Cerca:t melody

The new Outplay release is by young and upcoming dj/producer Cleanfield, or 'Jelle' as his mom calls him.
Hailing from Arnhem, the Netherlands, it's always great to see another talent pop up in the Dutch scene!
He has made three super catchy tracks for us, perfect for the summer season!

First up is the title track 'Haute Cuisine', warm bouncy bass topped with a super infectious lead melody and percussion. If there is a track more suited for the festival season it's this one for sure!
'Hot Wheels' races on with a deep rolling groove, fuelled by wah wah rhythm guitars, warm synth chords and arpeggios.
'Conflict With Clayton' brings another solid groove to the table with scattered vocal samples and multiple synth layers. Scorcher!

So imagine dancing your ass off to this EP in the sun and feeling fantastic, we sure are!

'Quasi' is Ariwo's second album, after the release of
their first self-titled album in 2017:
Despite Ariwo's diverse mix of musicians
(Cuba/Iran/Canada/UK) their music doesn't belong to any specific genre. In
''Quasi', Ariwo use the building blocks of deep bass, afro-Cuban polyrhythms,
carnival melody and immersive live electronics as a starting point to engage
with key players on London's jazz scene.

The result is a hypnotic journey for the listener from techno
to avant-garde jazz via West Africa and the Caribbean. 'Quasi' aims to mirror
the evolved direction of Ariwo's live set, which after extensive touring over
the past three years has gradually become more stripped back and club-oriented.
Many of the building blocks for this album started life as improvisations in
live sets and have been developed into full tracks on 'Quasi'.
The album features guest appearances from MOBO winning saxophonist
Binker Golding (Binker & Moses) and acclaimed UK keys player Joe Armon-Jones
(keys). Cuban trumpet players Thommy Lowry Garcia and Yelfris Valdes also
feature on the album, bringing carnival melodies that interweave through the
percussion and electronics.

Ariwo have used songs from 'Quasi' to create the music
for 'Portals' - a tour of Carlos Acosta's new contemporary dance company
'Acosta Danza' in Havana.

WYLLOWE is Anna Sheard and Rory More – a nascent writing duo with a shared enjoyment of all things folky and groovy (think early '70s Sergio Mendes, '60s sunshine pop and modal jazz versions of Scarborough Fair). The new 7-inch release Fortunate Fool is a rolling and loping affair with a lilting melody accompanied by a chiming 12-string Fender, electric piano and Lowrey organ; its soaring lament and understated groove is an open-road elbows-in-the-wind driving song.

The B side, Berwick Street Blue, brings to the fore Anna's alluring lyricism and Rory's oscillant motifs calling to mind the compositions of continental soundtrack composers and the sonorous femme-fronted productions of the late 1960s. Lush choral harmonies, layered guitars and resonant piano and organ ebb and flow over a soulfully intoned lyrical paean to a part of London lost and changed forever.

RE-pressed and available again on 9th november 2018! The Gunesh Ensemble was founded in 1970 in Ashkhabad, Turkmen Soviet Socialist Republic, then part of the Soviet Union. They started out as a vocal group with supporting musicians from Turkmenistan State Radio and TV. Later several young musicians came to play with them and the band's music became much more modern. The group began to play jazz-rock tightly intertwined with traditional Oriental music. With that new musical style the band participated in some popular festivals around the Soviet Union. They received various awards and became very popular. Gunesh has always been in the process of developing and was one of the first and best local jazz-groups to organically combine the principles of jazz and melodic improvisation. The remarkably beautiful arrangements and polyrhythmic compositions were always further developed thematically. This process was highly praised at the Moscow competition With A Song On Life in 1977 where the ensemble became a prize-winner. The Organizing Committee of the Festival Spring Rhythms in Tbilisi (1980) called out members Rishad Shafi as best drummer and Stanislav Morozov as best saxophonist. This, their very fine first LP was originally released in 1980 on the Soviet state label Melodyja and contains traditional Central Asian music in jazz-rock arrangements plus a Vietnamese singer. The line-up has changed many times. Around 65 musicians have been a member of the group at some point in time.

The interventions of Spring Heel Jack — sly repetitions, uncanny intrusions of feedback and melody, expansive organ chorales — subtly transform the proceedings, focusing with microscopic precision on the dramatic power and lyrical poise of their collaborators and throwing the sonic complexities of the ensemble into vivid contrast.’

A new addition to the label’s extended family, Tracey arrives on Dial with his debut LP, Biostar. Following previous releases on Aus Music, Voyage Direct and Intergraded, ‘Biostar’ pushes the technical and emotional craft of this vital young producer in exciting new directions, submerging listeners in thirteen tracks of sublime electro, ambient experimentation and warm, tonal techno. Based in the Netherlands, Tracey’s music is undoubtedly indebted to a legacy of emotive electronic music, the sort whose stark futurist vision cannot be equalled. Instead he strives and succeeds to create something personal and charismatic from a perhaps familiar palette of sounds. Somewhere between experimentation and understated songwriting, ‘Biostar’ is a worthy edition to Dial’s legacy of unique, artist-led albums. In the tradition of established Dial artists such as Lawrence, Roman Flugel and Efdemin, Tracey’s immediately apparent strength is an almost supernatural ability to conjure affecting and memorable melodies with minimalist intent, often just utilising the raw textures of his machines. From album-opener ‘THRRVL’, Tracey tracks the initially gentle undulations of his studio seemingly waking to life, plotting a neat melodic shuffle on ‘TRR’ and then, by, ‘CCLRT’, something dense, trippy and yearning. From hereon in, ‘Biostar’ plots an intriguing course through hypnotic, clockwork crunch (‘THWRD’), to Drexciyan submersion (‘HDRCSTCS’) and rhythmic experimentation on ‘PHTCPHRK’. Some of the more affecting moments on ‘Biostar’ emerge from it’s more obtuse sections; ‘DTFNK’ deciphers a surprisingly catchy melody among waves of scrambled signals, while the initially skittish ‘DRMRBT’ blossoms into an electro lullaby at 126bpm. By the arrival of wistful closing track ‘CLSTLBNG’, listeners are likely to emerge content from the deepest exploration yet of Tracey’s unique analogue ecosystem.

French modern-classical quartet astrïd return on May 10th with the first part of a new release entitled A Porthole.

Conceptually the two records work in unison, focusing on portholes into the abyss, with part one delving into the depths of the deep sea. The tracks are named after various strains of seaweed, the artwork depicting dark waves and uncertainty. Part two will follow in a years time and will turn its attention to the night sky and constellations.

A Porthole continues astrïd’s signature style of billowing guitars, strings and woodwind. Each element intertwined with another, linked perfectly together through restrained jazz-tinged percussion. 2017’s highly-acclaimed release ‘Through the Sparkle’ with renowned pianist Rachel Grimes (of Rachels) set the bar extremely high for this release but astrïd have matched the depth, melody and quality of that record here.

Part one of this journey features some sublime compositions with Cyril Secq’s expressive and bold guitar playing carrying the pieces into chamber music territory, joined seamlessly by a variety of other instruments that swell and soar and fit perfectly into the story being told. Everything seems to have its place, nothing is overplayed or out of step here, there is an organic nature to the way this quartet plays and interacts with one another as melodies circle back and fade away in the same beautiful breath.

A Porthole is a deeply charming record, exercising glorious, nuanced refrain and offering a sort of hope rarely found in music these days.

• Aqua blue vinyl - limited to 300 copies w/ download code

• The album was mastered by Harris Newman (Godspeed You! Black Emperor, Tindersticks etc)

• The artwork is extracted from an original one of a kind monotype print by Gizeh overlord Richard Knox.

ZamZam 70 is our first team-up with the man of mystery known as Marcus Anbessa. An enigmatic figure whose identity must remain secret for the time being, his infrequent releases on labels such as Lion Charge, Tribe 12, and The Most High (as “Unknown Artist”) are eagerly awaited by those who know, charting an uncompromising vision down a path untrod by the weakheart or the follow-fashion. We love music that builds its own sound world with only passing reference to familiar genres or signposts, music that believes in itself utterly - for this reason we feel genuinely blessed to present these two sides.

“March of The Falasha” is pure roots music that, firmly planted in the soil of dub and sound system, reaches back even further into the mists of time through technological means. Downbeat steppers is the idiom, pure heartbeat is the pulse. Like an old soul young in years but full of wisdom, a distorted flute melody wanders ahead through the undergrowth of bass, light filtering through the ancient canopy above in the form of swung percussion and flickering echoes overlapping and intertwining like vines and creepers weaving on temple walls. Ancient-to-the-future.

“Creator” strikes a different yet equally dread chord, 140-ish post-apocalyptic Rasta business focused squarely on bass and space, hard, insistent drums and infinite echo trails flinging from the snares and percussion, creating hypnotic tracers like sparks swirling heavenward from a well-tended fire in blackest night.

Imagine African Headcharge on Jah Tubbys, or a rootsman groundation resuscitating ancient machines in the crumbling ruins of a near-future world and you begin to see what Marcus Anbessa brings. This music reminds us that nature herself will some day claim Babylon and grind it to dust, regardless of our efforts to save it or hasten its fall.

(Limited edition of 300 copies on clear & black marbled vinyl with full printed sleeve and textured coloured printed insert)

This is the 1st vinyl release on a quiet RIOT, an independent electronic music label based in Scotland.

Following his Interferenza cassette for Osiris Music, Berlin-based sound artist Adam Winchester returns with a new body of work that sees him embracing ever more forthright rhythms while adhering to his established lines of sonic enquiry.

With roots in the Bristol dubstep scene and a long-standing partnership with Christopher Jarman in Dot Product, Winchester has spent the past few years investigating alternative methods of sound generation that deal in hidden electromagnetic frequencies and spectral tones found lurking in circuitry. Bringing these extremities back to a more structured focus, Muutto is a highly personal work that captures the period of transition as he moved from Bristol to Berlin.

While the finely sculpted tonality and artful distortion of his recent work is plain to hear throughout, Muutto is also grounded in arrangement and melody, weaving a tangible narrative that pivots around steely rhythmic architecture, nodding to his roots in club music without expressing anything explicitly 'dancefloor.' Even at its most physical, as on the weighted march of 'Hold,' the emphasis is on atmosphere and mood, no matter how heavy the drums fall. In the distant murmurs of pads and poignant vocal threads, the bittersweet emotional backdrop to the record comes through in abundance.

There's space afforded for the more avant-garde tendencies in Winchester's music too. 'Metaphors' is caked in guttural feedback that comes on like a particularly noisy Albini studio session strapped to a chassis of the swampiest blues rock lurch you're likely to hear all year.

In its needlepoint detail, broad scope of sound palettes and potent expression, Muutto is an accomplished offering, but more significant is the way these facets are bound together by immediacy and form that transcend the freeform experimentation many of Winchester's traits are drawn from.

'a quiet RIOT' is an electronic music label based in Livingston, Scotland orchestrated by Nomad and is the sub-label of the highly renowned 'RIOT Radio Records.'

Since 20th February 2015, Nomad has run his own very successful fortnightly internet techno radio show called the "RIOT Radio Show.' Each show has a resident warm up set then a further hour with a wicked guest, the majority of whom are among the world's top electronic artists. The show gets thousands of listeners on each transmission with every set recorded exclusively for it. You will not hear them anywhere else.

A hoard of very well-known and simply stunning acts always feature on the show along with a whole host of very talented local music makers.

This was the build up to the record label being launched in April 2016 that will show-case major acts and amazing local talent.

Matt Edwards launches Stranger in The Night with his first solo material since 2017.
The Rekids offshoot will release regular music by four artists, namely Radio Slave, King
Britt, Anthony Rother and Fred P, who will each drop three EPs over the next year.

'With Rekids being 100% focused on releasing music for dance floors I felt the need to
create a new platform to explore a wider musical vision and invite some of my all-time
electronic musical heroes to be a part of the series,' says Matt Edwards.

Both numbers near the 12-minute mark but each track portrays a different aesthetic.
Opening with precision drums and crystalline notes, 'Ground Control' makes a nod
towards the hi-tech soul sound of Detroit and drives forward using a sultry bassline, erratic
chords and the occasional icy stab as an array of contrasting sounds operate in unison.

On the flip, a syncopated rhythm lays the foundation for 'Last Communication' whilst a
tantalising melody joins poignant synths, constructing a profound and hypnotising journey.

London's elusive Lukid has never been one for convention. In the few short years between 2007-2012, he struck out on a seemingly effortlessly impeccable run of releases on fellow iconoclast Darren 'Actress' Cunningham's mighty Werkdiscs imprint, as well as his own label Glum. Those albums and EPs flaunted genre distinctions and embraced a freewheeling approach to melody, rhythm and atmosphere that felt at once exotically psychotropic and yet grounded in a resolutely english eccentricity. Thus, they feel like especially-prescient recent classics that continue to find new fans.

In the intervening years, Lukid's energy has been poured into his stunning monthly transmissions on NTS while his output has been sparse aside from a pair of mindbending EPs via Liberation Technologies and Glum, respectively. Those radio sets serve as a telling blueprint for his contribution to the ongoing Arcola project. From low slung Memphis rap mixtape cuts to clattering industrial cassette rarities, turbulent grime and outsider synth hallucinations there is a warped palette that comes vibrantly alive across the four included tracks here. The stormy bump and spectral melancholy of 'The Drip' and 'Clappers' seems to wed them together as thematic bedfellows across both sides of the EP while 'Head Shrinker' tries to squeeze an overcast psych-pop opus out of a rack of malfunctioning hardware. Spit out the other side of this ride you exit to the chopped-and-screwed goth grime of 'Conked Out', having had your brain smeared with the uniquely viscous ectoplasm that only Lukid can excrete. Perfectly slimy.

With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire (The Black Beast).

Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller (featuring a cast culled from films such as Alphaville, The Modern Couple and Sweet Movie) captures the revered composer and arranger of Serge Gainsbourg’s Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Mate´ (Acting Trio/Mate´-Vallancien/Tacet) alongside drummer Bernard Labat (Mad Ducks) and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between The Jef Gilson Groups and France’s signature “cosmic” revolution. Naturally these previously unheard compositions are spearheaded by lead pianist and composer Vannier and for devotee’s of his 1972 concept album L’Enfant Assassin Des Mouche there is much to admire and cross-reference herein.

Having been the most loyal and long-running guardians of Jean-Claude’s monster archive over the past two decades Finders Keepers Records are proud to present this first catch of newfound vintage Vannier discoveries on this limited and unlikely free jazz 45 single (which should find a perfect home between coveted Euro jazz 7”s by Krzysztof Komeda, Franc¸ois Tusques and Brussels Art Quintet). Almost 15 years since Finders Keepers once liberated the Mouches it is now time to set free another Black Beast amongst discerning listeners.

Erell Ranson (Kalahari Oyster Cult/Childhood Electronix/Where We Met) offers up a delicate and beautiful EP of accomplished texture and melody for his Distant Worlds debut. He shows a real delicate touch here and multiple listens will ensure the melodies and earworms penetrate deep into the psyche. Future soul music dripping in emotion, indebted to Detroit, outta France....

Repress!

Contemporary house merged with space-age jazz & broken beat from Copenhagen newcomer Nejrup on debut release MANDA backed by a uniquely off-kilter remix from London soul stalwart K15 (Eglo / Wild Oats)

MANDA is a selection of intricate compositions for the dancefloor with a jazz centered approach to combining dance grooves with modular soundscapes & live instrumentation.

For Nejrup, a self-learned synthhacker, pianist and producer from Copenhagen, his debut MANDA is a result of years of experimentation and never-ending practice and noodling on his Fender Rhodes & homebuilt synth collection. Delivering a compositional complexity influenced by Radiohead and Floating Points, while letting his tunes simmer with airy synths and improvised live instrumentation combined with a love for depthful harmonies.

K15 backs the release with a soothing, heavily syncopated remix, as only he could do it. The Londoner, whose soulful touch and ear for melody has earned him high status in the jazz encompassing house- and broken beat circuit, through Kyle Hall's 'Wild Oats' and Alexander Nut's 'Eglo Records' and as center of the Culross Close outfit.

From the minds of Direct Beat and Detroit Bass Classics, comes the first initial compilation of electro/techno heat... "Electro In The Key Of Detroit: Volume 1"...Proven dance floor dope & record crate staples that provide the hungry ears of masses the groove to move: World-Wide. 'DJ K1's "Erase The Time" (featured on Detroit's WGPR TV "New Dance Show" in the 1990s) rocked the airwaves and global clubs with its signature thumping style laced beneath alien-like melody and repetitive vocal structure. 'Posatronix' mutant-rhythm mantra, "Pure Techno Sound" pulls the weight of Detroit's street dance roots down to the origin of how to boogie in space. A sure-fire stepper that also shared popularity on TV dance show platforms from Techno City. 'Blaktony's tempo-pushing "Holla Holla" , direct from the documentary soundtrack: "AUX88: Portrait Of An Electronic Band" dvd box set (a radio Dj/mix show favorite) sees the light of day on this wax collectable, giving praise to Motor City footwork culture. Also included in this monster EP is the rare 'AUX88' voyage entitled: "Phantom Power"...a gem and collector's choice. Crafted exclusively for the laid-back option away from the party or to enjoy accompanying a night's drive. This collection of re-issued jams and new explorations 'IS' the must-have for the electro/techno & bass aficionado...See it as either a DJ's weapon of choice, or the gift from vault

Honey...rich And Flavorful, Hitting The Deepest Sweet Spot.

Drivetrain (detroit, Usa) - Inside You
Label Founder, Derrick Thompson Sets It Off With A Primetime Floor Filler.
The Gravitational Pull Of The Bass Riff Encapsulates The Vocal Hook As The Keyboard Refrain Perfectly Aligns With An Aggressive Percussion Track.

Rennie Foster (vancouver, Canada) - Detroit City
Demonstrating A Much Deeper Persona, The Sultry Piano Sets A Moody Atmosphere. Luxuriant Strings And Expressive Bell Tones Conjugate As The Vocal Signature Pays Homage To The City Of Inspiration.

Melodymann (ghent, Belgium) - Nobody Else
Explicitly Designed For Maximum Body Movement, A Solid Percussion Theme Is Immediately Established. Soon An Animated Chord Progression Is Introduced,
Then Showered With Kinetic Vocal Samples For Amalgamated Electricity.

Mark Ryal (sitges, Spain) - Imperfect Perfection
This Elegantly Fluid Soiree Debut Parades A Sphere Of Warm Pads Throughout.
Articulated Harmonies, Elastically Weave A Blissful Sonic Terrain Atop An Unyielding Groove Framework.

As a musical act, Xeno & Oaklander (Sean McBride and Liz Wendelbo) conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo's immediate kiss and crush, there's a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo's artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they've recorded in their Brooklyn studio, they've both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.

On their latest album Hypnos and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It's a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.

'Musically, Hypnos is a return to polyphony after several years of using strictly monophonic synthesizers,' McBride says about the album's ethos. 'This has brought dense harmonies and a more complex counterpoint to the composition. Staying with the same equipment and processes without the inveterate compulsion to update and refashion allows for a clearly perceivable genealogy with our previous work.'

'I felt the desire to tell mythical stories, I also wanted my voice to sit strongly in the mix,' Wendelbo explains. 'I channeled the spirits of 60s French Pop chanteuse Françoise Hardy and 80s New Wave New York icon Tina Weymouth.' Her intentions are best evidenced on the tracks 'Angelique,'and 'Insomnia,' the former a spry track sung in French, against a springy rhythm. Laden with expanding and contrasting frequency and a penchant for strategic rhythm, Hypnos juxtaposes dance with distance, creating an immersive oeuvre that exudes contrast and control.









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Wehbba collaborates with ghetto tech legend DJ Deeon, to deliver another superlative EP on Drumcode.

Since his debut on Drumcode in 2017, Brazil's Wehbba has become one of the most dependable and impressive artists on the roster. Last year saw two standout EP's 'Eclipse' and 'Catarse' drop on the imprint, alongside 'Just', his strong contribution to A-Sides Vol.7. He also made his mark playing Drumcode events at OFF Week, Resistance Ibiza and the much talked about double header in Manchester and Bristol when DC took over Warehouse Project and Motion respectively.

A true master craftsman in the studio, his first contribution for 2019 is typically impressive. A huge inspiration to Wehbba since his nascent raver days, ghetto tech icon DJ Deeon contributes a fierce vocal to 'We Have Bass', after a serendipitous hook up in São Paulo. A peak career moment collaborating with one of his original heroes and the artist responsible for the classic 'Freak Like Me', the resulting percussive-heavy cut kicks like a rodeo bull. 'Third Wave' is coffee geek Wehbba's homage to his favourite brew, constructing the production to mirror the experience of a caffeine fix, as a loopy trance-inducing groove leads to powerful synth stabs that are heavy on impact. 'Steamroller' is a stripped back slice of techno driven by the Brazilian's Korg MS-20 and found form after it initially begun as a studio jam inspired by Richie Hawtin's 'Minus Orange'.

A Jean-Michel Jarre fan stretching back to his childhood, 'Another Mistake' was conceived after Wehbba saw the French legend in concert last year and was subsequently able to meet him backstage through a mutual friend. While creating the track, the producer imagined Jarre playing the main layers of the hook on his famous Laser-harp, eliciting an almost celestial quality with the melody. This is a stirring slice of techno fit for stadiums. The EP ends with 'Purge', the artist's stream-of-consciousness expression recorded in one-take and a beautiful beat-less way to conclude the work.

Since Danielle Mana's 2017 debut EP for Hyperdub, 'Creature', which was a taut, evocative suite of beatless, almost neo-classical electronics, we now find his music has caught an alien virus and started hallucinating. On 'Seven Steps Behind', the borders between reality and the weird have collapsed on each other, and with each listen through its zigzagging course, you're rewarded by its strange twists and turns. 'Seven Steps Behind' is an electronic album that doesn't always sound electronic; a great deal of the record has been created to sound like prepared pianos, harpsichords, cellos and flutes. At other times, sampled acoustic instruments and specially recorded sessions have been processed through software and careful editing. It's this sophisticated layering of contrasting versions of the same sources that help give this record its uncanny balance. The album also plays with your sense of time in its mostly drum-free hall of mirrors, pulling from minimalism, chamber music, dark jazz, and synthesiser experiments. Mana's singing voice also makes it's debut here, albeit adorned by abrasive FXs. His lyrics are encrypted in noise, in fitting with the music's chimeric character, casting images for the listener to decipher. His heavily manipulated voice enters on second track 'Myopia For The Future', sounding something like a singing motorbike pitched over bouncing ostinatos, or on 'No Body's inhuman, word-less range, where it's impossible to tell where the human finishes and the machine starts. Or in the case of 'Leverage For Survival' it's animal and machine. Here, as with the album's eponymous final track, a sensory assault subsides to reveal a heart-wrenching melancholy that anchors the record. Listening to 'Seven Steps Behind' is like stepping into a dream, with all the curious emotions and buried meaning that involves. Yet for all its restless, shifting energy it manages to hold both dissonance and melody in sweet proportion.

It's easy to fall for a nostalgic approach to dance music, to cuddle oneself in the warm analogue sounds of late 1980's dance productions - especially with the heavy ongoing reissue trend going on. However, we have to stay focus: look out for contemporary sounds and means of production. Parisian producer Nathan Melja makes his debut on Antinote with an idiosyncratic three-tracker and our guess is that it sounds contemporary.

On the A-side: one tune: Deadrums. Both the name and the music speak for themselves. It's hard, it's efficient and at the same time, there's quite a lot going on, tiny bumps on the straightforward road to techno ecstasy. Nevertheless, Deadrums is a precise piece of machinery, an atmospheric banger, yes, but with deadly jaws made out of tempered steel to tear a dancefloor apart, piece-by-piece. On the B-side, Angels stands out as a perfect example of a song that has many dancefloor qualities but, like some of DJ Sprinkles' seminal recordings, turns out to be more of a late-night tale of urban wanderings on wet pavements (think Taxi Driver and its soundtrack by Bernard Hermann). Contemplative, melancholic and - let's say it - sad, its nagging melody can bring a little tear to the eyes of the most sensitive ones. Rounding up the 12' is Candy, a tune under the influence of bad boys like DJ Overdose, or Ghettotech legend DJ Assault - so that you can dry your tears.

It's Nathan Melja's first release on Antinote, but he's definitely not a newcomer. He's been around since Antinote exists, and we're glad to finally collaborate with him.