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"Kinfolk returns after a long hiatus with an outstanding release from the mighty Mind Fair donning their newly invented 'Sundown Drive' hats. 'Sunset over Santorini' is a sonic brew of percussion, guitars, jazz-funk keys and heavenly vox that's all kept together with a driving shuffle that brings to mind the more experimental Leftfield disco sounds of 70's NYC and beyond. On The flip Dan 'Nad' Tyler delivers a wacked-out remix monster that takes it deep into a Norwegian via Homerton disco-dub-not disco-dub vortex of truly epic proportions that will twist your body, mind & soul as it ventures in and out of the groove laden original. "

Intimate November tour also announced After their 2012 Mercury Prize nominated debut and 2015's Top 20 follow-up 'Born Under Saturn', musical adventurers Django Django are back for 2017, exploring new sounds with their brand new album 'Marble Skies' which will be released on January 26th on Because Music. Today the album launches with first single 'Tic Tac Toe', a rousing, trippy upbeat rock track with an enormous echoing hookline which will excite fans of the band's rockabilly-influenced elements. The accompanying video for 'Tic Tac Toe' was directed by John Maclean, brother of Django Django drummer/producer David Maclean and director of the critically acclaimed modernist western 'Slow West'. It depicts vocalist/guitarist Vincent Neff enjoying a rapid-fire day-trip to Hastings which takes a turn into the surreal and sinister when a ghost train puts him on a collision course with a grim reaper inspired by Ingmar Bergman's The Seventh Seal. As John Maclean explains: The film could be about the fading era of the beach arcades, time moving too fast, love and games, horror and happiness but it is actually about a man who needs to go buy a pint of milk to make a cup of tea.' After the brilliant, rave-shaped grooves and expansive arrangements of its predecessor, 'Marble Skies' is a more concise and focused offering which recalls the dynamic, genre-blurring music of their debut. It's a return to form, an album which finds them returning to the handmade, cut-and-paste approach of the past. Upon finishing the 'Born To Saturn' tour, Dave ventured to LA to work on a production project, whilst the other band members went to India with the British Council. When they returned, the new album process began with a back-to-basics approach which recalled the DIY ethos of the band's early days, Django Django - minus an absent Maclean - assembled at Urchin Studios in Tottenham, London with Metronomy drummer Anna Prior to experiment with the idea of coming up with new tracks through loose jamming sessions. After ten days of recording, there was plenty of raw material to send up to Dave (then back in his hometown of Dundee) for him to edit, refine and evolve. As ever, all four band members (completed by Tommy Grace on synths and bassist Jimmy Dixon) contributed to the band's music, melodies and lyrics as the final album took shape. Parts of 'Marble Skies' find Django Django sailing into uncharted territories, not least the driving title track (propelled by Prior's drumming), with its echoes of Krautrock and Suicide. Meanwhile, the hazy Zombies-like summer pop of 'Champagne', which explores the joys and ills of alcohol, was inspired by the band's over-indulgence during a boat trip on the Seine that was hosted by their label. Those drawn to the more dance-orientated side of Django Django will find much to love in the twisted '80s electro pop of 'In Your Beat' and the dancehall-influenced 'Surface To Air', a dreamy-headed pop song fronted by Rebecca Taylor of Slow Club. The collaboration came as a result of the two bands meeting up at SXSW some years ago, where Rebecca and Dave in particular bonded over shared interests in R&B, hip-hop and dancehall. Another more surprising collaborator is Jan Hammer, the Czech-born, American-based jazz-fusion and electronic artist who shares writing credits with the band on the gorgeously floaty 'Sundials'. If there's a mood running through 'Marble Skies', it's one of reflection on things past and present, and finding some kind of peace with your place in the grand scheme of things.

Garden City Movement's debut album 'Apollonia' is set for release on 16th March 2018. The trio of Roy Avital, Yoav Saar and Johnny Sharoni produce a blend of sounds drawn from their diverse cultural worlds, ranging from art-pop to experimental house to horizontally-aligned vibes.

Since surfacing at the close of 2013 with their breakout track 'Move On', Garden City Movement have released 'Entertainment' and 'Bengali Cinema' EPs, the 'Modern West' 12' in collaboration with The Vinyl Factory, climbed the Hype Machine Popular Chart with multiple singles, recorded live sessions for Boiler Room, Majestic Casual and FACT, opened for Bonobo, Caribou, Alt-J and played all over the world. The band's music video for 'Move On' received a nomination for Best Music Video at the LA Film Festival, won Best Video of The Year' at the MTV Israel Music Awards and the video for 'She's So Untouchable' screened at Raindance Film Festival in London.

Recording through 2017 at their studio in Tel Aviv, Garden City Movement took the time to explore their sound as a band. From the combination of dream-like vocals and cinematic-RnB in singles 'Slightly All The Time' 'Before I Fall' and 'A Means To An End' to the leftfield four-four of 'Mediterranea' and 'Sans Titre' or the ethereal jazz of 'I Knew Before I Met Her (That One Day I Would Lose Her)' and worldly influences of the title track - the heightened craft in their production is firmly felt across the album's 18 tracks.

After releasing three EPs, which each had a very tight deadline, recording the album has been a chance to grow. It's the first time we have been able to really take the time and experiment a lot in the studio, try to develop and deepen our language, come up with new sounds, and take our techniques even further'. - Garden City Movement

The album takes a darker path lyrically, exploring the breakdown of a fading relationship and the depression, loneliness and abuse that follows. While not explicit, this melancholy grounds the album in the real world. The fusion of forward facing production and confessional account of human-interaction frames an emotional and honest album of modern soul music.

Our latest examination of Esoteric, Modal & Progressive Jazz of the 20th Century has taken us to Japan. The liberating force of jazz has been created and felt all around the world, but few nations on earth embraced the jazz message with the passion and intensity of Japan. From the dawn of the jazz age to the present day, Japanese audiences have been renowned tastemakers, enthusiasts and champions of the music - in the 1980s, Japan was the biggest per capita market in the world for jazz records, and it has even been said that Japanese jazz fans kept the jazz record industry alive through the lean years of the 1970s, when the music fell from commercial favour in the land of its birth.

But while the jazz aficionados of Japan are celebrated as sophisticated fans and consumers of the music, comparatively little is known outside Japan of the remarkable and abundant music produced by generations of Japanese jazz musicians. Numerous Japanese jazzers have found enormous success on the international stage - Toshiko Akiyoshi, Sadao Watanabe, Teramasu Hino, and many others are household names among jazz listeners all over the world, and with good reason. But if such global figures are put aside, the stunning heritage of Japanese jazz remains poorly understood outside Japan. As a result, the work of many celebrated Japanese jazumen has remained largely unknown to international audiences, and the extraordinary scope and depth of Japanese jazz has not been widely recognised.

Compiled for the Spiritual Jazz series in collaboration with the celebrated collector and DJ Yusuke Ogawa (Deep Jazz Reality, Tokyo), this 2CD/twin set of double LPs aims to correct that omission by uncovering the uniquely deep sound of esoteric, modal and progressive jazz from Japan - music of the heart, soul and Japanese spirit!

Each 2LP set comes complete with OBI strip and thick, textured sleeve. Our extensive liner notes extend onto printed inners, and are in both Japanese and English.

As the lead singer of George Darko's legendary Burger-Highlife hit-band, Lee Dodou became the number one voice of 80's Highlife. Born in Kumasi, the epicenter of Ghanaian Highlife, he came to Berlin in the late 70's - by then the uprising epicenter of Burger-Highlife - to work as a back-up-singer for Pat Thomas. After joining and leaving Georg Darko and running his own band "Kantata", he stopped releasing music in the early 90's. Now, Philophon is proud to present new recordings of his soulful genius to the world of 2018.

Basa Basa is a song in the classic "concert party" style, as it was played in the glorious 60's. After a firey horn introduction Lee takes over in that funny and entertaining manner typical for "concert party" music. Buzz Duncker joins Lee's phrases with some gentle clarinet. Highlife at its best!

Sahara Akwantuo is anything but a classic: it's the start of a kind of philophonic Highlife, labeled as Kraut-Life. Ghanaian love of life meets German romantic melancholy. Happy rhythms meet mysterious synth landscapes. Eternal summertime and mangos are meeting a wet winter world and roast apples. Kraut-Life at its best!

Cut from the same cloth as last year's double-cassette, 'Like All Mornings,' Vanessa Amara's new album trails shorthand piano pieces and wilted strings through magnificent, electro-acoustic surrounds, often settling into buzzing, syncopated reveries. 'Manos' takes its name from an abbreviated term of endearment. Spoken in this form, it's an affectionate and inclusive gesture from friend to friend, or indeed from gang member to gang member. Vanessa Amara seemingly take their cues from either usage. Their new album feels hesitant to reveal its parts, and is perhaps a document of the limits of what can be revealed, a memorial to its own process as it winds itself in and around its delicately hued landscape. Though beginning with a morose gait, the album quickly turns over. And revealing its softer self, the clarity of the moving string arrangements hang in the air like fine mist. Everything settles against surfaces as the day breaks, opening up the space, though eventually condensing into the unnerving crescendo of the album's final piece. A recurrent, gentle whirring, much like a gramophone's needle, tracks through much of 'Manos.' It carefully steadies the listener into a mode of measuring duration, a meditative self-awareness that deliver's Vanessa Amara's world. Always intricate, and effortlessly tender, 'Manos' is an album as textural as it is melodic, and it is certainly the most exquisite suite of works to have been presented by Vanessa Amara thus far.

Les Adventures de President Bongo is a unique work that will reveal itself over the next seven years, give or take, in the form of 24 LP's.
What is a groove It is something that goes on and on, not changing much seemingly, like the growth rings exposed when you cut and fell a tree. It is no coincidence that tree rings resemble the spiral track of a record: they're both grooves of a sort.

A groove is a routine, a life lived. It may not always seem like much - a cup of bitter coffee, another day spent under the flickering fluorescent lights of an office, an overly long queue at the check-out of a suffocating supermarket. But it is also the scent of slightly burnt meat and birch by a gently flowing stream under a pink sunset, a silver fog clearing without notice to expose a starry sky and its familiar twinkling constellations, an impenetrable smile on a crowded morning train. It is the pattern exposed on the tree stump. A proper groove has ups and downs, it has drama. A good groove is a good story, a transmission into the future.

Here To Hell is an Australian label project conceived by The Presets' Kim Moyes, and Revolver resident DJ Mike Callander.
Inspired by a Johnny Cash song, by the record industry' in general, and by the spirit of commercial suicide, Here To Hell celebrates the pointlessness of everything: It's the perfect reason to do only what feels good.
Together Kim and Mike also record and remix as Zero Percent, and along for the ride they've invited Aussie musicians and remixers from all over to celebrate techno, electro, Aussie rock, ambient and whatever they think sounds good on repeat in your headphones.
The label's first release sees legendary Aussie band The Drones being remixed for the first time. Their song Boredom' from the album Feelin' Kinda Free' has been twisted into two dancefloor interpretations (plus a dub of each): Side A is by K.I.M, who takes the original's Aussie Rock to the disco, and Side B is by HTH label bosses Zero Percent, it's their first official published work and explores the darkness of the original instrumentation that underpins Gareth Liddiard's exceptional vocals.

Quality is the key word from Copenhagen based Music For Dreams and here is another home run. Willie Graff splits his year between DJ residencies in New York and Ibiza. In this new outing with studio partner Darren Eboli, the influence is, as the title suggests, clearly NY-based. Over only four tracks, the pair manage to craft a stunningly comprehensive exploration of the essential elements of dance music.

Opening track "Love Flight" staggers into a lush string-driven groove that recalls the glory of Metro Area meets Wally Badarou vibes. Minimal yet playful, it lounges somewhere in the depths of the house tradition, calling on familiar sounds while throwing in odd details along the way (harmonicas). It takes both skill, devotion and a sense of humor to pull this track off, making for a strong opening. "Moon Tan" lingers on a metallic hook that drags you into a plethora of percussion followed by a rubbery soft baseline. Dubby key work would suggest this was a new wave band jamming at Compass Point, while the icy chill of the xylophone transports you into 80s italo territory.

"Second Sun" pulls out the bag of boogie tricks, relying on a firm but humble baseline and smattering drum machine claps. Nile Rodgers-style guitar licks guide us onwards into a well-orchestrated jam that builds up and breaks down with perfect timing while dreamy chords reach for the sky. "First Light" keeps the groove tight while dipping over towards more Balearic temperatures. Steeped in a watery atmosphere and gentle organic percussion, it focuses in on a trance-inducing arpeggio that lulls you in to the swaying Badarou-style synth swirls that intercept it.

In their fifth release, DC label Partial Magic welcomes four friends and producers from the Knoxville, Tennessee based collective TEKNOX. Alex Falk opens the record with an upbeat slammer, looping cocky vocal samples over brash, noisy textures sure to please those familiar with his sound. Second on the A side, Saint Thomas LeDoux follows with an introspective track perfect for building or releasing dancefloor tension. On the B side, Nikki Nair brings back the raunch with a cheeky breaks-and-bleeps acid track. Dialectic Sines closes out the record with an ethereal cut backed by a hypnotic, tropical electro-techno groove.

This is the first album of Borusiade, in which she takes her music to a new level, finding her very own expression, that is making us first shiver then sweat, then chill and finally melt.

Cómeme starts 2018 by proving again to be a safe haven and a sanctuary for sensitive plants and unique characters devoted to music - just like Miruna Boruzescu aka Borusiade - from Bucharest - who conquered the radio stations of our parallel worlds and utopian desire. 'Dream catcher' was the name of the show, and 'Jeopardy', a nocturnal EP, her first release on vinyl.

Now, after adventurous travels through night clubs, theatres, windy cities, snowy fields and merciless deserts her desires and imagination have manifested themselves in her very first album, carrying the intriguing title: 'A Body'

The record sleeve features the back of her head, making us wonder what she sees, on the other side. Her visions unfold through 8 pieces of music that follow a dreamlike narrative of associations and transformations. Somber synthetic atmospheres, sparse and spatial rhythmical arrangements, strangely seductive melodies and lysergic ally pulsating bass lines lead us away from a dystopian present towards a sensorial experience we long to repeat as soon as it's over.

'A Body' is a deeply poetic work in which again and again you will hear Borusiade's voice, sometimes dissolving and recreating meanings in mantra-like repetitions, sometimes layering itself to pagan choirs of smooth ecstasy. Then again you will also hear that voice close to you, singing, sharing an experience or a thought. It is always soft, effortless and unpretentious, but always strong, clear and precise, like the voice that speaks to you in an altered state of consciousness. It seems to come from the same person that is holding your hand, when everything else seems to fade into uncertainty while wandering through strange times and places...

Starting with the song CLUSTER the effect is kicking in, we sink into the universe of the album through this throbbing ambience that seems populated by a reverberated ant colony that broke into a synthesizer. The introduction of this album is a complex emotional soundscape that is followed by a song: BREATHE, which sounds like a classic you never heard. With its catchy melancholia, it creates a déjà vu like strange familiarity of the unknown - a memory from the future. And though our minds were just twisting and turning in an overflow of information, we suddenly leave our bodies and observe ourselves breathe.

Other tracks, like DORMANT are more focused on the narration of the body and its state. Words, describing it in many ways, softly and incessantly repeated, are mixed deeply into the soundscapes of a track that features a bass drum so soft it could be a heartbeat. Foggy moments like these dissolve in a track like AN ACUARIAN FEELING, which is queer synthesizer love, shifting in shape and momentum, a ray of light that pushes itself through the nightly atmosphere that was preceding these moments, a similar landscape in different times - a choir enters, cheerful drums, climbing and descending melodies and rhythms of hope. Just like the utopian vision in the title track A BODY, that stands at the end of this journey, which in itself just opens another new horizon.

The Aroma are a production unit from Bristol UK who supply a bedrock of masterfully crafted soundscapes for a very carefully selected set of guest MCs. The beats are created by DJ Rumage and engineered and produced by Rola (both from the mighty Bristol Hip Hop crew The Numskullz) with scratch wizard Sir Beans OBE on turntable duty.

Volume 1 has vocals supplied by Junior Disprol, Upfront MC (of Split Prophets), NK (p/k/a Blaktrix), NiLLa, Retna, MCM (of Caveman), Stepasaur (a/k/a Stepchild), Kelz (of 3PM) and last but not least additional vocals by Lizz.E (of the legendary Fresh 4).

At 8 tracks deep this album is short by modern standards but takes you back to a time when albums were 7 or 8 tracks long but overall were a higher standard. Too often now albums have 20 plus tracks with 10 or more fillers and quiet vinyl pressings.

Here you have 8 killers no fillers cut nice and loud and so gives a better sounding product which is something very important to Ruztik Records and AE Productions who have joined forces for this release.

A multi-platform production that explores the overlap between the digital and the organic through field recordings of Inuit throat singing may sound, on surface level, to be something that is a rather niche. However, Zoe Mc Pherson's exploration of this world on String Figures is a deeply rhythmic, immersive and forward-thinking piece of electronic- leaning music that remains just as danceable as it does experimental.
The album is fundamentally one of duality, exploring the traditional and the contemporary, organic and electronic, audio and visual, history and the future. Rooted in this duality is also a core theme around string being one of the most ancient and playful art forms and the seemingly infinite possibilities it offers in terms of shapes, structures and figures lines up with this as a trans-global art project. One that over time will involve video art, choreography, 3D motion design, macro film, instrumental and electronic sound. Although for now is being presented through an AV performance, films and a record with Mc Pherson collaborating with director Alessandra Leone.!
Over the seven tracks (which are laid out as chapters) the record explores glitchy electronics, dub-tinged grooves, polyrhythms, and a huge array of instruments that takes in quiet blasts of atonal sax alongside wonky synths. This of course cross-pollinates with the throat singing and experimental field recordings to create an utterly inimitable sonic sphere. For Mc Pherson it's about mixing worlds, histories and timeframes and she uses a 1991 quote from Laurie Spiegel to hit home how she has elaborated upon this original thought of history and future overlapping. 'Folk music is considered anonymous common property in a culture and that's what a lot of computer music and other kinds of music data may end up becoming.' However, there's also a purer reason for the exploration of these worlds and colliding them together. 'Basically I thought that electronic music that is only digital is a bit boring and as I'm connected to jazz music for many reasons, I wanted it to sound organic: real instrumentation, field recordings.'

Belgium's favourite underground house DJ Red D celebrates the 10 year anniversary of his We Play House Recordings label with 6 vinyl samplers containing new tracks and some very wanted gems from the catalogue. Artists featured are San Soda, Fabrice Lig, FCL (featuring Lady Linn), Kiani & His Legion, krewcial, Reggie Dokes, Raoul Lambert & Nacho Marco, Art Of Tones and many more. Voices Near The Hypocentre
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About We Play House Recordings

We Play House Recordings - WPH - is the work of Belgian DJ & producer Red D. Started 10 years ago to release the music of his friend san Soda, the label had (and has) the aim to release house music in all its shapes and forms. WPH's house ethics date back to the days where house was just a name for music that was played in clubs. There is no such thing as tech house, no such thing as deep house or minimal, there is simply (house) music, good or bad.

We Play House Recordings is lovingly led by Red D (real name Bart Van Neste), one of Belgium's leading underground music figures. Be it in his role as DJ, A&R, promoter, music panel host or general nitelife instigator, Red D does things with passion, humor and a healthy dose of keeping-both-feet-firmly-on-the-ground...with a twist...

WPH was started in 2007, so it takes no math genius to know that in 2017 the label is celebrating its 10 years anniversary. Running from the spring till winter 2017 this anniversary will be celebrated with special vinyl releases, a triple CD, a digital compilation, a Spotify playlist and a series of label nights all over Belgium and beyond. True to form the compilation will have WPH classics but also a BIG bunch of new material from core artists of the label like Locked Groove, San Soda, Kiani & His Legion, Fabrice Lig and many more.

Repress

Zodiak Commune Records continues the Insectum serie with a brand new EP from Acidupdub called "Longhorn Beetle". He specially made this 4-tracker in various styles of techno and acid.

A1. War of The Worlds
This track is a perfect dj tool. Very nice progressive acid techno floor filler with heavy energy on the 303 patterns. This beat goes on!

A2. Coffee Spliff
A mysterious opening on this one. The punchy kick will make a perfect minimal techno track out of it. Let the dreamy atmosphere take over.

B1. Dark Summer
On the b-side you can notice the energy is building up. The reverb on the acid sweep creates lots of space around you. High quality acid techno.

B2. Zodiak Prophecy
He ends this journey with an uptempo acid techno piece with a dark progressive touch. The delay on the 303 glues the whole track together. This prophecy is fulfilled.

"Recorded over a period of three years, Intricacies Of Modern Life sees Glasgow DJ and producer OOFT! finally complete his first long-player. The 10-track 2x12"" takes in various moods and tempos whilst staying rooted in OOFT!'s low-slung house style.
Released on his own Foto Recordings imprint, this marks not just the debut album for the artist but also the label. Lovingly mixed and mastered by Rob Etherson.

As Weekend Circuit approach their 20th release, Argentinian duo YYYY return for their second full length EP on the label to celebrate this benchmark.

The YYYY modus operandi is already familiar to the initiated - expressive, raw techno experimentalism from the outer reaches. 'Carry This Blood' is a collection of 4 moods and sounds, carved out with emotion soaked ambience, synapse flaring distortion and machine fracturing rhythms.

'Repent', as the title suggests, takes no prisoners, leaving no survivors in it's wake, it is a glimpse into a tear in the time-space continuum where chaos rules. 'Hands Towards The Giver' is epic, glacial, spacial widescreen techno. Dramatic and urgent, the soundtrack to a doomed planet collapsing from within.

'Carry This Blood' bestows an eerie, cold feeling. An atmosphere of regret and loss hangs over it like a thick fog on a hillside, punctuated only by a heartbeat mimicking kick drum offering a human touch. 'Of Thrones And Comfort' snaps us out of the haze, the fog clears and we are faced with the frenzied electronics and thundering kick drum of this most sinister of tracks.

MOC's Alek S returns to the mothership with his third full EP, dropping just in time for the label's third birthday.
Kicking off the release in style, - Consciousness Outline' lays down the groundwork for a solid slice of punchy techno. Featuring a minimal array of elements, which aptly intertwine instead of seeing new layers pile up, it's a gradual build up of a powerful groove.
Hypercolour & Soma Records alum Roberto Clementi takes on remix duties, revamping - Consciousness Outline' into a cavernous techno affair. Switching the main focus on the percussive leads proves a good venture, as it results into a piece with major dance appeal.
- Penny Drop' dives in with a spacious loop, which keeps centre stage throughout the entire construction. Overall, it's an airy track, with ample pads and a loose yet gripping melody.
- Neverending' rounds off the pack in an atmospherical, upbeat fashion. Ascending synth pads make for an uplifting ambiance, all set on a backbone of electrifying percussion.

Ant Orange's third 12 for Karaoke Kalk forms something resembling a trilogy for the label. Right There' is built on a familiar Rhodes-n-bass aesthetic, combining the lo-fi jazz of 2017's Arkupe' with the soulful vocal motifs of 2015's s/t', while introducing more electronic ingredients and taking an increasingly exploratory approach to rhythm and composition.
The opening title track clocks in at over 8 minutes, growing slowly from soft tickled keys to a full-bodied groove circled by airy synths and fragmented RnB vocals. Drunk In The Trunk' then shifts down a gear, looping another vocal cut over a lazy, stripped-back wahwah vibe. Side A closes with experimental jazz skit Let That Sink In', its jerky tempo and flashes of light reminiscent of a late-night subway ride.
The B-side takes a more contemplative tone, with the meditative arpeggios and sparse drums of Comfort Zone' leading into the dusky West Coast stroll of Muscle Beach', before Rudis Goes Offline' picks up the tempo for a last shimmering dance. The closing track A Frozen Lake' sounds just like it sounds - chilled by name and by nature.
The completion of this trilogy marks a turning point in Ant Orange's sound, but that's all we can say for now - stay tuned for more. In the mean time just sit back and enjoy the sublime vibes of Right There.

Justin Chapman (half of the Kemeticjust duo) is back with 'Stay My Way', his first release on Visions Recordings.

Inspired by a distant collaboration with Alex Attias, the Soul Original version features Chapman's signature vocal harmonies floating over Latin influenced house rhythm and melody to provide the motivation for feet and hips.

The Just One Remix pushes things into the realm of Broken beats with a hard swing on the drums, and a deep and jazzy bass walk that gives edge to the keys and vox melodies. Classic Just One here!Justin has produced records for Neroli, RushHOur, Sonar Kollektiv and some collaboration with Recloose for Planet E and Deetron for Music Man .

This single for Visions is a long overdue collaboration with an artist we wanted to work with since 2001 when Visions was based in London, so you can imagine how excited we are to take Justin on board and release this single.

Southend quartet Ghost Music release their evocative debut album I Was Hoping You'd Pass By Here via Arlen on 19 January. They create careful, considered songs, weaving lo-fi lullabies with gliding guitars and understated arrangements. Influenced by Silver Jews, Flying Nun and K Records, they explore themes of nature, love, loss and a melancholic English romanticism embellished with beautifully spectral melodies and executed with startling subtlety.

Despite this record being their debut, the band has produced a veritable wealth of music over the past 20 years in various guises. Ghost Music revolves around the songwriting partnership of Matt Randall and Lee Hall, who had played together in the 90s with John Peel favourites Beatglider. More recently Randall has received critical acclaim as Plantman, with his three albums Closer to the Snow, Whispering Trees and To The Lighthouse receiving praise from The Guardian, Uncut and Mojo. When Randall and Hall reunited to collaborate on another album together, they brought in the talents of Roy Thirlwall on bass (Melodie Group) and Leighton Jennings on drums (Dark Globes) to complete the band.

The original idea would be that the songs would be 'ghosts' and create 'ghost music' to resurrect and dust off old songs that they had already started. Lee had found the beginnings of 'Home Dog' on a dusty old 4-track and he had recorded 'Strange Love' on his iPhone in 2014, whilst Matt had written 'My Cloud' as far back as 1997 (the night he moved out of his parents' house). As the album began to take shape, the ghostly premise took a back seat, as they began to breathe new life into the songs they found the impetus to write new ones.

Randall explains the songwriting process; 'When we were in Beatglider together and in the past we'd made a 'thing' out of writing long songs with a lot of changes. This time we pared it back a bit and stuck to the melodies more. We really wanted to make a proper guitar record. Lee's my favourite guitarist and it was lovely to see him stretch out on these songs with his diamond fingers.'

Not afraid to wear their influences on their sleeves, Ghost Music's sound is instantly familiar, echoing beloved bands from the 90s such as Pavement ('Home Dog' has a definite 'Range Life' feel), Galaxie 500 ('Blindspot'), Yo La Tengo ('Heart Shaped Holiday' is influenced by the languid YLT songs that peak after a short intro) and even old-school rock'n'roll ('Strange Love' was born out of an appreciation for the instantly engaging opening riff in 50s songs). Yet Ghost Music's work never feels derivative, being instead effortlessly emotive, melancholic and affecting, creating a world of sound that is hugely reassuring and a tonic for the modern age.

It'd be hard to start a label to take pot shots at the increasing cultural value placed on popularity over talent, and then name the participants, right

Right
Rome may well be burning, but we're dancing in the flames

Reserve Not Met will not be undersold
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Reserve Not Met will not be held responsible for poor use of Reserve Not Met product
Expectations are left at customers own risk

Artificial Intelligence's second studio album, and first for Metalheadz, was released just over 2 years ago, and we're now proud to present the remix package curated by the guys themselves.

The EP features remixes from Phil:osophy (Phil Tangent & Philth), SCAR and Zero T as well as two further digital bonus tracks from AI themselves and Deft, with some of the best 'Timeline' cuts given a new leash of life for 2018.

(digital bonus): Aroma Rmx + Forgotten Truths ft. Steo (Deft's '15 Rmx)

Preservation Records dug out two killer blue eyed soul tracks from the Mirage vault.

Here is the original version of "Just Cause I'm Guilty", taken from the unissed tracks from the group. Shelved for over 40 years.

The soulful B side is another sureshot killer soulful track, you have probably heard it by Ruben Howell and Carl Carlton. This version made it to a mega limited demo 7" run on Warner Brothers, but never had an official release. The track is so good that it deserved a place on our Mirage releases.

Carefully remastered and cut by Timmion for Preservation Records.

The latest vinyl slice from FBNM sees us head to the depths of central Africa via Paris to track down a feast of rare seventies afro funky jams from Cameroonian master musician EKO. We've brought FBNM favourite Riccio along for the journey too, who has provided us with a fantastic Rerub coaxing out some modern dancefloor sensibilities and production sparkle.

Eko Roosevelt Louis has had a music career spanning over forty years, born the grandson of a Kribi tribal chief, his musical persuasion beginning humbly with his village's local church before his formal education at the Senegal conservatoire and Paris' École Normale de Musique. EKO made a number of jazz funk and disco records in the mid seventies during a stint recording and touring in and around France before returning to Cameroon to take over his grandfather's tribal chieftaincy, a role he still holds today! Alongside this position of office EKO has continued to work with music, performing, teaching and even leading Cameroon's national orchestra!

The tracks we have selected for reissue are all taken from EKO's third album, Funky Disco Music which was recorded in Paris and released on his own Dragon Phenix imprint. Sung in a combination of English and EKO's native tongue we've lined up a real excursion in feel good afro-jazz, funk and soul made purely for dancing feet and boogying butts!

All tracks have been officially licensed and lovingly remastered for this special release by Andreas (Lupo) Lubich (CALYX Berlin), packaged alongside Riccio's sympathetic work in the cutting room on 12" vinyl with a special interview with Eko Roosevelt Louis himself!

It's quite funny that it took 11 years for us over at Metroline Limited to release an EP with tracks from different artists (at least on vinyl that is) but hey, good things go to those of wait so the wait is finally over! For our first Positive Contribution we gathered Metroline Limited friends and label owners and put together a tasty four tracker that focusses on the deep and minimalistic end of house music. Hamid went a long way since his debut EP on Metroline in 2010. The Berlin based French producer has since released on influential labels such as his own H+, Nervmusic, Minibar as well as becoming a regular figure in clubs all around Europe. His track Unterdrücken starts off the EP in style with his bleeps, squelchy acid b-line, pads and crisp drums. Octad takes control and the second half of the A side and it's yet another display of his amazing production skills. The man behind the mastering of each single Metroline release to date knows very well how to get the best sound out of his tracks! And what a bassline he's come up with for Checkmated! Dhaze and Phiorio have been collaborating for a while swapping remixes and musical ideas. NT is one the finest results from these music exchanges. Deep and rolling, the track has a monster groove, lush pads and dubbed out elements. Last but not least we have another long time friend of the label, Gabriele Mancino. His Cheddar, Lion and Lamb pays tribute both to a London trip and old Perlon releases when groovy and reduced house music was gracing most of the records on the pioneering house label. An ultra-groovy and playful minimal house number with funk and style!

ossession Records proudly present the new album by Soft Riot, entitled 'The Outsider In The Mirrors'.Soft Riot is the stylised musical alter-ego of JJD, Canadian by birth and an ex-resident of London and Sheffield, now based in Glasgow (so not unfamiliar with sites of post-industrial decay!). With over twenty years of playing in various post-punk and synth-punk bands, he has been crafting the sound of Soft Riot since the early turn of the decade, releasing a slew of albums across a multitude of labels and touring obsessively around Europe and beyond.With 'The Outsider In The Mirrors', his sixth full-length, he has found a new home for his sound on Possession Records, a fledgling Glasgow imprint founded by JJD, Claudia Nova (aka Hausfrau) and Andy Brown (Ubre Blanca). Their aim is to bring together their pool of musical talents and provide a more permanent home for their future creative endeavours, whether it be music, video or otherwise and to experiment with what it is to be a 'label' in the ever evolving 21st century. Future projects and releases will see them getting a select group of their peers and friends involved in Possession's focused vision, locally or from further afield.'The Outsider...' is a consolidation of all the stylistic elements Soft Riot has pursued in the past; the manic propulsive energy of 'Waiting For Something Terrible To Happen', the infectious, off-kilter dynamics of opener 'The Eyes On The Walls' and the pulsing, elegiac synth washes of 'The Saddest Music In The World'. Throughout the album Soft Riot fuses his maximalist sonic palette with a sharp-edged sense of post-punk anxiety, unique synth interplay and brooding, claustrophobic new-wave dread. Comparisons to musical kindred spirits like John Foxx, DAF, early Depeche Mode, Fad Gadget and Virgin-era Cabaret Voltaire would be analogous, but JJD is defiantly fusing these basic references into something highly idiosyncratic and personal.
The music on 'The Outsider...' is evocative of an kind of nostalgic futurism, of a refusal to give up on a desire for the future (dystopic or otherwise) and the unpredictable nature of the urban situation. The music is tense, synthetic and precise, embodying and exploring issues of isolation, urban alienation and social paranoia. Yet despite these dark thematic preoccupations the Soft Riot sound is not without its warmth and humour. Wry and self aware without irony, the songs are hook laden, infuriatingly catchy and designed for dancing as much for static listening. It is a peculiarly Soft Riot take on the electro pop sound that will engross and captivate any adventurous listener.

After his well acclaimed soundtrack lp on Hivern Discs,Brussels based producer Lawrence Le Doux is returning to homebase Vlek for his next offering. And what a project it has become: Le Doux, heads first, dived deep into the Belgian national history of electronic music, and came up with a   sampler covering the various fields the Belgians have explored over the last 30 years.  
From digi dub over simple drum computer house to one­man industrial cassettes: 'Host' has it all." 
Lawrence Le Doux opened for   Matias Aguayo in one of Brussels' major venues: Ancienne Belgique earlier this year.   
Lawrence Le Doux' latest album was released on Hivern Discs (Music For Documentaries' -  3,8/5 on RA)
VLEK designer Dimitri Runkkarri's take on the analog type press / glass printing process: With Lawrence Le Doux, from the beginning (with "Terrestre", 2014) we used different materials to print out the sleeves. We used cork, overlapping letters, plastic cross for wall carving.
This time, I had some glass left at the workshop. We wanted to try. We broke it on the press then printed it with all the texture, scratch, accidents caused by the pressure of the press..."

Just as magnified record grooves reveal dust constellations and lunar landscapes, so too does Godblesscomputers' third album. 'Solchi' is a deep search into previous moments in Lorenzo Nada's lifetime, influenced by the presence and power of music. His process began with the recovery of some old cassettes, mixtapes nearly forgotten, audio recording of voices from his childhood, and lots of dusty jazz, soul, and hip-hop records. As the starting point of this travel merge with its end, past and present combine to form GBC's current sound. Warm electronic production rooted by grooving bass lines form the core of a kaleidoscope of sixteen tracks, colored by synthesizers, guitar echoes, scratches, samples, fading voices and kalimba. The album is a collection of sixteen stories, sixteen soundscapes; each of them GBC's tribute to the path taken thus far, an homage to his love for music. The recording and studio work took place over a year, with the adding and subtracting of many elements.

Hidden Orchestra's 'Dawn Chorus Remixes' follows the illuminating 'Dawn Chorus' album, reworking producer and composer Joe Acheson's latest album of immersive field recordings and expansive soundscapes into an journey through electronica, deep house and ambient psychedelia. Fronted by Wingbeats (Max Cooper Remix)', 'Dawn Chorus Remixes' features reworkings from Max Cooper, Matthew Herbert, Throwing Snow, The Physics House Band, Nuage, Floex, Nostalgia 77, Wrongtom and Skalpel.

Built around a collection of birdsong and other field recordings captured over many years across diverse locations around the UK and abroad, the snapshots within 'Dawn Chorus' intertwine for a transporting listen. The 'Dawn Chorus Remixes' album revisits this vast source material, reinterpreting the structure of the tracks and uncovering new layers of hidden sounds and instruments for the listeners, sometimes unearthing entire musical progressions that bring the tracks into clearer focus.

Max Cooper provides his take on Wingbeats, focussing on the synchronised recordings of birds beating their wings, to reveal a beautiful chord structure hidden amongst the rhythms. Matthew Herbert applies intricate electronic components with a purist house beat on Stone' which follows into The Lizard', remixed by Polish duo Skalpel who were an early influence of Acheson's. Electronic producer Floex transforms 'Still' with layers of oscillating synths, while Wrongtom provides a dub remix and The Physics House Band deliver ambient and progressive sounds for their rework of Long Orchard'.

Key Marketing Points:
- Remixes from high profile acts such as Max Cooper, Matthew Herbert, Floex, Throwing Snow, The Physics House Band, Skalpel and more.
- Available on 2x LP, housed in reverse board sleeve with silver embossed foil title and printed inner-sleeves. Cover art comes from acclaimed artist and printmaker, Norman Ackroyd.
- European AV 'Dawn Chorus' Tour starts November 20th 2017.
- Radio support for 'Dawn Chorus' from Lauren Laverne (BBC 6Music), Nemone (6Music), Huey Morgan (BBC 6Music), Gideon Coe (BBC 6Music), Jamie Cullum (BBC R2) + more
- Previous press support from The Arts Desk, Clash, The Independent, The Guardian, Line Of Best Fit, Blues & Soul, Record Collector, DJ Mag

Praise for the original Dawn Chorus album
You could just listen to that forevermore, couldn't you' MARY ANNE HOBBS (BBC 6MUSIC)
Such a beautiful project' - LAUREN LAVERNE
Out of this world' - THE LINE OF BEST FIT
Gorgeous' - NEMONE (BBC 6MUSIC)

Inspired by a longstanding respect for the pioneering sounds of Cluster, Neu!, Harmonia & John Foxx, the legendary K. Leimer fuses tape loops, Moog tones and a variety of real and imagined instruments into an immersive journey brimming with electronic emotion throughout this homage, 'Mitteltöner.'

A key figure in America's musical avant garde, Leimer's experiments with tape manipulation, fractal loops and textured ambience have been well documented in recent times, with RVNG and VOD both offering excellent and exhaustive retrospectives of the artist's seventies and eighties output. Tracing Leimer's discography from 1979's 'Translucent: / Memory' to 1983's 'Installation View', via the dislocated rhythms of the Savant project, these archival releases detail a move from the pastoral synthesis of kosmische into more angular, experimental territories. Simultaneously looking to the past and the future, this Origin Peoples release is both a return to Leimer's earliest stylistic explorations, and his first vinyl release of original work in twenty five years.

Oddly for such a sonic outlier, 'Mitteltöner' (midrange to non teutophones) takes its conceptual cues from the idea that the midrange contains all the core information. Over ten tracks, Leimer employs subtlety and skill to navigate the emotional depth of the kosmische genre while maintaining the focus and detail which has remained constant in his work.

Opener 'Dunne Luft' owes as much to post rock as krautrock, evolving from chiming harmonics and understated rhythms into an optimistic roar of motorik percussion and towering guitars. From there, 'Webermelodie' dives into crystalline calm, tracing delicate arps around a processed groove before 'Anode' sends us skywards, drifting through glistening piano refrains and hypnotic sequences. Te dramatic 'As Long Ago As This' glides through a deserted city of metal and glass leaving the measured ambience of 'Entferntemusik ' to close out the side in a swell of static.

Leimer shifts tone as we move onto the flip, segueing the stomping, cybernetic Sturm Und Drang of 'German Defaults' into the propulsive electronics of 'London Interiors', a dynamic sample-topped suite in the tradition of Bill Nelson. The addition of graceful piano motifs and swathes of hazy synthesis lends a tranquillity to the pulsating bass of 'Auf Einem Fahrrad', while 'SHM' marries soothing melody and crunching rhythm into a thoroughly medicated experience. Finally, 'Café Florian' pays homage to Schneider or Fricke with a euphoric fusion of metallic percussion and esoteric energies.

Far from a simple homage to the electronic idols of his youth, 'Mitteltöner' finds K. Leimer reimagining their nuanced sonic framework through a lifetime of musical experience and experimentation.

'The Layered Effect' by US rapper/producer Andy Cooper offers a punchy reminder of the creative fun to be had in digging for breaks, stringing up loops and layering up stratas of sound. Brimming full of delightful inflexions from the world of jazz, easy listening, film soundtracks and Hollywood voices, it's a perfectly stitched sound patchwork that pays loving hommage to the classic, funky days of early rap. A touching testimony to the joys of Hip-Hop then and now.

More than just the skinny white dude who's into old school beats, Andy Cooper has won his stripes after a twenty year stint with Hip-Hop trio Ugly Duckling, then a couple more hanging out with The Allergies, not to mention the recent release of eight 7" singles, an EP and now his second solo LP.What is utterly charming is how enamoured and respectful he is of how it was at the beginning AND of how it still should be.Far from being the "old timer/delusional revivalist" he describes in 'Last of the Dying Breed', Cooper cares not about colour or age, but that rap stays fresh, exciting, competitive, similar to a precious martial art.

For Andy, rap is a noble form. He's a wordsmith extraordinaire, snappy and audacious, tipping his hat "to all the microphoners who still bring that dedication and expertise to their craft" and choosing to work with equally rapid sparring partners like Blabbermouf and MC Abdominal. Ownership of the genre is a constant theme throughout the LP. Like a contact sport, you punch and fight your way to the mic and once there "no one can take it from me". Reverance is constantly being paid to the dons that went before, overtly Rick Rubin & the Def Jam crew, but covertly the reggae sound systems and jazzers of old.

Not a sloppy note or shabby rhyme here.It's an album that pops and fizzes with quirky beats and funky rhythms from start to finish. With production lines neater and sharper than a pair of sta press trousers, it's impossible not to be seduced by the sheer bouyancy of the lyrics, beats and intention. A refreshingly entire body of work with no low points, only head-nodding highs. It's good to stumble across a hip hop album that has you giggling, thinking, singing and wearing out the soles of your shoes all at once.

Air Lows is the debut solo album by Silvia Kastel. The Italian artist has been a fixture of the underground since her precocious teens, clocking up many miles in Control Unit with Ninni Morgia ('It's like Catherine Deneuve dumped two cases of post-Repulsion psychiatric notes over Pere Ubu's Dub Housing, lit the fuse and, ahem, stood well back" - Julian Cope), including collaborations with the likes of Smegma, Factrix, Gary Smith, Aki Onda and Gate (Michael Morley of The Dead C). Both solo and in her work with others, Kastel has explored the outer limits and inner workings of no wave, industrial, dub, extreme electronics, free rock and improvisation. Air Lows is both her fullest and most refined offering to date, a work of vivid, isolationist electronics which draws deeply on her past experience but assuredly breaks new ground. Prompted by a late-flowering interest in techno and club music, Kastel sought to create something which combines a steady rhythmic pulse with the otherworldly sonorities of musique concrete, and avant-garde synth sounds inspired by Japanese minimalism and techno-pop (Haruomi Hosono's Philharmony being a particular favourite). The formal artifice of muzak / elevator music, the intros and outros of generic popular songs, the extreme light-heavy contrasts of jungle, the creative sampling of hardcore, and the very 'human' synths in the jazz of Herbie Hancock's Sextant and Sun Ra: all were touchstones for Air Lows' conception and composition, and all strains of music addressing - or complicating - the relationship between the human and the technological. By extension, visual inspirations also proved important: anime, and the avant-garde fashion of Rei Kawakubo. What does that shirt or dress sound like Though used sparingly, Kastel's voice remains her key instrument, whether subject to dissociative digital manipulations as on 'Bruell', delivering matter-of-fact spoken monologues, or providing splashes of pure tonal colour. Recorded between her expansive Italy studio and a more compact, ersatz set-up in Berlin, Air Lows gradually takes on some of the character of the German capital: you can hear the wide streets and uninhabited spaces, the seepage of never-ending nightlife, the loneliness. Air Lows is The Wizard of Oz in reverse: the glorious technicolour J-pop deconstructions of its first half leading inexorably to the icy noir of 'Spiderwebs' and 'Concrete Void'. These later tracks are reminiscent of 2015's magnificent 39 12', Kastel in the role of numbed, nihilistic chanteuse stalking dank, murky tunnels of reverb and sub-bass. But in fact there is contradiction and emotional ambiguity to Air Lows from the outset, and throughout - a sense of both infinite space and acute claustrophobia; energy and inertia; fluency and restraint.

IMA (Intense Molecular Activity) is the duo of Don Hunerberg (synthesizers) and Andy Blinx (drums and percussion). Based in New York City and active between 1979 and 1982. Don, a studio Sound / music engineer and musician, Andy an electronic clothing designer, drummer and sound reinforcement engineer at downtown clubs like Max's Kansas City, Mudd Club and CBGB. In between doing sessions at Radio City Music Hall Studios for groups such as Ramones, Richard Hell, Sonic Youth, Liquid Liquid, John Zorn, Glenn Branca and many others, IMA took advantage of off hours to create their own music. As far as influences go, Don's background was in electronic music and Andy's in prog rock. To produce the songs, Don used his own method of creating patterns from 2-track tape loops and then edited them together on to a 24-track recorder adding more tracks of overdubs, In a very similar way that sequencers are used today. By 1980 the duo honed their own unique sound and version of Post Punk and No-Wave with the tools of the trade of the early 80s. Situated above the proscenium of the Radio City Music Hall stage, the studio was outfitted with a variety of orchestral instruments (timpani, bells, xylophone, etc). They self-released a 4-song EP titled 'IMA' on an 8' flexi-disc which was distributed by Ed Bahlman of 99 Records. The music bridges the wild psychedelic-rock of the 60s, the synth-punk of the late-70s and the elaborate constructions of progressive-rock. There are nods to the freak-outs of Chrome and the super neurosis of Suicide, but IMA takes a more clinical approach which also takes notice of Hawkwind and Pink Floyd's interstellar overdrive. We've added 4 bonus tracks recorded during the same studio sessions and included them here for the first time on vinyl. DJ Hell lifted elements of IMA's song "Blurb" virtually intact and uncredited for his electroclash club hit "Keep On Waiting" 20 years later. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a spray painted IMA tag a top a red dashed 'Do Not Enter' sign. Each copy includes a double-sided postcard with notes. This Album Is dedicated to the memory of Andy (Blinx) George.

The night is what makes a big city come to life. Right after sundown, the hectic buzzing of downtown makes way for adventure playgrounds, bathed in neon light, revealing their countless chances and opportunities. It's when you'll find the subway spitting out it's purpose seeking passengers by the minute. A coming and going of restless people passing through. All it takes is a few hours, before the sunrise makes it all disappear. Mental Bend captures the magic of that very moment in their dreamy soundtracks. If you close your eyes, you can see blurry pictures passing in slow motion, accompanied by their atmospheric songs. Grainy black and white snapshots, fragments of memories lighting up somewhere in the farthest corner of the cortex. 'One Step' is the Berlin-based indietronica duo's visually vivid debut album, released on Enfant Fenou. Mental Bend are all about letting go. Sissip (voc/synth/bass) and Hendrik Havekost (beats/production) know how to trust their instincts, crafting their hypnotic signature sound, somewhere in between electronica, ambient and dream pop. Before founding the band in 2013, the two were already shaping their skills in all kinds of different formations and styles of music. As soon as they got together, they had a viral mini hit with their song 'Take My Hand', praised on various tastemaker blogs and generating over 100.000 likes on Soundcloud in no time. The band's first long play record 'One Step' is all about important experiences and decisions, small as well as big steps, all a part of making progress, which in the end can even be life changing. It was a step, that recently got Mental Bend their record deal on Mo's Ferry's sub label 'Enfant Fenou'.

Early 80s. Christiane F and Tron meet over a brutalist landscape. Clock is ticking. Electronic pioneers bang up post punks. Dirty hits. Take more. Time is running out. Northern European sub-cultural appropriation to destroy the dance. Still, it sounds good. And it looks nice. Nice sleeve art. Move along. Move along.

Mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin.

Hana's first and self-titled LP was recorded in Autumn 2010 at Facta non Verba and consists out of 5 tracks which are techno oriented with disposal of experimental and abstract elements.

Reviews

OMG Vinyl
Hana s S/T LP is easily the best promo records we ve gotten in months. This Greek duo has somehow, almost entirely below the radar, released one of the most exciting electronic records of 2011. Their wobbly brand of techno sometimes chugs ahead at full-speed, other times easing back into a wider waver, almost resembling some weird, warped IDM. I will be shocked if this record doesn t get wider appreciation very soon. Whether that happens or not, we fully recommend it, track one down.

Cyclic Defrost by Oliver Laing
Granny Records duo Hana come correct with their first album, offering a refreshing take on techno and IDM variants in the vein of Jan Jelinek, Raime, Actress and hints of the mighty Chain Reaction label. Mastered at Berlin s Dubplates and Mastering by none other than Rashad Becker, a name that often appears in the run-out groove of artists who inhabit a curiously funky techno-not-techno netherworld Hana s debut self-titled release grows in stature and listening enjoyment with every spin. With a sense of fun and adventure inhabiting the grooves, Hana (who are also part of label-mates, Good Luck Mr Gorsky), explore experimental timbres and ghostly vocalisations with a lightness of touch that belies their recording credentials.

Starting off with an abstract, Clicks and Cuts style intro, Liv slowly finds the sweet spot between mutant Detroit electro funk, a hint of the indie/dance territory of Matthew Dear and the abstract, yet rhythmic 12 releases on the Beatservice label, by Norwegian duo Information from the mid 90s. Obermaier implies the groove to begin with, until a wrong-footed man-with-two-left-feet rhythm leads into minimal acidic flourishes. Album opener SM heads in a Ricardo Villalobos vs. Nonplace Urban Field direction, as the lopsided rhythm and sepulchral vocals add a haunted edge to proceedings. CR80 uses beautifully syncopated live drums and urgent female vocals, and adds a driving, belligerent synth riff falling somewhere in between DMZ and Gary Numan. Echoic, boingy sounds threaten to derail the beat, but somehow it manages to maintain, reminding me of Shed and A Made Up Sound; more in overall feel than in the specific sounds. For those that enjoy abstract electronics that work just as well on headphones as on the dance floor, Greece s Hana are a duo to watch.

Textura
Hana's self-titled debut album arrives saddled with a (literally) cheeky front cover one would more associate with a 70s band like Wild Cherry than a Greece-based techno outfit formed in Thessaloniki last summer. Recorded in fall 2010 at Facta non Verba, the five-cut release finds Good Luck Mr Gorsky members Thanasis Papadopoulos and Thanos Bantis hunkered down in their chemical lab concocting formulae to go along with their material's stripped-down techno beats. Using analogue synths, samplers, and sequencers, the duo brings a decidely experimental edge to their productions, sprinkling as they do liberal doses of burble and flutter over bass-heavy techno rhythms.
The opening track, Sm, sets the scene with a heavy low-end pulse thudding alongside a steady kick drum and joined by acidy synths and percussive effects that suggest a lighter being repeatedly flicked open. On a slightly more aggressive tip, the B-side's Cr80 adds truncated vocal yelps to its bleepy, elephantine throb. A dubby dimension emerges in the track, too, when echoing waves drift repeatedly across the huge bass that slithers across the track's underbelly. The album's most elaborate track comes last. Liv opens beatlessly with flickering shudders and what could pass for the amplified workings of an ant community but then progressively fills in the dots with an insistent beat pattern, voice fragments, and even the demented meander of accordion playing. Though Hana hardly rewrites the techno guidebook on the release, it's nevertheless a pleasurable listen, in part due to the multi-dimensional experience provided by the vinyl format and the always superb mastering work done by Rashad Becker at Berlin's Dubplates & Mastering.

Killekill House Trax is going strong - this time with a 4-tracker by the incredible Andreas Gehm alias PUKEMASTER GEHM.
He sent us the music shortly before his death and said we could pick any of his artist names and his only condition was that the music was released on vinyl. Only after his death we realized that he had obviously already taken a decision then...
So we are releasing this record now as an homage to one of the most creative and funniest persons in the electronic universe of the last decade. We picked the artist name Pukemaster Gehm as it reflects his humor the best and also because it's the most suitable for the tracks we picked: The EP ranges from hard jacking Acid House over weirdo Electro House to old school Chicago-leaning Piano House. A timeless record for all situations.
May you rest in peace, Andreas, and thanks for still rocking our floors, even when you are long gone!

The Blink single is a labour of love spanning over 2 years evolving from Reshape's Live Series. The 'Tunnel mix' takes its title from being road tested at the now closed Tunnel Club in Paris and both tracks are a homage to early UK and Detroit techno which Redshape holds fond memories of from his youth.