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Hyper On Experience need no introduction – the seminal old skool act behind huge tracks such as Lord Of The Null Lines and Disturbance have a legacy of technically amazing music. Kniteforce is proud to have stuck a deal with Moving Shadow allowing the remastering, repressing and remixing of their first four EPs. And we kick off with Fun For All The Family. All the tracks have been lovingly remastered, and we have a superb remix of “Watchusnow” from another old skool legend, Liquid. It’s a must have EP, no doubt.
Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder and many others

* Remix Records is back and has a new philosophy – a way to showcase some of the biggest talent in the business when they want to flex their old school muscles. And it starts right here with 3 superb tunes from legendary producer Al Storm and his partner in crime Diakronik. All three tracks perfectly convey the original old school sound but with smooth modern production, giving them a depth and character all of their own. Ranging in speeds from 140bpm to 160bpm, these 3 tracks cover the best of the music at the peak of the euphoric rave years…

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.
But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.
Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.
There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.
Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
JOSEPHINE WIGGS BIO
Josephine Wiggs grew up in an unconventional family north of London. Returning home from a summer holiday with a donkey riding in the back of the family's 1927 Rolls Royce was not considered at all bizarre. Wiggs studied cello as a child, segued from college in London to undertake a master's degree in Philosophy, and then, in a move few would have predicted, joined a rock band.
After making three albums with The Perfect Disaster (1987-1990), Wiggs left to join Kim Deal (Pixies), Tanya Donelly (Throwing Muses), and Britt Walford (Slint) in forming indie supergroup The Breeders, whose debut album Pod came out in 1990. Following a shift in line-up—with Kelley Deal on guitar and new drummer Jim Macpherson—The Breeders released Last Splash in 1993; with its hit single 'Cannonball' and 'Divine Hammer,' they became alternative rock superstars.
During the same period, Wiggs released two lower-key albums with Jon Mattock (Spacemen 3, Spiritualized): Nude Nudes (1992) under the name Honey Tongue, and Bon Bon Lifestyle (1996) using the moniker The Josephine Wiggs Experience. She also recorded and produced Klassics with a K (1996), the beloved and only album by the Kostars (Luscious Jackson's Jill Cunniff and Vivian Trimble). During a brief run of shows, Wiggs joined the band on drums, showing her range of musical ability.
In the late '90s Wiggs collaborated with Vivian Trimble as Dusty Trails, whose eponymous 2000 album is an homage to neo-noir soundtracks, spaghetti westerns, and Gallic pop. Time Out described it as 'one of the most subtly suggestive, understatedly elegant...things likely to have caressed your cochlea in years.'
Allusions in Dusty Trails to film music foreshadowed the next stage of Wiggs's career, writing scores for feature and documentary films—from Happy Accidents by Brad Anderson in 1999 to Appropriate Behaviour by Desiree Akhavan in 2014. Her new album We Fall began as a suite of short pieces for the documentary film Built on Narrow Land. Wiggs has also composed and recorded music to accompany live performance and short films by the acclaimed Brazilian choreographers chameckilerner.
In 2013, following the 20th anniversary of Last Splash, the classic lineup of The Breeders reunited for a world tour. Five years later in 2018 they released All Nerve, with Wiggs co-writing two songs and singing lead on the standout track 'Metagoth.' We Fall, Josephine Wiggs' third album of her own design and ninth album in a career spanning three decades, will be released on vinyl and available for download and streaming on April 12, 2019 by Sound of Sinners.

"The art of the future, therefore, will not be poorer, but infinitely richer in subject-matter. And the form of the art of the future will also not be inferior to the present forms of art, but infinitely superior to them. Superior, not in the sense of having a refined and complex technique, but in the sense of the capacity briefly, simply, and clearly to transmit, without any superfluities, the feeling which the artist has experienced and wishes to transmit." - Leo Tolstoy, "What is Art"

This statement can be made of Lucky Brown's attempt to "briefly, simply, and clearly" capture the feeling of the sound, soul, smoke and soil of the Texas Hill Country with his upcoming album "Mesquite Suite".

A little more than one year after the release of his firebrand "Mesquite Beat/Justice" single on imprint "Tramp Tapes" (TR-1040) Lucky Brown offers us here another glimpse into the sound and concept of the Mesquite Suite.

Saints & Beggars is a rustic pentatonic horn-led 6/8 anthem that builds upon a simple primitive melody assembled from two opposing figures set against two repeating figures. Brown conceived the motif while in meditation in a yoga-turned-composition studio in San Marcos, Texas. He later delicately draped the parts around it like woodsmoke. The overall effect of the composition is one of economy and restraint - nothing could be added or taken away. The horns, guitar and vintage electric combo organ begin in unison and then the figure brazenly explodes like a flock of white winged doves from a pecan tree in humid dusk. Here are featured extemporizations from Jason Cressey - trombone, Peter Daniel - saxophone, Colin Higgins - guitar, and drummer Ollie Klomp, with an exposition of open horns in the climax. The tune is drenched in shitty reverb which engenders a mysterious dimension begging the record diggers' favorite questions: "...when is this from", "...where is this from".

'Bout To Blow, remaining uncompiled in the upcoming "Mesquite Suite" (exclusively released on this single only), is a specimen of the generic Deep Funk on 45 that lit a fire in Lucky's heart more than 20 years ago. The use of the word generic here is not meant to be derogatory. Rather, it is to transmit the sense that this tune falls squarely within the confines of the so-called Deep Funk canon. 'Bout to Blow offers classic dancefloor essentials: driving bassline, hard drum beat, chanky guitar, and outrageously distorted horns fiercely executing a devastatingly primitive horn line. Also, for devout followers of Lucky Brown's recorded work, there is hidden in the bridge an easter egg in the form of a self-referential quote: the bridge of 'Bout To Blow is also the head of T.D. & The Jimmy James 3's "Jalapeño Pep" (TR-1025)!

It has been Lucky Brown's aim to paint for the world a picture of the vernacular jazz that America's neighborhoods once crafted as their own homegrown cultural heritage. Lucky Brown's music is a rejection of the elitism, classism, and status of the music industrial complex and is an antitoxin to it's resultant homogeneity. He wants with his heart and his art to transmit an everyday people's sound, made by everyday people, dedicated to the upliftment of all people. Could this be the "art of the future" that Tolstoy wrote of in 1904

Key-selling points:
- "Bout To Blow" is available on this 7" release only
- "Saints & Beggars" is taken from the forthcoming album "Mesquite Suite" (out september 2018)

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

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

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

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

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


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

* Dj Ham returns to Kniteforce with a superb 10' vinyl. Now largely known for his releases as Hamilton on D'n'B titan RAM records, Dj Ham has always been one of the most talented producers in either scene, and is respected as a pioneer and producer of some seriously classic tunes. His new Kniteforce 10' showcases his skill while keeping firmly within the old school soundscapes. Most Impressive is both dark and technoish, with twisted mentasms and a dark lords samples, while the inexplicably named Chicken Tune is a breezy, uplifting summer vibe anthem.

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Sensational early-seventies funk bomb by Muhavishla Ravi Hatchud and The Indo Jazz Following. Super-rough organ funk, like a dream combination of Mingus, Jimmy Smith and Zigaboo Modeliste from The Meters — plus Ravi's ramped-up sitar, like a tripping, undercover Bo Diddley. In a numbered, limited edition, to launch a new series of Outernational 45s.

Offical reissue of this super rare, modern soul boogie 45 originally released in the early 80s - pressed in a loud 7" with lovely picture sleeve!

repress

Following on from the critically acclaimed Penya Investigations cassettes and the 12' Acelere EP, Afro-Latin-electronic collective Penya conclude an intensely creative period with a Long Player collection of tracks Super Liminal. 'Liminal' - an in-between state -references the transitional process the four - piece band entered during a series of self-produced recording sessions held at Penya's multi-instrumentalist Magnus P.I's home studio between March 2016 and May 2017. Penya's percussive and futuristic Afro-Latin sound also owes its genesis to the concept of 'liminality': the threshold of disorientation occurring during ritual practices. Penya's hypnotic groovescapes, led by Jim LeM's bata drumming,ancient chants, sung by Lilli Elina, dubbed-out improvisations on trombone by Viva Msimangand lo-fi electronic production by Magnus P.I create a sound that has garnered significant support on BBC 6 Music via Tom Ravenscroft, Worldwide FM via Gilles Peterson, on BBC Radio 3's Late Junction, as well as being praised by a host of producers including DJ Khalab, Will LV, DJ Jose Marquez and Dengue Dengue Dengue. Penya's energised and engaging live show has also toured across UK festivals this summer, including Brainchild, Wilderness, Farmfest and Big Love.

3 overlooked jams on one 12" single, excavated from the deepest realms of the TK Disco vaults. Remastered, represented and brought back into focus for 2017's DJ bags and dance-floors. Side A sees Wizzdom's 1980 boogie jam 'Free bass' kicking off proceedings. A P-funk-ish, low slung jam indeed, it has everything you'd want including some Furious Five esque shouts of 'Free-Bass!' weaving in and out of the mix. This one is a true heads cut, one for the diggers! Over on side B we get Jimmy 'Bo' Horne's slamming 'Is it in' - a stomping piece of Disco-funk that in the right hands will cause maximum damage. Also, Jimmy's mildly double-entendre lyrics are hugely entertaining! Following up we have a cut from Herman Kelly & Life, 'A refreshing love' was an LP only release and is some serious downtempo Latin tinged soul super soaked in Miami sunshine! All in all, 3 majorly overlooked gems nestled away in the TK archive now brought back into the light. As usual, these TK represses are always done in the proper manner. 100% legit re-edits, from the archive, remastered and released in conjunction with Henry Stone Music / TK Disco - Miami FL.

Drum roll, people! SL009 is on its way. The recipe has not changed: limited quantity, hand numbered / stamped records and superior music. We take you on a unique house journey to explore the texture of sound and the color of feelings, from raw to deep all the way down to acid, carried on our VA format spaceship. Onboard, four artists, Yusuke and Jimini part of 'Serie Limitée' crew and two new comers Panthera Krause and mOnster Heart Driver who are joining the family.

British art-rock band No-Man (Tim Bownes & Stewen Wilson w Mick Karn, Richard Barbieri, Steve Jansen, Ben Coleman) recorded Heaven Taste in the studio sessions in summer 1992. It got first released as a complete 21 mins version on Painting Paradise EP on One Little Indian (1993). The track drew attention in the rising ambient techno scene and got played by DJs like Mixmaster Morris.

The track fuses ambient techno with art rock and features a distinctive fretless bass solo by Mick Karn.

This super sound 45rpm 12" features a Steven Wilson edited 11.21 mins version of the original and on B-side Jimi Tenor's rearrange with some solos with flute and keyboard.

Modelisme is proud to welcome the french talented and prolific artist Anaxander we use to
see on labels as Pokerflat, Tasteful Nudes, Quintessential, Local Talk to name a few..
House - Techno moods have no secret for him, and for this 30th release on the label, he
delivers a surprising and solid EP based on House Music mainly.
B1 - « Turn Out » is a great boogie house track, plenty of Disco Funk influences built on a fat
groove with a slight mainstream vocals.
B2 - « Party Track (Midnight In Malmousque Mix) » is an exceptional Slow Deep House
Techno with a slight Soul Electro Funk touch, solid and floating, warm bodies and sunglasses
ready to make dance under early sunrise or smoked club dance floor inside.
A1 - « Party Track (Kai Alce Remix) » remixed by one of Deep House fathers Kai Alce,
NDATL label Boss and author of numerous Eps on Track Mode, Mahogani Music, FXHE,
Deep Explorer.. This superb remix is in classical Deep Chicago House vein, close to some
Glenn Underground works, Jazz Funk influences and subtle grooves.
Already Supported by Jimpster, Ooft, Kelton Prima, Grego G, Jee, Mugwump, Hardrock
Striker, Oyvind Morken, Dj Steef, Jona Saucedo, Michael Zucker, Hydergine, Kriss
Liferecorder, Dawad & Mokic, Virgo Music, La dame Noir & more...

This release blows the trio's instrumental palette wide open for a single continuous piece.
Begun as a one-off collaboration in 2009, the trio of Keiji Haino, Jim O'Rourke and Oren Ambarchi has now become a solid working group, refining its craft through a series of annual concerts at Tokyo's legendary SuperDeluxe.  Much of their recorded work has focused on their intense, ritualistic take on the rock power trio of electric guitar, bass and drums, with last year's 'now while it's still warm let us pour in all the mystery' (BT09) containing a series of instant compositions of stunning power and concision that demonstrated how familiar and attuned to one another the three have become.

Presenting the entire first set of the trio's March 2013 concert at SuperDeluxe (the second set will follow on Black Truffle later this year), 'only   wanting to melt   beautifully away is it a lack   of contentment  that stirs affection   for those   things  said to be as of yet unseen', their fifth release,  blows the instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion. Featuring one of Haino's most delicate and moving recorded vocal performances, the opening section of the record takes the form of a spare duet between O'Rourke's 12-string acoustic guitar and Haino's kantele (a Finnish variant of the dulcimer), behind which Ambarchi provides a hovering backdrop of wine glass tones. While on previous releases the listener has often sensed that Haino was firmly in the driver's seat, here O'Rourke takes centre stage with an acoustic guitar performance that takes the lyricism of John Abercrombie or Ralph Towner and refracts it through the free improvisation tradition of his mentors Derek Bailey and Henry Kaiser. The atmosphere of meditative, abstracted song is reminiscent of some of Haino's greatest recordings, such as the legendary 'Live In The First Year Of The Heisei' volumes recorded with Kan Mikami.

Continuing further into the music of 1970s East Africa, Soundway present a limited edition 10" of raw, bluesy garage-funk-rock from Jimmy Mawi.
Jimmy Mawi was a Madagascan guitarist based in Nairobi in the mid 1970s. He cut only three 45s for EMI East Africa on their Pathe imprint that have virtually disappeared from sight in the nearly 40 years since they were recorded. Soundway reproduce four of the best tracks here on a super limited edition 10". Fuzz guitars, raspy vocals and metronomic drumming combine for an exhaustive afro-rock workout.


Earlier this year Soundway released their compilation Kenya Special: Selected East African Recordings from the 1970s & '80s. Accompanied by a limited re-mix 12' these releases represent Soundway's first releases from the East African country and follows from their much acclaimed African 'Special' series that to date has focused on the highlife and afrobeat output from 1970s Nigeria and Ghana.

Back in stock!

Some friends think that Shihab the man owes the balance of his soul to his beautiful Danish wife. They may be right; for Eros is the very essence of what Shihab plays.Yet Eros is a god with many a face. A tale of tender mournings Shihab's flute is telling in MAUVE - a piece that translates its title into delicately changing colors of sound. In UMA FITA DE TRES CORES he has his instrument wooing with the proud self-reliance of Latin grandezza. Calmly, softly, almost blandishly Shihab blows the solo flute in the Jimmy Woode composition MY KINDA WORLD. Serene and somewhat playful his own title ANOTHER SAMBA comes along - a most uncommon composition by the way: lasting for sixty bars as if growing independent out of itself, with solos that appear to be additional spinnings rather than improvised choruses; and yet; a perfect, self sustaining melody no element of which is superfluous. In the last of the pieces for flute, in Klook Clarke's THE WILD MAN, which is based on a flourish of trumpets, Shihab for the first time reminds of the sombre, the demon-like face of God Eros. He contrasts flawlessly intoned passages with challenging phrases, phrases raucously sung into the flute - really, he is a 'wild man' who is playing like that. This raucous challenging sound prevails throughout the four baritone-titles ('Shihab never withholds long to caress', Campi says). Shihab blows the instrument the same way he speaks: without any delay, directly coming to the point. And he treats it like a voice, not aiming at an artificially homogeneous sound in all the registers, but at their different modes of expression. In the high pitches the horn gains a brilliant tenor-like quality - for instance in PETER'S WALTZ, dedicated to Shihab's son Peter, and in Kenny Clarke's simple drum fills comprising theme JAY-JAY. In the deep register Shihab produces snotty sounds filling lady's ears with horrors like Pan - thus in JAY-JAY and in the boppy blues SET UP . Shihab's sense of a scurrilous humor breaks through in SEEDS (which reminds of the West-African heritage of jazz with its multiple rhythms and its renunciation of harmonious development - only the eight bars of the bridge base on a progression of chords): not only does he omit the notorious bombastic chord by the ensemble after his own final cadenza, he even ends with a minor second above the keynote. Seems as if Shihab now unrestrictedly conveys to his music all the experiences and emotions he formerly did not deal with in a musical way. Shihab the man need not be disturbed so that Shihab the musician may improvise passionate choruses. It would be unjust, however, to forget the choruses of the four other musicians for those by the 'born leader'. Francy Boland, taciturn and always introverted: he plays an extrovert, a masculine piano. Even with spare single note lines he produces a piercing and ringing sound that hitherto nobody except him has discovered, a bluesy sound bespeaking the very element of frustration that lies within the title of the trio number WHO'LL BUY MY DREAM. The unfailing feeling for rhythm the musicians of the CBBB praise with the arranger Boland, becomes manifest in the piano solo on SET UP. Francy's improvisation is rhythmically styled in a Monk-like manner, and yet no accent could be set differently. Maybe this is the secret of the Shihab-Combo. 'Rhythm is our business', this credo of Jimmy Lunceford could be the one of the five musicians as well. Sadi hits his vibes as dryly as if wanting to bring its ancestors to memory, the wooden chimes of West Africa's coastal tribes. To reach the fullest poignancy possible, he intentionally calms down even the resonance in MY KINDA WORLD. In UMA FITA DE TRES CORES Jimmy Woode bears out the crispy jazz beat against Sadi's Bongos and Klook's Latin-American percussion all by himself. Moreover - and that, too, is connected with the school of the Duke who was the first in the history of jazz to discover the instrument's potential as a melody instrument - Woode rips a marvelous counterpoint to the inventions of the other melody instruments, take for example PETER'S WALTZ. And then there is Kenny Clarke. Klook. On the entire record he only uses his brushes. Means by which different drummers only know to bring forward impressionistically blending noises: He drums a vigorous beat with them, fanciful fills, a solo, melodious and at once skillfully playing with cross rhythms in JAY-JAY. The 'born leader', the 'outstanding baritone saxophonist of modern jazz' (Joachim-Ernst Berendt), he could not wish himself different sidemen for this record overdue since some years.

New release from the mysterious Ex-Pylon on Studio Barnhus. Shakes is a twisted, noisy 12 minute techno epic with razor sharp drums, acidic basslines and a daredevil breakdown, while Helmet comes correct with swirling pads from outer space and a deadly groove from deep within the core.
Some selected feedback:
Agoria - i looooooooooooooove helmet so much!
Catz N' Dogz - LOVE IT MORE THAN POLAND
Dave Aju - cool and trippy tracks... 'helmet' is a cosmic space jam!
Deetron - This is so so good, exactly what I needed! Lovely use of the samples in Shakes and Helmet reminds me of Co-Fusion, great EP!
Ewan Pearson - Shakes is great!
Ivan Smagghe - huge
Jacques Renault - Helmet is cool, I'm going to test it out for sure.
Jimpster - Another slice of gorgeous deepness! Both tracks are double heavy and going to be getting plenty plays. Nicely done!
John Talabot - loving shakes!!! SB love
Josh Wink - out there release. fresh and i like.
Robag Wruhme - Download for Robag /Robag's mom
Sandrien - Shakes is a cool trip!
Superpitcher - super!!
Tim Sweeney - Yes to techno!

REPRESSED !!
Detroit veteran Len Bartush (Mutate) returns to advance the series that began with the now classic Circle 1. A full round kick and jack style upbeats are all that's necessary to support the deep, modulated synth lines that travel through lush plates of reverb. Alberto Pascual hits a homerun with his remix that will move any club, festival, or warehouse party. Project 313's remix supplies moving synth lines are stripped down and replaced with driving rhythms and pulsating bass making this a superb techno offering. The Plankton remix turns up the tension with warehouse style percussion and intertwining rhythms complimented by science- fictionesque stabs and pounding bass.

The 'Circle 2' EP is an essential piece of Detroit minimalism. Detroit veteran Len Bartush (Mutate) returns to advance the series that began with the now classic 'Circle 1'.

The EP starts off with Mutate's 'Circle 2' (Machined) original. A full round kick and jack style upbeats are all that are necessary to support the deep, modulated synth lines
that travel through lush plates of reverb, creating an atmosphere perfect for any techno desire from dance floor, to living room, to headphones.

Alberto Pascual hits a homerun with a remix that will move any club, festival, or warehouse party. Big room percussion, moving sub bass, and funky rim shots compliment the dark synths from the original.

Project 313's remix delivers with an interpretation that celebrates the true spirit of the original. Moving synth lines are stripped down and replaced with driving rhythms and pulsating bass, making this a superb techno offering.

The Plankton remix turns up the tension with warehouse style percussion and intertwining rhythms, complimented by science-fictionesque stabs and pounding bass.



DJ's Supporting release:


A.Trebor, Alberto Pascual, Altstadt Echo, Angel Alanis, Anthony Jimenez, Audio Injection , Brendon Moeller, Bruno Ledesma, Chris Liebing, Claude Young, Dadub, Daegon, DCibel, Developer, Drumcell, DVS1, Erphun, Exium - Hector, Exium - Valentin, Felix Lorusso, Hyperactive, Jeff Derringer, Joachim Spieth, Joel Morgan, Justin James, MADA Cedric, Mas Teeveh, Material Object, Measure Divide, Memnok , Monocraft, Morgan Thomas, Octave, Onoffon, Project 313, Rene Walther, Ricardo Garduno, Sigha, Sone, Submerge, Tommy Four Seven, Tony Kasper