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The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

The third in the releases where label favourites are represented for today and backed with a remix / version by a contemporary producer of repute, presents 80s leftfield pop-rock band In Embrace. Appearing here are two versions of The Living Daylights, the original long version and a re-recorded live take, plus additional versions by Timothy J Fairplay.

Coming out of the midlands Post Punk / fanzine scene Gary Knight and friends formed the original incarnation of In Embrace in 1981. Picked up by Glass Records, the early, edgy live recording were re-proposed as Knight developed his 'non-musicianship' with an interest in the possibilities of the studio.

The original "Uncut" version takes it's anti-war themed vocal and lays it over a Jah Wobble inspired bassline and tense electronic rhythm. As it builds, the pressure mounts a visceral sense of oblivion of 9+ minutes of deep dubbing and repeating refrain.

Next to this the "Live In Studio" version sees the later 3 piece band replay it out in an energetic raw form that makes a worth addition. Handing the versions, plus backing tracks to Timothy J Fairplay offered a radical departure. His brooding Redub and Bonus mixes take the track to a darker place, drawing out the induced, relentless madness Knight always intended.

To coincide with the announcement, the pair have shared a video for the album’s title track directed by Sam Davis and Tom Andrew, who has previously received two UK Music Video Awards nominations for his work with Avery. Speaking about the video, Andrew explains, “We were keen to capture a visual representation of the tempo and atmospheric emotion of the track and make a video exploring the notion of collaboration. A super-motion approach allowed us to explore details of motion shared between two people, in tactile actions of aiding and supporting.” Cortini adds, “The video embodies the volatility and hidden nature of the music’s subject and meaning. A meaning that is ultimately personal and unique the listener/spectator.” Watch the clip .



Beginning as a collaborative experiment before the pair had even met, Avery and Cortini then worked remotely and free of concept or deadline over several years. The result, finally completed when both artists were touring with Nine Inch Nails in 2018, is a quietly powerful album rooted in trust, process and experimentation. The first fruits of their labour were unveiled last year when ‘Water’ and ‘Sun’ appeared online, subsequently released as a very limited 7” run that was sold at FYF Festival and Mount Analog in Los Angeles, and Phonica Records in London. Both tracks are included on the album.



“It was very much a shared process”, notes Avery. “I would like to credit Alessandro with his belief that music has a life of its own, as well as the importance he places on the first take... That even something that may be considered out-of-step by some should be respected. Some of the tracks were borne simply out of a tiny synth part, or a bit of tape hiss that we had recorded. And that approach taught me a lot. It’s a record that’s been worked on hard, but not laboured over.”



“I was a big fan of Daniel’s, and his work always spoke to me in a certain way,’’ explains Cortini. “Then, when we started working together, it just clicked. It’s very hard to explain, but I can always hear the love in his work, and that is true on this record. After our first collaboration, we just kept sending each other music and maintaining that dialogue. Next thing you know, we’re sitting in a hotel room in New York and had finished the record in three hours.”



The collaborative album follows Avery’s second record Song For Alpha, released in early 2018, and last year’s expanded edition B-sides & Remixes. Mixmag called the sophomore LP “A beautiful maturation of Avery’s work as a producer,” while The Guardian hailed its “Majestic, cavernous techno” and Loud & Quiet praised Avery as “A producer fast approaching the peak of his powers,” “This album cements Daniel Avery as one of the best,” wrote DIY. The London-based producer will perform at BBC Radio 3’s Unclassified Live on April 3rd, a new series of concerts in the Southbank Centre's Queen Elizabeth Hall presented by Unclassified host and presenter Elizabeth Alker and conducted by André de Ridder – tickets are available here. Avery has also just been announced in the first wave of acts for London festivals Re-Textured and the inaugural Wide Awake, taking place in April and June respectively.



Cortini released his most recent solo album Volume Massimo on Mute in July 2019, following Fine, the Italian artist’s final album under his SONOIO alias, which came out the previous year. The Quietus called the former “an album that showcases just how much Cortini‘s aesthetic has developed since his early days,” while Exclaim! hailed it “a melodic exploration of textures and layers … an instrumental masterpiece that adds to an already incredible body of work by the gifted and skilled composer.”

The consistently innovative Catch Recordings is back with a new EP from Leipzig based producer U+00C5. As always with this label, the music is right from the cutting electronic edge and finds this stylish producer blur the boundaries between ambient, dub and techno in evocative new ways.

Cult favourite U+00C5 is focussed on new musical forms, on modern sounds and redefining the European techno sound. He consistently pushes forwards and is a master of the interplay between hypnotic repetition and otherworldly abstractionism, all while drawing on dark ambient and drone. Once again here the producer who also works as Åmethyst is in fine form across all five tracks.

Atmospheric opener 'Blutdruck' is a deep techno roller that fizzes with a sense of post-industrial dystopia. The shadowy grooves are eventually backlit by subtle chords that bring real warmth and soul. The excellent 'Empfinden' is more high tempo but just as cavernous and absorbing thanks to the rolling rubber drums, distant synth drones and sci-fi motifs that add the all important details which keep your head as engaged as your heel.

The beautiful 'Taumel' is another slice of hypnotic and tunnelling techno embellished with gorgeous ambiance from the outer edges of our galaxy. 'Nichts Ist Wahr' closes things out with suspensory pads giving you the feeling that you are floating in space before the firmly rooted drums rumble on and take you into the next dimension.

This is another fascinating EP of club ready but seriously heady sounds from Catch Recordings.

With the collective generosity of all those involved along the way, from mastering, manufacturing, affiliated record stores and PR to the artists themselves and PDD, all profits from this special one-sided Artwork remix of Mildlife ‘Zwango Zop’ will be donated to two charities combatting the bushfire emergency in Australia via Prime Direct Distribution; Wildlife Victoria and the Australian Red Cross.

Their indispensable efforts continue to assist the emergency response, rebuilding homes and habitats, supporting rescued animals and the shelters that house them, alongside aiding the evacuation centres and recovery hubs created in many communities and implementing recovery plans for those who have been devastatingly affected by the bushfires.

Certified man of the people, king of the content and all-round good guy Artwork has been there, everywhere, and done it all - in more guises than many would even know about. From Magnetic Man to Grain, D’N’D to Artwork he’s a master producer, well versed at knowing what dancefloors want and more importantly need.

Now take Mildlife, the boundary pushing, critically acclaimed Melbourne-based space jazz four-piece, who’ve managed to seamlessly blend jazz, funk and disco into one multi-coloured, multi-layered melting pot of auditory excitement. A band whose hype is certainly lived up to, with the likes of DJ Harvey heavily championing them to the point of including ‘Magnificent Moon’ on his ‘The Sound Of Mercury Rising’ VA LP.

A wash with improvisation, soaring synths, stratospheric bass riffs, and a fluidity of grooves, ‘Zwango Zop’, taken from Midlife’s debut album ‘Phase’, is kaleidoscopic cosmic gold. For this special non-profit release, Artwork extracts that undeniable funk energy and turns into a 10-and-a-half-minute, highly hypnotic, instantly addictive creation that it is as psychedelic as it is slamming.

Just one of many examples of the dance music community coming together as a power of good to raise funds for those affected by the emergency in Australia. Support the cause, through the medium of music.

Kicking off 2020 – Great Circles takes a step away from the dance floor with the release of the monolithic new work from Philadelphia-based artist Radere, ‘I Do Not Want What I Have.’ This long-in-gestation set of slow burning electronics and shadowy drones is part of the label’s growing selection of releases dedicated to deep listening, following on from the 2017 Prefix Moniker LP.

Radere is the ongoing project of Carl Ritger, who has worked under the nom de plume since 2009 and has deep ties to the Great Circles family. He played some of his earliest shows at Inciting HQ, the recently shuttered, label-affiliated venue, and invited Justin Gibbon AKA Westov Temple and Great Circles label founder to contribute to some of his earlier recordings. While he started out as a more straightforward ambient guitarist, Ritger’s work developed into more experimental textures as he explored modular synthesis and processed found sounds.

Ritger’s releases from his time spent living in Denver, CO c. 2011-2018 are marked by a particular strain of east coast nihilism and an angular aesthetic that keeps the listener off balance. Now back in his native Philadelphia, the two long-form pieces that comprise ‘I Do Not Want What I Have’ represent a perhaps more nuanced meditation on pain and loss. “Spitty Kisses,” the 15-minute album opener, takes aim at the listener with a brutal salvo. It is almost sadistic in its sonic intentions – acerbic modular sound and abrupt stuttering in the material leave a listener personally affected. “You’ve Been A Ghost Your Whole Life,” on the flip, delivers a salve for the A-side’s wounds and resolves its masochistic tones.

Written through a period of intense personal trauma as a means to seek comfort and solace through creative action, it’s clear that the puerile humor of nihilism is gone and grown out of in Ritger’s work.

FFO: taking long walks off of short piers, the legend of the monk Kelpius living among the trees of the Wissahickon, traditional creation and destruction stories in polytheistic faiths, and John Coltrane.

The record is accompanied by a digital-only series of remixes by friends of the artist and regular collaborators, including new works from Borne and Shivers, as well as Great Circles alums Westov Temple, Chaperone, and WOLF DEM.

Back in 2018, Lumière Noire celebrated its first anniversary with a compilation featuring thirteen exclusive tracks by an eclectic group of electronic musicians – a family portrait of sorts. A few months later, a second volume of From Above, compiled by the label's artistic director (and DJ) Chloé, once more brings thirteen established acts together with promising upstarts. The first compilation was the embodiment of the label policy advocating for both artistic excellence and a widening of electronic aesthetics – bopping from deviant house music to adventurous IDM and to the rigor of dancefloor techno, among other electronic explorations. Some of the artists featured are now closely associated with Lumière Noire, while others were more established performers such as Benedikt Frey, Lauer, Jonathan Fitoussi, Il Est Vilaine, Dave e Brun (half of Swayzak) and Frank Agrario, as well as upcoming artists such as C O N T R A (a side project by none other than Iñigo Vontier), Sutja Gutierrez, Théo Muller, Markus Gibb, Bajram Bili, and a sprinkling of UFOs circling the genre (Suuns' Ben Shemie, Drvg Cvltvre, and electro-acoustic combo Lumi). This group photo laid down a number of paths for a label in perpetual evolution.

Since then, the Parisian entity has continued to grow within the international electronic scene, releasing Local Suicide's Leopard Gum EP, Iñigo Vontier's first LP, and planning another slew of releases for 2020. The lineup for this second volume of From Above is once again equally intriguing, offering a crescendo-like track listing over a double LP format, which is a feat of sorts for a "Various Artists" compilation.

Marc Mélias' fascinating, unsettling Permanent Waves gets the proceedings going with a contemplative track that provides a serene opening to the odyssey on which From Above will be taking the listener. Pletnev continues on with the playful, hooky Marco O’Polo, a fundamentally techno track built over a seductive 90s-inspired breakbeat. Douglas Greed (whom Chloé remixed on BPitch a few years back, and had himself remixed track from her album Endless Revisions featuring Ben Shemie’s vocals), supplies Vancouver, a slice of ambiance à la Boards of Canada, supported by a gripping breakbeat. The rhythmic arpeggio of Israeli producer's Middle Sky Bloom makes his contribution a hypnotic, disconcerting slice of dark disco. Thomass Jackson, a safe bet in the new wave of the Latin-American electronic music blowing its sometimes hot, sometimes cold wind, proposes Mithra, a dancefloor incantation to the Antiquity's bull god. With Bells, Goldmoon delivers a track that is both melodic and nostalgic, tinged with rhythmic samples, Moog basses and solar backgrounds. Longtime friend of Chloé, Krikor, who has released two albums on L.I.E.S. Records (Pacific Alley and Saudi), offers a moment of respite with Sally Hardesty (a nod to fans of horror movies), a heavenly and bewitching track that, paradoxically, hints at the highly energetic second half of the compilation. Discovered with Confidences EP released on Lumière Noire, the young French producer Morgan Blanc asserts himself here with Werde Der Du Bist ("Become who you are"), a song with luminous chords and midtempo rhythms to start the second half of the compilation by raising the tension. Galician producer, DJ and designer Cora Novoa continues the rollercoaster's ascent with her Virtual Aesthetics, which once again brings those acid tones – this time without the vertigo. Equally corrosive, but tenser and more percussive, the uncategorizable NSDOS' AL-G attempts to give order to a chaotic electronic world full of violence and danger. Rebeka Warrior (half of the duo Kompromat alongside compatriot Vitalic), takes on a more nostalgic vibe with Ich Komme Zurück, a French/German techno chant evoking a secret dream of a track from a bygone era. Three years after the release by Lumière Noire of Moderna and Theus Mago's stroboscopic Dog Is Calling You, Theus Mago makes a solo comeback with Idealistic Stone, a most acid of club tracks, rattled by the modulations of the inevitable TB 303. French electro-rock saltwarth Yan Wagner's dancefloor alter ego The Populists' Prehistoric Lemurs gives an almost Orientalizing twist to Kraftwerk's techno-pop. To close things off, the collection's last track, the appropriately-named Instant Track by impromptu encounter between Hervé Carvalho (Acid Arab), Jacques Bon (Smallville) and Demian (Kompakt) Acid Love Triangle, releases the pressure with a long, bittersweet reverie that leaves the listener, at the end of these thirteen musical adventures, to rest languorously on an artificial and welcoming shore.

WRWTFWW Records is too happy to announce the much anticipated official reissue of Japanese duo Inoyamaland’s quintessential ambient/environmental/electronic album Danzindan-Pojidon, produced by Haruomi Hosono and originally released in 1983 on his Yen Records label. Available outside of Japan for the first time, the new age classic comes as a limited LP with liner notes by band member Makoto Inoue.

With Danzindan-Pojidon, Yasushi Yamashita and Makoto Inoue created what they describe as "a special place where the kingdom of summer vacation never ended". Playful and magical, it’s a sonic landscape defined by tinkling synths, floating minimalist melodies, pastoral excursions, and mythical overtones. The 10-track adventure takes the listener on a joyful audio exploration of unknown but friendly territories, like childhood memories of an imaginary island where everything is vibrantly alive and peaceful.

The original recording sessions for the album took place in an apartment filled with Inoyamaland’s "favorite things and friends" and the wonders that came out of them were handed to master Harry Hosono who added his undeniable genius touch. And thus Danzindan-Pojidon was born, an absolute must-have, sitting in the pantheon of all-time 80s Japanese ambient greats alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, and Satoshi Ashikawa’s Still Way - and holding that mysterious power of "music that makes life a little easier and happier".

‘Visions’ is a new collaborative album from BADBADNOTGOOD co-founders, Matthew Tavares and Leland Whitty. The Grammy Award winning, multi-platinum producers have been performing and writing music together for 10 years. They have achieved international acclaim with BADBADNOTGOOD and Tavares’ recent solo single ’Self-Portrait’ has been championed by tastemakers such as Gilles Peterson and Benji B. ‘Visions’ is the latest upshot of their incredibly fruitful partnership.

Recorded in Toronto, it was produced by Tavares and Whitty - with Tavares also mixing the album and arranging strings. After a three-week writing period it was played in its entirety in one continuous studio session; almost all the tracks on the album are the first take. Tavares is on piano and guitar, Whitty on saxophone and flute. The rhythm section of Julian Anderson-Bowes on bass and Matthew Chalmers on drums completes the players. They make an impressive collective and are performing at the peak of their powers.

Conceptually the album is a canvas for a combination of composition and group free-form improvisation. Tavares and Whitty are the sole composers, but with some tracks collectively improvised, there is also a group dynamic running through the album. The outcome is a sublime melting pot of modern jazz, impressionist classical music and Arthur Verocai-esque arrangements. It is a sound that is hard to date; it is certainly of the now but is also reminiscent of a lost classic. Similar to the process of its creation, the optimal listening experience for ‘Visions’ is in its entirety. As a coherent body of work it draws the listener in with waves of intensity and crescendos that release back into tranquility - there is both darkness and light in the album’s narrative arc. There is also rawness and honesty to the music, which makes it feel like an intensely personal and intimate offering.

"Aporia" is a New Age album from Sufjan Stevens and his step-father and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths' sawtooth waves, "Aporia" approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog - but a fully realized collaborative musical piece. Stevens and Brams recorded "Aporia" over the course of the last several years during Brams' visits to Stevens' home in New York with the help of several frequent Asthmatic Kitty collaborators, including Thomas Bartlett (Doveman), D.M. Stith, Nick Berry (Dots Will Echo), John Ringhofer (Half-handed Cloud) drummer and longtime collaborator James McAlister, keyboardist and trombonist Steve Moore (Sunn O)))), guitarist Yuuki Matthews (The Shins) and vocalist Cat Martino.

Matt Karmil's fifth album is a meditative collection of woozy loops and soft focus house. STS371 is the follow-up to IDLE033, - - - -, ++++ and 2018's acclaimed Will. Matt Karmil is British born - growing up in the rural town of Salisbury, near Stonehenge. Suffering a prolonged illness as a child, he spent much time indoors whiling away the long hours by playing with a classical guitar. Eventually he was well enough to see the world that had almost left him behind, and he spent his early twenties as an international traveller, DJing, record collecting and working as a producer-engineer in London, Paris, Stockholm and Berlin. In 2012 he decided to settle on Cologne âÇ" a city famed for its excellent club scene and ultra-minimal take on techno via the collective of artists and producers around the Kompakt label. With a studio established in Cologne, Matt made his LP debut with the well received (but hard to Google) "----", combining dusty samples and elegant tape hiss with scuba-diving grooves and minimalist vibes. In the same year he released the jubilant club anthem 'So You Say' on Tim Sweeney's Beats In Space label and remixed John Talabot and Axel Boman's (Talaboman) single 'Sideral'. Recent years have seen a raft of new releases from Matt, remixing XPress 2 for Skint, the albums idle 033 and ++++, as well as 12"s for YumAc Records, Idle Hands, Endless Flight and Studio Barnhus, received with great reviews in publications from The Wire to Resident Advisor and beyond. 2016 also saw Matt much in demand for his skills in engineering, mixing and mastering, working extensively with Matias Aguayo for Crammed Discs, Kornel Kovacs for Studio Barnhus and Talaboman for R&S, among many others. At the invitation of artist Christine Sun Kim, Matt composed a sub-20Hz piece for Bounce House at Sound Live Tokyo 2015, while his video collaboration with Boston's MIT Media Lab, Time Moods, was premiered in late 2017.

Max Essa completes a trio of terrific releases on Hell Yeah with The Great Adventure EP. It's packed with more grown up dance floor dynamite and later in the year will be collected together with the first two parts to make for a full album.

By now you will know that Essa is part of the UK's Balearic mafia. He's served up big tunes on Is It Balearic?, Aficionado, Music For Dreams, and his music always acts as a sonic raft that floats you out to sea and leaves you bobbing up and down in a state of pure bliss.

Opener 'Tombolo' starts as acoustic music and the sound of a muffled crowd but soon awakens into an uptempo affair littered with toms, guitar licks and claps that are driven by bumping drums. There are elements of old school, Italo and classic house but somehow it feels completely new and fresh as it takes you ever higher.

'The Great Adventure' is masterfully sun kissed disco with crisp 80s drums, love struck chords and a yacht rock feel that is pure joy, something like topless dancing with sand between your toes and umbrellas in your cocktails.

Closer 'Fool in the Pool' sinks into gentle tabla drums and unhurried chords. It's horizontal and thoughtful - the sound of a lazy afternoon somewhere on the Mediterranean coast, gazing at glistening seas through the romantic lens flare in your sunglasses.

This EP is already great feedback from the DJ dons who have been giving it early plays, so act now to snap up your first summer sounds of 2020.

Ryan Crosson takes care of the fifth EP on tastemaking Detroit label My Baby Records with a fantastically forward-looking four-track vinyl offering. Ryan Crosson is a complex artistic creature who has roamed far and wide in his storied career. His always innovative music has come on groundbreaking labels including Wagon Repair, M_nus, Spectral Sound, and of course his own Visionquest. Each time he explores a new sound world and draws on things as diverse as musique concrète, Downtown New York funk, and East African jazz. Now he cooks up more beguiling brilliance on this fresh new EP. Opener ‘Speaker Dubs’ is a deep, bubbly rhythm track with dub chords rippling out to infinity. It’s a stylish track full of far-sighted reverence and supple groove that locks you in a trance. ‘Ogilvie’ is a piece of absorbing ambient with found sound recordings of muffled voices that sounds like you’re in an underground station. B-side opener ‘FutureTheory’ is another minimal masterpiece with glitchy sound design and eerie chords peeling off a tight, kinetic groove. Ghoulish voices add more late-night atmosphere and the whole track grows ever darker and more consuming as it unfolds. The excellent ‘OortCloud’ takes you back to the heart of a dance-floor with futuristic menace: the smooth drum loops are militant, the voices are dehumanised and the searching synths speak of a desolate landscape. It’s heady, brilliantly bleak stuff that is utterly infectious. This is another hugely inventive EP from one of the underground’s most consistent talents

Ferrum is a large-scale exploration of inharmonic timbres, oscillating between brutal grinding textures and intricate percussive singularities, created by digitally transforming recordings of various metallic objects.

Susanne Kirchmayr's new album takes a close personal look at the spectral richness of iron and other metals, in various shapes and sizes, recorded, processed and arranged to a carefully curated selection of musical miniatures. Some of the results are an obvious nod to her Electric Indigo DJ alias, music that could be played on the dance floor of an alien cargo ship, both highly familiar and foreign at the same time. Others offer almost steady-state like meditative qualities, vibrations from deep within, on a sub atomic level, full of light and motion on the tiniest possible scale. The limitation in material opens up a seemingly unlimited world of colours and rhythms, oscillating, resonating and highly immersive.

"Tracey's 'Microdancer' is the follow up to last years critically acclaimed 'Metamorphosis' EP. 2019 saw Tracey release his debut LP on Dial plus spin at Amsterdam's finest club De School for the first time, The 'Microdancer' EP shows Tracey's contemporary take on IDM + Electro, a timeless sound that's helped shape him as an artist."

A unique album of outtakes from the classic ‘Songs
Of Praise’ and ‘In Pursuit Of Shashamane Land’
albums, compiled by On-U archivist Patrick Dokter
from the original tapes and expertly sequenced to
work as an immersive listening experience. A
companion piece to the acclaimed ‘Return Of The
Crocodile’ set from 2016 that took the listener on a
version excursion through the early years of the
group.
 These are the dubbier and more out-there
experiments mixed down whilst Adrian Sherwood
was shaping the sound of the albums. Bubbling
percussion lines skitter across the stereo spectrum,
ghostly voices echo inside the machine and
mangled guitar riffs beam down from Mars, whilst
staying rooted in the tough tribal rhythms that
form the bedrock of the AHC sound. This is music
for the head and feet, take heed!
 Mastered by King Kevin Metcalfe. Comes with
digital download card for full contents plus doublesided poster insert containing an extensive new
interview with African Head Charge mainman
Bonjo Iyabinghi Noah, telling the story of his early
life.

Soma welcome the debut album from the ever-growing roster of youthful talent as Lewis Fautzi drops The Gare Album, named in homage to The Gare Club, Porto, where Lewis made his discovery of Techno. A bold 4 track single debut gave rise to the album process midway through 2013 and under the careful supervision of Soma, Lewis has provided a definitive peak in his sound cultivated on the back of years of studio work. A collection of deep, dark and twisted techno awaits.

A definite maturity in production shines through on this fantastic LP from Fautzi as he creates a cold and calculating output, clearly focused on the future. The Gare Album has allowed Fautzi to express himself fully through electronic music, a task that he has taken to whole-heartedly.
The Gare Album will be released on limited double LP.

Repress

SUBEE, the sister label of Beeyou Records is back again with a super split EP from upcoming Russian talent b0n & t3x3. This groove infected mixture of house, garage and jazzy cuts has all your dance floor needs covered. b0n takes full control of the A side + mystery men t3x3 handle the B side.

LTD editon - Orange vinyl and high quality download codes

Homemade synthesizers, banjo, guitar, recycled toys and broken electronic beats .. there’s more to Solo Moderna than just an unconditional love for analog tweaking. From his native town of Tilburg, Netherlands, Multi-instrumental virtuoso Bas Voorn is peaking in on all corners of the world, infusing Mento, ska, cumbia, Balkan, dancehall, dembow or afrohouse, into his minimal, joyful, 8-bit, approach towards electronica, to create strangely syncopated, ridiculously infectious grooves. It’s as if Kraftwerk and Señor Coconut went on a trip to Africa, the Balkans, the Caribbean and South America, and "Republica Moderna" emerged from these adventures. From the Balkan-Dembow of “Escúchame Como Soy” and the cumbia of the Washington-based Empresarios in “La Bandolera”, to the sun- kissed, afrohouse vibe of “Sonido SID Africano” and the west African “Republica de chonta”, Solo Moderna gleefully shifts from the acoustic to the synthesized to create a surprisingly coherent work. For Solo Moderna, life is not something to be taken so seriously. Instruments are toys, and Earth and it’s cultural diversity a playground. It is this unique lightheartedness and flippancy, moving you to smile, dance and enjoy life as it is, that makes Solo Moderna one of the few artists you can recognize immediately after an 8- bar snippet of a song heard in any club around the corner. Republica Moderna, his 3rd album to date, is a vibrant, delightfully upbeat, timeless homage to the world’s musical diversity.

This is GCLP157
It's an Orange LP and brings download Codes

'CYAN’ is the third full length LP from San Francisco Bay Area-based band The Seshen. Taking its name from a colour that is both strong and soft, the LP unravels the progression that has been made since 2016’s ‘Flames and Figures’, both as a band and as individuals; “Since ‘Flames and Figures’, a lot has been taking place both internally and externally.” Lyricist and vocalist Lalin St. Juste recollects, “we were on tour for the last album during the 2016 US election. There was an intense heaviness, a familiar one, one that extends generations and it just sunk in even further.”

The battle to overcome this heaviness, felt as a result of political and social issues and through Lalin’s own experiences with combating depression, fuels ‘CYAN’. “I was at the edge of myself,” she confesses. “This album is about pulling back the layers of who I am in order to push through sadness and grab onto what’s underneath”. From the opening lines of the LP on “Take It All Away”, these ideas are displayed - “I think it’s been too long that I’ve been your puppet / Cut these strings, I don’t want any of it”, she sings. Led by exposed yet bold musical endeavours from bassist/producer Akiyoshi Ehara, the album sees The Seshen delve into uncharted eclectic realms; “I think that there’s a lot more rawness on this record” Aki muses.

Anchored by Lalin’s sly, silvery vocals (which draw frequent comparisons to Erykah Badu) and cerebral yet playful rhythms from producer- bassist Aki, The Seshen’s music pulls from a deep well of electronic influences, R&B, and indie rock. Drummer Chris Thalmann, keyboard/synth player Mahesh Rao, percussionist Mirza Kopelman and sequencer Kumar Butler make the music three-dimensional, blending live and digital instrumentation for a mercurial, transportive sound. Since 2012, the Seshen’s live show has earned them critical acclaim and a dedicated fanbase on multiple continents, as they’ve shared stages with the likes of Hiatus Kaiyote, Petite Noir, tUnE-yArDs, and Thundercat.

Limited edition 180g 12″ record featuring 5 bangers. Comes with high-quality gloss sleeve featuring Gobsmacked skull artwork.

Taking influences from underground spaces and dark clubs, the GOBSMACKED! 12” series kicks off with a bang, dropping a five track vinyl from Diarmaid O Meara. The Irish producer describes himself as “trying to push the boundaries of electronic noise” and he couldn’t be more right. It’s just 30 minutes long and hugely pulsing, but packs more punch than a gym full of heavyweight boxers. “While working on new tracks in the studio, I’m always trying to create my own personal rave, and when I find myself in the middle of a dark and twisted sound, then I know I’m on to something,” he says of the creative process in his Berlin bunker studio.

The 12” includes a number of previously released digital singles by Diarmaid O Meara, which have been his chart topping and most widely played tracks, that have not yet made it onto black gold until this point. Featured as multiple Beatport number ones, peak time festival big room sounds, countless Boiler Room recordings, the 12” is a collection of club belters, tried and tested over countless sound systems and DJs.

At Diarmaid O Meara’s touch in the studio, the technotic sounds released from his control become alive, while dark vibes take a stormy ride through intense rhythms. Track titles like ‘Selfish Bass’ convey the vibe of music that chews up and spits out razor-sharp techno and rave fusions that race to tempos upwards of 140BPM. There are playful techno tracks like ‘In Your Head’ next to euphoric rave ups like ‘Live In The Night’ and bass contortions like ‘Ripcord’ that are masterfully concise but utterly devastating. Not to mention the ever hypnotic, chugging sounds meets massive crescendo of ‘Improbable Strip’.

“Whenever something crazy emerges through a rig, enough for you to you hear people screaming in ecstasy, and you know the production has delivered”, he says. And it is exactly this momentum that GOBSMACKED! wants to deliver – it sounds loud and obnoxious but also fun that draws on real appreciation for dancefloor destruction as well as countless hours of studio work. Therefore, it is no surprise that the artwork for the series also features the style of the well known Gobsmacked bunker parties run in Berlin venues like the infamous Griessmuehle, where said music has probably been overplayed to crowds with goldfish length memories. .

Following on from Myele Manzanza's acclaimed 2019 jazz album, 'A Love Requited', we have a 2020 addendum to that project; an EP of remixes by a set of diverse musicians from all corners of the globe.

Detroit legend Theo Parrish starts off the proceedings. Theo & Myele have previously worked together on various projects over the years, such as with live outfit, The Unit, whilst Myele's 'Surgery Session' of Theo's track 'Moonlight' was picked up by The Vinyl Factory last Summer as well. On his remix of 'Itaru's Phone Booth', Theo maintains the tempo & structure of the original track, whilst tempering the horns and adding some spaced-out keys & a little low end theory to the equation, making this a flip seasoned with Theo's unique flavour.

Mark de Clive-Lowe follows with the most uptempo track on the EP, a delightful bruk refix of 'Big Deal'. Fellow New Zealander, regular collaborator (notably on Manzanza's sophomore album 'OnePointOne') and hugely respected musician in his own right, MdCL delivers a hefty groove direct for the clubs; heavy drums & sci-fi synths lead the way atop of the original's powerhouse horns, switching up with some MAW-esque 4/4 tribal business to close out.

Cardiff's finest, Earl Jeffers & Don Leisure, aka First Word label-mates Darkhouse Family, kick off the flipside with their take on the appropriately titled 'Family Dynamics'. Fresh from their solo & combined projects (producing for Kamaal Williams, running house label Melange, and creating beat-tapes like Halal Cool J & Shaboo), the duo turn out some punchy boom-bap vibes which pulsate throughout the track, accompanied by some sweet vocal hooks, transposing the original into a plucky heads-down neo-soul tinged stomper.

Borrowed CS is another New Zealand artist that's been bubbling away in the underground NZ electronic scene for several years now, as a DJ and a musician. He ends this selection of remixes, taking the original jazz components of 'Pencarrow' and transforming it into a synth-boogie lead piece of brooding broken beat - a 'Clear Path Depiction' even.

Released on Worldwide Award-winning UK label, First Word Records, the original album was also co-produced by another antipodean label-mate, Ross McHenry, who released a new album recently.

The son of a Congolese master percussionist, Myele Manzanza's roots in jazz and African rhythm are well established. Adding his long-time influences of hip hop and dance music into the mix, this EP exemplifies his approach to fusion, and his persona as an ever-evolving artist, drummer & composer. Since his days as part of Electric Wire Hustle, he had his debut release on BBE, has released three solo albums, and done tours & collabs with folks like Jordan Rakei, Miguel Atwood-Ferguson, Recloose & Amp Fiddler. Since moving to London from New Zealand late last year, he has already shared stages with Hiatus Kaiyote, The Bad Plus & Alfa Mist, rocked The Jazz Cafe & Ronnie Scott's, and ably demonstrated his DJ side-hustle chops at stations like Soho Radio, Worldwide FM & NTS, as well as behind the decks in a few danceries across the capital, and behind his drum kit daily.

Already hard at work on brand new material, expect to catch Myele Manzanza live at various shows & festivals across the UK & Europe this coming Summer.

'A Love Requited - The Remixes' is available on 12" vinyl & all digital outlets from March 6th 2020.

Salsoul opens the vaults once more to today's top editors and remixers. This incredible 12" sees those PBR Streetgang dudes take the reigns to great effect.

Digging in the vaults for those lesser spotted gems, the PBR crew have tweaked up 2 absolute Tom Moulton related killers here for our enjoyment. Side A is a finely tuned, lovingly fondled version of David Christie's LP cut 'Back Fire' from 1978. A sleazy, almost Euro feeling good timer that does the biz. On the flip, is the Destroyers mammoth 'Lectric Love', another lowdown cruiser of a track, nice cosmic FX and leather vibes for the late night prowl! Both edits are brilliantly done, and with a knowing and respectful nod too, one for the heads right here.

Fully licensed, sanctioned and released by Above Board distribution and Salsoul Records, 2020. Accept no imitations!

The Star Beams album is a bit of an enigma. When we first came across their epic dance-floor monster 'Disco Stomp’ it was on a Disco Calypso compilation, so we assumed it originated from the Caribbean. Years later we worked out how wrong we were and that this nugget was actually from South Africa and taken off an ultra scarce album on JAS Pride records from 1976. The next problem was tracking down an original copy and we don’t think we’ve ever seen our Bongo team member Gary Johnson as happy as the day he turned up clutching a copy under his arm. 'Play Disco Specials' was produced by Ray Nkwe who also worked with Mankunku Quartet and The Soul Jazzmen, with all writing credits on the album going to Ray, the recording credited to engineer Robin Ritchie and the artwork to Carol Knowles. Other than this, the personnel of the record remains a mystery, but sometimes a bit of mystery is a good thing. Aside from the disco-jazz-funk of 'Disco Stomp’, which has found it’s way into the DJ sets of Theo Parrish, 'Play Disco Specials’ will appeal to fans of The Star Beams South African contemporaries The Drive, Batsumi and Pacific Express.

Third time is a charm they say. But if the first 2 times were already so memorable, what more can you ask for?
Nebraska comes in with a bang for his third release on Heist after ‘Soften the Wireless’ EP in 2016 and ‘Metaphor to the floor’ in 2017. It’s hard to believe it has been 3 years since his last appearance on Heist, but with ‘Y’miss me baby?’, Nebraska takes back center stage with another releasefull of disco flavored electronics. Italian disco man-of-the-moment Giovanni Damico comes along for the ride and delivers a stunning 80’s flavoredremix.
It’s not to say that Nebraska (Alistair Gibbs) has been sitting still since 2017. He’s launched his own label ‘Friends & Relations’ where he explores his cut-and-paste style even more with some seriously cool disco dubs and other sonic adventures. Furthermore, he made a guest appearance on Aaron Dae and JKriv’s Razor ‘n tape Reserve. Apart from his regular musical explorations, he has also published a book (Surprise party every week) where we get a glimpse of how Gibbs sees the world.
His view is one of humor and positivity and one of creating new meaning through rearranging context. This is certainly true for his music and this new EP on Heist. The title track ‘Y’miss me baby?’ oozes funk with a clever combination of samples from different contexts put together to create something altogether new, yet familiar. The track has a real 80’s disco vibe to it and the vocoder adds even more to the ‘Zapp & Roger’ flavor of things. It’s a laidback track that feels like it was recorded on a gloomy Sunday evening with no pressure on anything and just room for fun.
The vibe takes a complete left-hand turn with ‘Dip and Flip’, a high energy house track that rattles, loops and bleeps into a full-on disco frenzy.
The b-side kicks off with Italian disco wizard Giovanni Damico remixing the title track. He’s had a great run recently with releases on Lumberjacks in Hell and more recently on Star Creature, where he’s found a home to explore his own view on modern day boogie. His ‘jam’ remix flips the track into a freeform arrangement where guitars, disco claps, delays and retro synth licks all work together for a great taste of Italian boogie.
The EP finishes off in true Nebraska style, with yet another curveball. ‘Xia long bao’ sounds like a lost Nick Holder track from the 90’s with its loopy island style Rhodes and lazy chanting. The choice of samples along with the catchy groove makes this a signature Nebraska track and a quality closer for this single.
We are super happy to have Nebraska back on Heist and with this amazing EP, you are certainly going to create smiles on your dancefloor of choice.
Yours Sincerely,
Lars & Maarten

It's always unwise to judge a label that's still taking its' first steps, but Banoffee Pies has barely put a foot wrong since launching a couple of years back. Here, the Bristol-based imprint continues with its' successful split release formula, gathering together a quartet of tracks from up-and-coming producers. Beaner kicks things off with the bumpin', low-slung deep house grooves and delay-laden guitar samples of "It Takes Two", before Philou Louzolo raises the temperature with the looped horn samples and thumping beats of "Alter Ego". Flip for the dreamy Balearic house goodness of Ron Wilson's "Albino Turtle", and the bongo-laden, after-party deep house shuffle of Mome's "Assatta".

Vermonische Melodien is a collection of compositions by DJ-producer M.RUX, made with old VERMONA machines from Eastern Germany. The nine Electronica tracks can’t conceal their influences from Exotica records of the 1960s as well as their fondness for vintage music technology. We hear voices singing lullabies (“Magische Time”), mumbling chopped up syllables (“Seelnatrax”) or reciting a Shakespeare quote (“Bakelit”) - are they real? Yes! But they are mostly generated by the world’s first speech synthesis hardware, the IBM 704 from 1954, and processed into off-key melodic beauty with vocoders. "I’ve always been curious about musical visions from the 1970s", says M.RUX about his inspiration for Vermonische Melodien. "Those nifty Vermona machines can today be seen as future machines from the 1970s. They seem almost mystical to me. Like relics from an epoch long ago… and I wanted to find out how music from that time could have sounded." On the album M.RUX uses, above all, equipment by Vermona, a brand from Eastern Germany manufacturing electronic musical instruments until 1990. The drum machine VERMONA ER-9 (1976) was the first instrument M.RUX ever possessed. It forms the rhythmical backbone of his studio on this record. The melodies on the other hand have mainly been played on a Vermona Formation-1, a suitcase synthesizer from 1980. Although these two machines are joined by countless other instruments and effect units, their particular soft sound is present in every single moment of this soothing album. "I also take a deep bow to the late Reinhard ‘Lacky’ Lakomy", M.RUX adds. "His releases were the first electronic instrumental records on the Amiga label which has been a huge influence for my work in general and this record in particular." M.RUX has appeared as a solo producer with his “In the Hold“ EP (2016) on his own YNFND imprint. Before that he had become famous for his edits which gently transform songs by Nina Simone, Townes Van Zandt, Tom Zé and many more into slow, dancefloor-ready gems. Pingipung is proud to present this first full-length album by M.RUX. He is not only a talented multiinstrumentalist and original producer but also a skillful remixer - as he has shown twice to the Pingipung audience in the last two years with his touches on Umeko Ando’s Ainu folklore songs

180g - Vinyl Only

After messing about with vinyl, Ableton and music in general for more than 10 years, Dyzz from The Illuminated decided it's time to take 'matters' into his own hands:

Introducing Degenerate Music - a label focused on bass heavy, chest rattlin', floor shaking & dub influenced soundsystem music - starting off 2020 with his inaugural and sharply curated 040 - 010 EP.

On "That Side" we can find 2 sought after VIP's from the duo Dyzz & Rebus, better known as The Illuminated. Both originals Scavenger & Eindhoviah have been released on New Moon Recordings, the deeper / techy sister label from the Moonshine camp and Underslung Audio (digi only). Scavenger got picked up early by the likes of Skream & Benga (BBC1 Extra radio premiere), Joe Nice (cut on dub), N-type & Walsh (Rinse.fm) and more. Eindhoviah became a warehouse dub for the gentlemen and close friends. The VIP's go way beyond the originals, fulfilling the gunfinger reload requests from the last few years.

On "This Side" we find another Scavenger version, this one fully locked on the triplets and loaded with some vocal samples from a galaxy far far away. Last but not least, Eindhoviah gets the young gun Hebbe treatment, this one's for the heads.

Now all the VIPS, versions & remix get the treatment they deserve, freshly cut on a 180 grams 12" heavyweight plate

'Funky Music Part One' has been our most requested song from the Sons Of Slum 'Music Is the Message' album from 2019 so we've released it on 7". The song is an infectious horn led proto disco dancer that brings joy upon the horns first opening up. The 'Part Two' version sees the group getting down deep and funky as the song takes a change in tempo and direction.

After a false start or two, Ess O Ess have finally joined the Kinfolk stable with a thunderous release featuring Laura Lee of Khruangbin fame.

Totem is the name and four versions is the game.

Starting off, the original mix is a wailing guitar-heavy psyche rock out that sees Laura Lee's vocals carrying it across a peyote-filled landscape.

Saul's Swamp Crawl version sees the slow 'n' heavy rock elements kept in the mix but with added electronic flourishes. Head nodding is an optional extra.

The Hardway Brothers decided to tune in with the spirit of Johnny Jenkins and haul it through New Orleans via a pit stop at John Carpenter's desert holiday home.

Otologic bring up the rear with an altogether different take by donning their finest digi dub garb and take it as far away as they can from it's psyche out beginnings

This LP resonates with the label on many levels. The originals, true to
LUMs sound and nature display his inner world, "LUM is above all a
spiritual encounter, a ritual séance for the acquisition of one’s essence, a ceremony...". Well rounded and truly individual are the remixes that complete the release. SIS, a tech house hero with many hits behind his back, delivers a signature dancefloor pleaser. Julio, debuts with a heavier darker take on the original. Ohm Hourani, hailing from Montreal take the original under his analog wings and delivers two live jam versions set as vinyl and digital only respectively.

Kniteforce head honcho Luna-C once again teams up Kniteforce Radio manager and all round oddball the Lowercase for a follow up to their well received Heavy Beats EP. This time, moving on to a more 92/93 sound, and cleverly crafting an EP that has 4 tracks while also having 5 tracks. It will take a skilled Dj to work it out though! All 4 (5) tracks are proper old skool, built almost entirely on hardware, and lovingly crafted for the discerning hardcore ear!

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

Colored LP

'CYAN’ is the third full length LP from San Francisco Bay Area-based band The Seshen. Taking its name from a colour that is both strong and soft, the LP unravels the progression that has been made since 2016’s ‘Flames and Figures’, both as a band and as individuals; “Since ‘Flames and Figures’, a lot has been taking place both internally and externally.” Lyricist and vocalist Lalin St. Juste recollects, “we were on tour for the last album during the 2016 US election. There was an intense heaviness, a familiar one, one that extends generations and it just sunk in even further.”

The battle to overcome this heaviness, felt as a result of political and social issues and through Lalin’s own experiences with combating depression, fuels ‘CYAN’. “I was at the edge of myself,” she confesses. “This album is about pulling back the layers of who I am in order to push through sadness and grab onto what’s underneath”. From the opening lines of the LP on “Take It All Away”, these ideas are displayed - “I think it’s been too long that I’ve been your puppet / Cut these strings, I don’t want any of it”, she sings. Led by exposed yet bold musical endeavours from bassist/producer Akiyoshi Ehara, the album sees The Seshen delve into uncharted eclectic realms; “I think that there’s a lot more rawness on this record” Aki muses.

Anchored by Lalin’s sly, silvery vocals (which draw frequent comparisons to Erykah Badu) and cerebral yet playful rhythms from producer- bassist Aki, The Seshen’s music pulls from a deep well of electronic influences, R&B, and indie rock. Drummer Chris Thalmann, keyboard/synth player Mahesh Rao, percussionist Mirza Kopelman and sequencer Kumar Butler make the music three-dimensional, blending live and digital instrumentation for a mercurial, transportive sound. Since 2012, the Seshen’s live show has earned them critical acclaim and a dedicated fanbase on multiple continents, as they’ve shared stages with the likes of Hiatus Kaiyote, Petite Noir, tUnE-yArDs, and Thundercat.

We really are excited by our new release. Taken again from the vaults of Mr Stu Gardner we have the next instalment of the Twinn Konnexion story. We released the single SDE17 way back in 2016, a double sided 45 of "dont fight the love", a blistering slab of modern boogie soul that sold out very quickly upon release. The single was first championed by Dj Jeremy Underground at many of his dj nights. Move on a few years and we have discovered the original studio reels from that session. And it doesn't disappoint!Pulled from those reels are another 3 amazing compositions where no doubt Mr Gardener called on his long list of musical associates. The information of the players and singers has never been divulged with us, not sure why the secrecy & frankly we don't care. What we do know is each song oozes class from start to finish and there is something for everyones taste.

A "Sunshine of you day" has an almost gospel feel to its rhythm, with the singer telling how his women lights up his day. And to be honest its lite up our HQ since we had it. Just ripe for the dancefloor!Moving on to the B side we have two incredible ballads/2 step songs for that connoisseur amongst you. B1 "love side facing up" Well as soon as you hear the opening guitar and horn section with the male singers sultry voice you just know this is taking you down that classic 2 step sound that was big on the London and rare groove scene. We know this is going to a be a big fave for years to come. B2 "Memories dont fade away" its pretty much as above. More 2 step action that you can fail to love

Now available in February with a big price reduction. Split Coloured Vinyl (Clear & “Schoolly D Yellow”). Olly was a musician, drum-programming wizard and force of nature, and he would go on to shock the world with his in-your-face approach to making music – as bombastic lyrically as he was musically. He simply gave no f*cks, and listeners were drawn into his street-influenced vortex of “b-boy rhyme and riddle.” As noted in the liner notes to this special release:
“The demand for “P.S.K.” was so large that nationwide bootlegging was a major distribution avenue, albeit an unpaid one. ‘Those bootleggers made me big because, when it came down to it, I didn’t have the money to get the records out there,’ Schoolly says.

‘The person who helped me figure that sh*t out was Luke Luther Campbell of 2 Live Crew and Luke Skyywalker Records. He took me all over Miami and showed me all the different bootlegged versions of my own records. It was crazy.’” On the flipside of “P.S.K.,” Schoolly gave the world another classic: “Gucci Time.” Flexing brutal brag muscles, it was another gangsta masterpiece, furthering his legend and bringing even more 909 boom to the still expanding rap world. The opening lines are still quoted by scholars of the game today: “Lookin’ at my Gucci/It’s about that time.”

Get On Down presents this classic for the first time in deluxe form, which is also fully Schoolly-approved: a custom 12-inch sleeve adorned with Schoolly-D’s famed artwork; unique split clear & yellow vinyl; a liner notes insert featuring Schoolly’s own look back on the year 1985 as told to author Brian Coleman; and a unique sticker sheet with 8 images taken from the artwork on this 12-inch cover (which was first seen on his early 12-inches, as well as his 1985 Schoolly-D EP and 1986’s Saturday Night: The Album).

Ruutu Poiss returns to International Major Label with two evolutionary,
spacetime bending dance floor hitters.
The Estonian sound artist revisits the psychedelic approach used for his first 7" release on the label (Halli / Uttu, 2016), expanding his refined palette with the use of modular synthesizers.

Pull / Push holds extraterrestrial, contemporary techno music. Off-kilter, but very effective.
These two powerful gems could easily be described as 'heavy' or 'weighty', but that seems very unfitting here. Where Pull immediately entraps us in a soaring vortex, Push takes a long intro
to launch us hard into a compelling stratosphere.

“We shan't have any more trouble from that meddling Doctor!” Demon Records presents a double bill of unique full-cast BBC radio adventures for Jon Pertwee as the Third Doctor, based on the enduringly popular BBC TV series. The Paradise of Death reunites the Doctor, Sarah Jane Smith and the Brigadier for an adventure that takes them from Hampstead Heath to the far-flung planet of Parrakon, where they face dangers aplenty from the hostile Freeth and Tragan.
In The Ghosts of N-Space, which features Jon Pertwee’s final performance as the Doctor, the Time Lord is in Sicily where he discovers trouble in the form of spectral monsters from another dimension. Presented across 3LP x 12” 180g Heavyweight Blue Vinyl & 3LP x 12” 180g Heavyweight Yellow Vinyl, these two fast-paced adventures were specially written for radio by former Doctor Who
producer & writer Barry Letts. Co-starring Elisabeth Sladen and Nicholas Courtney, both also feature the incidental music and Doctor Who theme arrangement of Peter Howell of the BBC Radiophonic Workshop. Among the supporting cast for the stories are Maurice Denham, Sandra Dickinson, Harold Innocent, Peter Miles, Richard Pearce, Harry Towb and Stephen Thorne. Accompanying the coloured vinyl LPs are full episode billings, cast and credits, and six illustrated
sleeves that form a superb double-sided artwork montage. Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

For years, Rhythm Buro and Zadig have maintained a special relationship. The French DJ and producer (real name Sylvain Peltier,) became involved with the Ukrainian institution when he headlined their first party in Kyiv back in 2014. In the few years since, both Sylvain and Rhythm Buro have developed into strong international brands that have become well-known and trusted. They are thus ready to present another form of collaboration: Zadig's debut record on the Kyiv-based label. "Takara-machi" EP is the sixth release in Rhythm Buro's catalogue, following previous releases by Haze, Na Nich, Cyspe and a few VAs on the imprint.

RB006 is particularly notable for its sonic diversity. Zadig, often known for his uncompromising and hard-hitting techno ventures, explores a deeper musical side here, and delves into his wide range of influences and inspirations. A good example of this is found in the manga series "Amer Beton", with the excellent soundtrack by Plaid, hence the Japanese name for the record's title track. At least three of the six tracks on the record follow this influence precisely and are rather cinematic: these are A and B sides' closing tracks; "Shores of Sorrow" and "Kuro & Shiro". Both of which play to a certain dreamy ambient field. The title track on B2 exemplifies Zadig's passion towards an old-school 100 bpm-ish tempo.

And then there's the more dancey side of the record. The EP's opener, "No-face" on A1, and its following tune on A2, "What We Become" are both a clear take, albeit more modern, to classic Detroit techno. Rich with melodies and 909 patterns, both A1 and A2 are conscious in their reference to Detroit, and pay homage to the master minds that spawned the genre in their studios 30 years ago and started it all. The B-side's opening track is another dance floor friendly stomper, although in a different way: "A World of Children" may be best labelled as "slower-electro". Its synth-heavy, almost naive essence, describe its name perfectly.

Despite its aforementioned diversity of sound and tempos, Zadig's "Takara-machi" EP still possesses and maintains a unique commonality and voice across the spectrum. It is dreamy, it is soulful, it puts substance over form. In other words, it has something the vast majority of today's techno palette is missing. Rhythm Buro doesn't miss the mark in unearthing and releasing pure quality for those who know and care.

Container is the project of American noise veteran Ren Schofield, originally from Providence, Rhode Island, and now based in London. Container first appeared at the turn of the decade with a slew of freakish tapes for various small labels. In wake of thesereleases, Editions Mego offshoot Spectrum Spools –run by old friend John Elliott of the band Emeralds –took the punt to release his debut LP, a collection of mutated Techno tracks simply titled ‘LP’.

The record gained attention quickly in the Electronicmusic scene largely thanks to Schofield’s unique production style that separates him from forms of conventional dance music. Whilst the music of Container sits perfectly fine within the genre and is functional enough to blow apart the walls of any club, years on the US noise circuit have given Schofield’s brand of techno a rawness and direct intensity that stands out in the club and crosses over into other sub-sections of the underground.

His modest set up of Roland MC-909, a four-track porta studio and anarray of pedals allowed him to hone his scuzzy and bewildering beat music over the years, leading to three more well received, and literally titled, LP’s. Over this time period Container also released some EPs on Morphine, Liberation Technologies and Diagonal, did a variety of remixes for acts likeFour Tet, The Body, Panda Bear and Fucked Up plus maintained a healthy touring schedule that reached over every continent.

His exhilarating live show has hit pretty much every major electronic music festival andclub in Europe, as well as tours and gigs with a diverse range of acts such as Wolf Eyes, Zola Jesus, Daughters, Pharmakon and Ryley Walker.Almost a decade since his debut, Container arrives on ALTER with his first non-”LP” titled album called ‘Scramblers’. The title taken from both a Baltimore street drug and a Rhode Island Diner he used to eat at with his father.

Schofield elaborates: “The juxtaposition between these two Scramblers is a great one. I wanted to pay homage to a nice name that lends itself to both depraved and wholesome contexts and do my part to carry on the tradition.” The eight tracks have their origins in live performance and a more high-octane delivery is noticeable when compared with previous Container albums.

‘Mottle’ sits in a mysterious zone between the productions of EVOL and early Ruff Sqwad. Fierce electro cuts like ‘Trench’ and ‘Nozzle’ work alongside the nauseous slink of ‘Duster’, which in typical Container fashion morphs into a frenzy in no time.

A frenzy which may be linkedcosmically to the fact that ‘Scramblers’ was recorded, mixed and mastered in one day, reinforcing further his unorthodox and fun approach to club music.

”Are you ready to take your turn now?” asks a mischievous voice at the beginning of DJ Marcelle’s new album. But by this point you don’t have a choice: you better buckle up for a joyride through the wild, unpredictable imagination of a true electronic music auteur. ‘Saturate The Market, Now!’ is stuffed with the kind of raw, rhythmic workouts and playful humour we’ve come to know and love from the long-serving Dutch artist. Let’s start with the music: Marcelle pinballs between pumping outsider house, brilliantly weird acid and musique concrète experiments where anything could happen at any given time. Then there are her famous track titles, which take another aim at nightclub patriarchy (‘Technicians And Their Light Effects’, the successor to last year's 'Technicians And Their Smoke Machines') at the same time as displaying a keen sense of satire (‘I Fell In My Own Cesspit!’) and revealing a difficult relationship with the sour, massive rock that for her is ‘German Bread’. With artwork featuring a collage of puppets found in her Amsterdam house and Marcelle’s own on-the-road photography, this is yet another album that sets her a mile apart from the paint-by-numbers dance music producers - or “accountants” as she’s witheringly described them.

Marcelle arrived via punk, post-punk, avant garde and dub and lives by the independent, forward-thinking spirit inherent in those scenes. A sense of freedom is imbued in her work, unsurprising given that this album was written in two weeks and was made entirely on her own collection of machines (save a few choice vocal samples). It’s Marcelle’s eighth vinyl-only release for Jahmoni Music from Munich and follows on from last year’s ‘One Place For The First Time’ which swiftly sold-out and is now onto a repress. The vinyl is released alongside a 10” featuring extended and dub versions of triumphant album-cut ‘Everything Not Yet’.

So are you sitting comfortably? Well Marcelle would prefer if you weren’t. Because this is music for misfits to move to. The very opposite of business techno. A missive from a cult DJ with an enviable record collection and a fearless artist who couldn’t give a flying fuck about dance music norms. Saturate the market with pure energy – let’s do this!Seb Wheeler, Mixmag