts is reflected in his long-standing collaboration with Craig Smith as 6th Borough Project which has yielded 3 albums and provided the foundation for the influential but now defunct Instruments Of Rapture label.

2015 was a momentous year for Clark with the release of his debut album 'Love That Will Not Die' on his own Roar Groove imprint. The LP picked up 'Best British Album' from DJ Mag, was shortlisted for Scottish Album Of The Year and drew support from leading DJs including Jackmaster, John Talabot, Solomun, Craig Richards, Axel Boman amongst others. Recent production work has both cemented and extended his reputation; with his future-facing remix for Auntie Flo being re-touched by Dixon for the Philomena label and his two EP's for Berlin's Dirt Crew Recordings reinforcing his love for solid club jams

'Harnessed To Flesh' is the new release from Berlin based industrial project OPERANT (Instruments of Discipline's founder and sub, respectively, Luna Vassarotti & August Skipper). Since 2016's 'ZK-II' & 2017's 'Zero Knowledge' Operant have been consistently touring, enforcing their reputation as a live act, melding chaotic noise with a disturbed, euphoric techno.

With this new release Operant engage a sense of intimacy which encapsulates their live performance; there is the familiar sense of hypnotic rhythms and collaged sound seen in the earlier works but the duo's production and focus have evolved, opening up new spaces and textures to their sound.

The opening track, 'Also To The Inorganic World' reflects the more noise oriented moments of their live show, improvised fragments, contact mic's and metal sheets combine with soundtrack like synths that seek to bolster a sense of unreality and pervert lo-fi expectations, 'Be A Boy' is a slow build, punctuated by car-crash impacts with the most coherent, almost narrative driven vocal of the record, concluding with a jarring, rhythmic seizure. Side-A finishes with 'Chancellory', an underlying sense of being underwater pervades, choking vocal sounds straddle the line between disturbing and playful. The B-Side sees a more direct and aggressive approach, 'The Sacrifice of Meaning for Power' is a dance floor oriented storm of percussion and punishing snares, Luna's vocals violently penetrate at moments, creating a feeling of vertigo within the locked rhythm, 'Dead Realities VIII' closes the record, beginning with a gabber influenced, rhythmic groundwork that unravels into a dronescape where an already torn reality is utterly destroyed.

Second pressing, 300 copies on blue marbled vinyl

The newest studio material of Steven Wilson's experimental drone project, especially recorded for Substantia Innominata series! Based on ethereal vocal choir material the four parts of "Sisters Oregon" reach transcendental beauty of the highest degree.

Much more than a mere side-project, Bass Communion could be regarded as Steven Wilson's discrete medium for manifesting his most daring, challenging and obscure musical ideas.

After a planning phase of several years, we can finally present the newest studio material of Bass Communion, a wonderful, mysterious experimental drone / ambient work that is mainly based on a recording of a boys choir (recorded at Air Studio in London 2014). Other sound sources or the meaning of the title "Sisters Oregon" were not revealed so much of this music is dependent on the listener's own imagination.

The four parts on this long play 10" are filled with sonorous drone expanses, tiny microsounds, deep bass eruptions and sudden breaks, ranging from an otherwordly subtleness to a most spacious finale, reaching a transcendental beauty of the highest degree.

Second pressing is limited to 300 copies on blue marpled vinyl, with full colour sleeve feat. stunning artwork by Carl Glover, underlining the mystery of this release.