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Line Explorations present its first release - a compilation consisting of six tracks by six national artists, producing under the names of T'iwu, HTL, PX, emme, AMSH and Mensaje Sanador, serving as a sampler for what's to come in the future on the label and the sounds the label will evoke such as techno, IDM, ambient, noise, drone and experimental vibrations from the further avant-garde,

The first track focuses on growing an organic and everyday sonic scape with the use of chords and melodies filled with light touch - reminiscent of clear skies and sunshine - which creates an ambient feel similar to that of daily vibrations of life as presented and explored by T'iwu.

HTL enhances the depth of the reflections of today's emotions one can feel by delving deeper into everyday surroundings and exploring the noise/drone side of the ambient musical styles by mixing melodic elements with the out of the ordinary effects which shock and ululate while shaping the musical texture into a darker and deeper atmosphere.

The following track, by PX, elevates the atmosphere into a more jovial soundscape full of '80's inspired electronica and sci-fi soundtracks. The beat rolls off and twists in a funky groove helping develop a danceable pace for the release.

On top of that, emme presents the fourth track - in the shape of techno meets breaks - where more classical elements of industrially influenced electronic music can be traced from yesteryears. The sounds engulf in warmly distorted melodic strings while flowing over and under the rhythmic structure.

In contrast, AMSH's ''Subway'' presents a downpour of heavy sounds, such as noise influenced synths and delayed infected percussion, along with field recording of trains help envision the movement of a manmade machine and its flow through the undergrounds of today's world.

The final piece, of the label's initial release, comes in the shape of a Mensaje Sanador or healing message. The track takes on the elements of the three titles that have preceded it and explores further the dynamics between current and classical sounds of the electronic dance music genres by delving deeper into sound synthesis, melodies and rhythm as to help one submerge further into exploring such sounds, their history and the future to come.

Italian sound designer and Soma alum Roberto Clementi steps up with a MOC-worthy release comprised of three original tracks with BNJMN on remix duties.

Standout track ' Plebiscite' makes a statement from the first bar with a pounding bassline. It's a clae peak time heavy-hitter that energizes with its shriek, alarm-like highs and understated yet powerful percussion.

Just off the stride of releasing his third studio album, BNJMN puts on his remixer hat to take on the leading track, adding an ethereal dimension through evocative pads and percussive rattles.

On the flipside, ' Evocate' skewes dark and minimalist with a simple lead and eerie-laden somber sequences. Simplicity proves itself just as compelling as more complex layering, rendering an overall dance-inducing atmosphere.

Acid-laced ' Cription' spells techno in a more experimental, non-kickdrum reliant manner. It's a refreshing take on the genre in a piece that is reminiscent of early rave days.

Debut solo album from the psychedelic visionary and founder of the legendary Ozric Tentacles.

A visionary, a prodigal symphonist, one of the UK's leading influential musicians: Ed Wynne is undoubtedly a gifted instrumentalist. He is credited as one of the

linchpins of the UK festival scene's re-emergence along with his band Ozric Tentacles, who formed at Stonehenge Free Festival 1983 and became staples of the Glastonbury Festival, with their most recent performance at Glastonbury

in 2016 on the Glade stage. With an incredible flair for creating masterful tapestries of sound, and for having sold over a million records worldwide, Ed Wynne's debut solo album on

Kscope will be quick to take a hold on fans of psychedelic synth and rock music. 'Shimmer into Nature' was recorded and inspired by the different locations Ed Wynne travelled to over three years, from deep in the Colorado Mountains,

to the coastlines of Cornwall and South Devon, before being completed on Scotland's East Coast by the Firth of Forth. 'The idea is to transport the listener to a place where the everyday ups

and downs of the world dissipate, leaving the mind free to wander through a colourful, omnidirectional guitar and synth driven musical landscape for a while, landing eventually, hopefully freshly charged, with a smile and a calmer spirit.'

The music was written, programmed, mixed and performed by Ed, with mastering by Adam Goodlet at Re:Creation studios, with artwork designed by prolific English psychedelic illustrator John Hurford.

Italian producer Mennie teams up French producer Julien Sandre to release the third of their collaborative EP's. Previously releasing on Housewax and Poker Flat the duo now grace Infuse with a superb three track EP of exquisite grooves!

The A Side 'Time On Our Side' is a deep, textual, bumping beat of a track. On the flip and 'Pulsar' ups the ante and jacks the groove with an added dose of tech-n-acid. Finally 'Telstar' takes us on a wonderfully wonky journey and bleeps us into orbit! Now on its thirtieth release Infuse maintains the pedigree and once again rocks the floor!

ESS - Sometimes we need to revisit the past to discover the future. That's why we are so happy to present the incredible Electronic Speech Systems 'Capsule Collection' (by Dublin's electro modular warrior DeFeKT). A selection of his finest works from his three only releases in 2011 on 'New Flesh', 'Takeover Recordings' & 'AC Records' have been remastered to form an electro tour de force.

We pull the trigger with his deadliest of weapons 'Trigger My Sequencer'. A full throttled four-to-the-floor doppler dance werk out. The expelling of his drexciyan demons continues with the polar cap melting 'Thermo Drive', a deep dive into aquatic funk & electro dub waves.

On the flip, slicing chord stabs and pulsing signals launch us back into the milky way with 'Halley's Comet'. The fusion of Kraftwerk inspired grooves & pulsing alpha juno synth lines pair perfectly to make it a certified electro cult classic. Lastly JX10 brings it home with a beautiful arrangement and showcase of perfectly executed electronic architecture, leaving us speechless.

ESS - Sometimes we need to revisit the past to discover the future. That's why we are so happy to present the incredible Electronic Speech Systems 'Capsule Collection' (by Dublin's electro modular warrior DeFeKT). A selection of his finest works from his three only releases in 2011 on 'New Flesh', 'Takeover Recordings' & 'AC Records' have been remastered to form an electro tour de force.

We pull the trigger with his deadliest of weapons 'Trigger My Sequencer'. A full throttled four-to-the-floor doppler dance werk out. The expelling of his drexciyan demons continues with the polar cap melting 'Thermo Drive', a deep dive into aquatic funk & electro dub waves.

On the flip, slicing chord stabs and pulsing signals launch us back into the milky way with 'Halley's Comet'. The fusion of Kraftwerk inspired grooves & pulsing alpha juno synth lines pair perfectly to make it a certified electro cult classic. Lastly JX10 brings it home with a beautiful arrangement and showcase of perfectly executed electronic architecture, leaving us speechless.

Special remarks : 12' Vinyl +Downloadcode Tracklist 12: A1 Take A Moment A2 Action And Reaction B1 Eye Contact Info text: Dub and acid are the words as Marlon Hoffstadt goes deep on 'Simple Communication' the sixth EP in his Midnight Themes series. The Berlin producer has maintained a busy release schedule in 2018 and is intent on carrying through into 2019, starting with three tracks that fly the flag for his current sound: deep, dubby and subtly euphoric. Opener 'Take A Moment' is a finely tuned piece of weighty dubbed out techno with whiffs of vintage pool parties and a lonely acid line creepin'n'bleepin on the horizon. 'Action and Reaction' harks back to the 90s, rolling out waves of pads and melodies that ascend and descend while a mean old bassline keeps proceedings on track. Clocking in at 11 minutes, the two act play of 'Eye Contact' closes the EP on a blissed out note.

Demon Music presents a narrated full-cast TV soundtrack adventure starring William Hartnell as
the Doctor, in an epic quest to defeat his arch-adversaries, the Daleks.
In this classic 12 part 'lost' adventure, first shown on BBC TV from October 1965 to January 1966,
the Daleks threaten to destroy the fabric of time itself. In their quest to control the Solar System,
they have taken possession of the devastating Time Destructor. Determined to stop them, the
Doctor (William Hartnell) steals the core of the weapon. He and his friends are thus pursued
across Time and Space by their ruthless, powerful nemeses...
Presented across 7 x Heavyweight 180g Blue translucent pieces of vinyl, this narrated TV
soundtrack evokes a classic Doctor Who adventure in all its aural magnificence. From the eerie
sonics of Ron Grainer & Delia Derbyshire's theme tune, and the familiar 'wheezing, groaning' of
the TARDIS, through screaming jungle worlds and an array of spacecraft, the story is alive with
weird and wonderful sound.
Written by Terry Nation and Dennis Spooner, this is the longest single Doctor Who adventure ever
made for television. Linking narration is provided by Peter Purves (Steven) and the cast includes
Kevin Stoney as Mavic Chen, Nicholas Courtney as Bret Vyon, Jean Marsh as Sara Kingdom and
Peter Butterworth as the Meddling Monk. The film recordings of all but three episodes of this
story are lost from the BBC archives.
The prelude episode Mission to the Unknown is presented on its own single-sided disc with a
unique Dalek (standard edition) or TARDIS (exclusive edition) etched reverse.

Three 1982 disco classics from boogie trio Plush formed under the guidance of Angela Winbush, René Moore and Bobby Watson get the official, remastered reissue treatment from the original tapes.

Opening up the EP, an Angela & Rene original 'Free & Easy' is taken on by the Plush troupe, with the legendary Tee Scott providing a trademark extended mix. It kicks off with cosmic synths that dissipate into heavy funk, electric bass riffs, whilst scorching top lines and choice guitar licks trade off over the top. Scott's magic is clear to see in the composition of this extended mix. A man who clearly knew how to work a dancefloor, his use of breakdowns especially, extending the anticipation and power the track commands on its dancers. From the bass breaks that weave in modulated synths, to those that utilise the glorious sustained piano chords, cutting to just vocals and percussion before everything is added back in for ultimate dancefloor elation.

First up on the B side, 'We Got The Love', a more soulful, slowed down tip where staccato guitar plucks and chunky slap bass marries with warm Rhodes chords, and lush vocal harmonies blend with the power of Siedah Garrett commanding the lead vocals. A passion ingrained in their voices that cannot be taught, hanging in the air, as they hang onto their phrases.

Lastly, 'Livin For Your Love' a boogie-based serenade written by Herman Chainey and Tony L. Phillips, intertwines Phillips' deep dulcet tones with Plush's backing. Add in a dose of pure '80s bass synth, twanging funk flashes and juicy bass guitar ripples and you've got a recipe sure to woo any wandering hearts out there.

Moff & Tarkin's second Lagaffe installment marks the label's 8th vinyl release. The release sports three original tracks from the Austrian-based Icelander and a remix from label boss Jonbjorn.

The record starts of with the track 'Buzz Lightyear', who flies us off out of the atmosphere filled beginning into the depths of the spacey synths, delays and feedback.

Followed is the track 'Friends Be like', which feels like a refreshing strut down the boulevard where everyone you meet knows you and you know them but instead of saying hello you are wearing headphones and just strut down the street nodding, winking and walking in beat with true swagger. A track with confidence written all over it.

The flip side features the track 'Takk!' which roughly translates as Thank You! in Icelandic. Maybe not roughly, but rather exactly. The track is dramatic and starts off rather stress inducing but takes a whole new direction when Moff n Tarkin adds in soothing piano chords and makes the track's whole mood switch.

Maybe its a fitting goodbye for the listener as you make your way through label boss Jonbjorn's remix which has a very warm and feel good atmosphere, lush drums and elements that add on layers to the already great original. A very personal remix and a good ending to a great record that we hope you can enjoy.

V & B

Off the back of the highly conceptual project 'Plata - Last Dayz', Circadian Rhythms quickly return to focus on their white label series and solidify their signature sound. CRWL003 takes form of three club driven tracks from the arsenal of Leicester based producer R@ (Lewis Ireson). The 21 year old's current studies in Video Game Development have evidently started to seep into the ferocious sound that has drawn him attention.
His praised debut EP 'Neural' was released on Stella Beats in October 2018 and following his DJing debut at the CR003 Live event alongside Mssingno and Plata, he now continues this run with his first vinyl release, showcasing his signature production.

The story of Seattle's rise to global rock supremacy in the late 80s and early 90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar) and Alex Shumway (drums), the
quintet put out three 12's and a 7' single during its brief existence.
Green River's influence on Seattle's music scene spread far and wide thanks to the members' dispersion into bands including Pearl Jam, Mudhoney and Love Battery, as well as the punk glam sludge rock songs they left behind. 'By '83, '84, there was
definitely a movement that was happening within hardcore, like Black Flag slowing down for My War,' says Arm. 'The Replacements and Butthole Surfers were rearing
their heads, and they're very different bands, but they're not hardcore - the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth's Bad Moon Rising was around, and a lot of really
interesting post-hardcore things were happening.'
Green River, formed in 1984, were part of that evolution, with a sound that straddled a lot of different genres - blues, punk, bloozy straight-ahead rock. The mini-LP 'Dry As A Bone' - which came out in 1987 - and the band's lone full-length
'Rehab Doll' - which came out in 1988 - were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie's 'Queen Bitch' and their marauding version of Dead Boys' 'Ain't Nothin' to Do', in 1990 - but they've been
unavailable on vinyl for years.
Now, these slices of Seattle music history are not only back in print, they're accompanied by items from the vaults that had been forgotten about for decades.
'Dry As A Bone' was recorded at Jack Endino's Reciprocal Recording in 1986 and it shows the band in furious form, with Arm's yowl battling Fairweather and Gossard's
ferocious guitar playing on 'This Town' and 'Unwind' opening as a slow bluesy grind then jump-starting itself into a hyperactive chase. The deluxe edition includes Green
River's cuts from the crucial Seattle-scene compilation 'Deep Six', as well as long-lost songs that were recorded to the now-archaic format Betamax.
'Rehab Doll', recorded largely at Seattle's Steve Lawson Studios., bridges the gap between the taut, punky energy of 'Dry As A Bone' and the bigger drums and thicker
riffs that were coming to dominate rock in the late 80s. This new edition of 'Rehab Doll' includes a version of 'Swallow My Pride' recorded to 8-track at Endino's Reciprocal Recording, which features a more accurate depiction of how the band
sounded when they played live. 'When I listen to these mixes, I think, 'This is how we actually sounded - this is the kind of energy we had,'' says Shumway.
Green River's place in American music history is without question but these recordings paint a more complete picture of the band - and of rock in the mid to late 80s, when punk's faster-and-louder ideals had begun shape-shifting into other ideas.
CDs in digipack with 12-page booklet. 2LP formats in gatefold jacket with custom dust sleeve and digital download code.

After A Long Night The Sun ¡nally Rises As Our High Leader And
Big Boss Filburt ¡nally Blesses O*rs With His Very ¡rst Full
Artist Ep. The Emotive Three-tracker ‚unnoticed Love' Comes
Along With Two Originals Accompanied By A Remix Of None Other Than Charles Webster. As The Title Track's Relentless Groove Goes On And On Pianos Emerge And The Track Reaches Full Effect When The Vocoder-heavy Vocals Hit, Taking You To A Higher Place Of Emotional Consciousness. Trust Us, You Wanna Go There. ‚it's All About You' With It's Combination Of Harmonic Bleeps, Big Pads, Steel Drums And An Unique Arrangement Sounds Like That Sunrise We Mentioned Earlier. It Is Advised By Authorities To Sit Back, Relax And Take A Long Bath In It. And Then There Is This Charles Webster Remix Which Moves Through A Foggy Territory
Where The Best Kind Deephouse Grows. While There Charles
Plants Some Tribal Seeds Before Going Even Deeper With A
Bassline Richer Than The Sauce Your Granny Made For Christmas Dinner. Limited Edition Of 200, Handstamped+

London based ANII returns home to KOMPAKT following a breakthrough year. Since the release of her KORZENIE EP (KOM 380) then releases on AEON AUDIO and POLYMATH she continues to bring a unique and highly emotive take on techno and house music to a sound that has become more and more mundane over recent times. She's back with ANIITIME - a diverse, three track EP that starts with RIDE THE TIGER. It made us squeal with glee when we first heard it. Is this an inadvertent tribute to the Warp classic, SWEET EXORCIST or just some jungle voodoo magic Listen to it for yourself! The title track sees her going deep into her emotional treasure chest to produce a violin meets acid (it works - we swear!) techno incarnation. Her third offering is the solid, house riddled GALAXIANII. Move over Boney M - ANII is our new captain who takes us on her latest night flight to...

'The ancient nightmare is come again!'
This latest visitation of The Hitchhiker's Guide to the Galaxy:
Tertiary Phase comes on heavyweight coloured vinyl,
sumptuously packaged in the style of the galactically
successful Primary Phase and Secondary Phase LP
releases.
For the first time ever on vinyl, here are Episodes 13 to 18
of the BBC radio series. First broadcast in 2004, the Tertiary
Phase is based upon the Douglas Adams's third novel Life,
the Universe and Everything. This is also the first ever
publication of the original radio edits of the Tertiary Phase,
as heard on their original broadcast.
When Arthur Dent and Ford Prefect hitch a lift away from
Prehistory on a Chesterfield sofa, it's the beginning of a
galactic quest that takes in Lord's Cricket Ground, deadly
cricket bat-wielding robots, a spaceship that looks like an
Italian bistro, a planet of sentient mattresses, a wretched
soul who keeps being murdered, a giant spaceborne
computer, and much, much, more. Reunited with Marvin,
Zaphod, Trillian and Slartibartfast, they must prevent the
Krikkitmen from retrieving the Wikkit Key and unleashing
terror upon the Universe.
Starring Peter Jones and William Franklyn as The Book,
with Simon Jones as Arthur Dent, Geoffrey McGivern as
Ford Prefect, Mark Wing-Davey as Zaphod Beeblebrox,
Susan Sheridan as Trillian and Stephen Moore as Marvin
the Paranoid Android, with a guest cast including Richard
Griffiths, Leslie Phillips, Joanna Lumley, Toby Longworth,
Michael Fenton Stevens, Henry Blofeld, Fred Trueman and
the voice of Douglas Adams himself, with music by Philip
Pope and Paul 'Wix' Wickens. Adapted, Directed and Co
Produced by Dirk Maggs
Three 180g heavyweight yellow vinyl discs are presented in
illustrated wallets inside a rigid, bound 20 page book, with
exclusive sleeve notes written by producer Dirk Maggs and
Jem Roberts, Douglas Adams's official biographer.
'Howzat!'

The Lemonheads' first record in 10 years!
Covers album - Includes versions of Nick Cave, Yo La Tengo, The Bevis Frond, Eagles and more.

Extensive world tour over the 12 months, including Europe, USA and Asia. Banana scented scratch & sniff vinyl sleeve!

'The Lemonheads are no strangers to a cover, the grunge-pop heroes perfect the art.' NME

The Lemonheads follow up the critically acclaimed 'Varshons' from nearly ten years ago with another eclectic collection of covers.
Produced by director Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones), their tenth studio album brims with the slowly-matured vocal of Evan Dando as he lures a host of personal faves to his melodic lair. He really has become one of the great expressive singers of our time.
What they said about Varshons:

'Gram Parsons, Wire, and GG Allin: You'd be hard pressed to find three more disparate rock acts, yet on 'Varshons' they all sound like the Lemonheads - boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor.' Pitchfork

'Varshons 2' is a hokey jukebox filled with unique versions of Yo La Tengo, Nick Cave, The Bevis Frond, NRBQ, The Eagles, Paul Westerberg, The Jayhawks, Lucinda Williams and John Prine.
Like Hank Williams slumped in his car between gigs, strumming and hollering, reasoning and weeping, humming it on over, Evan and his Lemonheads make every tune their own.

Marco Faraone returns to Drumcode with some of his most inspired work ever, comprising of four tracks crossing the Techno spectrum.Growing up Marco was surrounded by 90s Italo house and techno, which have all had a part in the current sound he produces today. Never one to stick to any individual style, he can often surprise his fans with a set pumping out peak time beats to down tempo house cuts with catchy vocals.
'With this release, I took some inspiration from listening back to some old Vitalic sounds and giving some extra power to the use of synths in each track. It's got a festival vibe to it, which is something I wanted to achieve' - Marco His last Drumcode EP was back in 2016, so this October he makes a welcome return showing his multiskilled productions at their full potential on this mega 4 tracker, opening with the gargantuan 'Never Forget'.Mutating rhythmic synths hark back to the good ol' days of BXR and the limitless talent of the Italian Techno scene in the late 90s. Boiling over in the main break this is crowd-pleasing dance music at its finest.
'Cruiser' is a bumpy upbeat ride with a strong melodic hook that will have the hands raised and the feet stomping.Title track 'Lunar Eclipse' is a dense, at times claustrophobic roller. Menacing to begin with, the addition of the main melodic motifs lifts the mood midway. 'Take This Trip' rounds out an incendiary EP. Lighter and more musical that the previous three, it offers a joyful, softer message. 'This is a special release for me, I wanted this to have explosive power yet the perfect balance of melodies and sounds to create a different and unique atmosphere for each track'
- Marco Faraone

Lost Futures is a new label that explores experimental and often radical approaches to dance music from the past. In a musical landscape that increasingly claims to seek and reward new forms and ideas, Lost Futures delves into the recent past to revisit forward-thinking, optimistic projects that, owing to the social, musical or outright political climate, perhaps struggled to find an audience. Allowing only time to re-contextualise these leftfield, sometimes misunderstood and ultimately human bodies of work, Lost Futures taps into the inherent idealism of rave.

LF001 trips back until the early nineties to revisit the alternative scene emerging from the Dutch city of Utrecht. Here, three young men - DJ Zero One (Sander Friedeman), TJ Tape TV (Arno Peeters) and DJ White Delight (Richard van der Giessen) - joined forces to form 'The Awax Foundation'. Inspired by the transcendent and revolutionary electronic music arriving on their shores imported from Chicago and Detroit, combining their knowledge, gear and ever-expanding vinyl collection allowed additional freedom in paying sincere tribute to these intoxicating sounds, while also developing their tastes in a more personal, eclectic direction.

The musical flavours of Awax initially leaned toward acid house and the roots of techno. However, with three different mindsets in the mix, their tastes were rarely fixed. One thing each shared in common was a devotion to collecting rare sounds, specifically more adventurous and international samples than those emanating from the increasingly-hard, masculine dance music emerging from the Netherlands during the period. Inspired by the cross-over global sound of bands like Suns of Arqa, or 'World Music', as it was perhaps patronisingly termed at the time, the trio became interested in the idea of making techno with 'ethnic instruments'.

Of course, this being 1992, none of The Awax Foundation had access to such instruments, instead, they had a vast, collective library of samples from all over the world. There were no collaborations and no clear plan. Instead, they set to work using a Yamaha TX16W sampler, the legendary Atari 1040ST computer, a cheap mixing desk and a couple of low-end synths and FX machines. When Richard mentioned the project to his friend, Akin Fernandez, the London DJ and owner of cult label Irdial Discs, Fernandez was intrigued enough to invite the trio to record a one-hour show for his 'Monster Music Radio' series on London's then-burgeoning Kiss FM.

Forced to come up with a name, 'CultureClash' seemed like the obvious choice, even if the members of Awax were only creatively sparring among themselves. Along with the term 'ethno-techno', slightly dubious to a hopefully more conscious Western audience in 2017, these were the only guiding principles to the quietly ambitious project that soon combined cutting-edge machine rhythms with samples sourced from everywhere from Bolivia to Togo, and inspired by everything from Ravi Shankar's epic soundtrack to the Oscar-winning movie Ghandi, to the technical limits of their own setup requiring a dazzling degree of cut-and-paste work. Some tracks even emerged out of academic studies within the ethnomusicology department at The University of Amsterdam.

The show aired on October 2nd, 1992, recorded in one blistering take and without any rehearsals, traversing a huge variety of tempos and styles. If the performance wasn't seamless, it was undeniably thrilling, fresh and ambitious. As such, several labels, including Fernandez's aforementioned Irdial Discs expressed an interesting in commercially releasing CultureClash, while another imprint proposed a series of twelve-inches and an album. But the sheer complexity of the project meant that it never saw the light of day, while the trio embarked on different journeys ahead, both creative and personal.

Twenty five years later, and the original CultureClash lineup and founding members of The Awax Foundation provide the sound of the first release from Lost Futures. An otherworldly, ambitious and optimistic compilation, accompanied by extensive sleeve notes from the trio, CultureClash is a timeless ode to experimentation in dance music's ever-overlapping culture.

After Heading Up The First Three Releases Of His Akoya Circles Label, Look Like Brings A Brand New Name Into The Fold.

On The Motorsport Ep, New Swiss/ Serbian Talent Parco Palaz Takes Familiar Club Sounds And Reanimates Them Through His Own Prism Of Rhythm And Sound Design, Presenting An Unconventional And Sophisticated Debut Release. The Tracks Show A Mouth-watering Combination Of Heady Textures And Impulsive Movement That Mark The Young Producer As One To Watch For The Future.

The Lead Track, Motorsport Takes An Acid Trip Through An Imaginary, Nocturnal Landscape Of Hissing Percussion. Raw And Hypnotic, The Track Has A Looseness And Swing To It That Tempers A Tight Rhythmic Focus, Swelling And Pulsing For Sure Fire Dance Floor Heat.

On The Flip Side Palaz Steps Away From The Peak Time With A Pair Of Spacey, Ambient Leaning Electronic Pieces. Prelude To A Dream Is Wandering And Cinematic, Tinged With Psychedelic Melodrama. Slow Motion Is More Upbeat But Similarly Wide-eyed And Explorative. The Young Producer Experiments With Junglist Rhythms Against Soft Keys, Creating A Meditative Rave Homage To Round Off The Ep.

Time for some completely fresh business from a relative newcomer to the scene, though we're sure the name Cosmonection will be on your radars soon enough. The Parisian producer knocked us off our feet with a beautiful debut back in March this year on the fledgling Pont Neuf imprint. His '10 Feet Before The Horizon EP' was loaded with the just the kind of spaced- out, synth-heavy deep late night house that gets us all aquiver over here, so when a demo popped into the inbox we were all over it like a donkey on a waffle.

Here we present you with the Menorca EP; three blissed-out synth jams which explore the space between Balearic euphoria and Detroit futurism. On the title track a mournful Moog lead takes centre stage floating over a rising chord progression whilst punchy 909 drums bring the groove to the dance floor.

Next up, You picks up the pace for a deep and dubby house workout where soft focus pads converge with clattering percussion. Fragments of chiming melody bouncing around the stripped back groove.

Flipping over we have Light which shows Cosmonection at his most musical, layering up arpeggiating synths lines through a slowly building intro until a heavy groove with hefty kick joins the scene. The arrangement ebbs and flows as the rhythm drops out, rising synths creating anticipation and tension. This track feels like an ambitious fusion of musical styles and textures with 90's ambient colliding with Underground Resistance and coming up with a fresh sound for 2018 in the process.

Rounding off the record we have Delusions regulars, DJ supremos and all- round good guys Session Victim taking the reins on a remix of You. Keeping the warm, feel-good pads, the German duo inject a new found shuffle to the groove, bringing a wide-screen sensibility which adds a sublime yet dance-floor pleasing dimension to the release.