Cerca:the 5 beats

'Your Satisfaction' first appeared on a mysterious CDr back in 1996. Produced by a well known Belgian band interested in experimenting with electronic sounds, it became part of Moneymax' first and only album called 'Analog Beats For General Use'. The track remained a well kept club secret that didn't get much play outside of Belgium, though on home turf its forward thinking aesthetic ensured a fair few spins on Sven Van Hees' legendary 'Liaisons Dangereuses' radio show. More than 20 years later, 'Your Satisfaction' finally finds its way onto vinyl. Belgian dj Gratts' sleazy extended treatment, remastered and cut loud and clear, will satisfy any adventurous slow motion dance floor. Flip the record for a whole other universe dreamed up by Gratts and partner in crime Eluize. Inspired by the original, the pair turn Moneymax into Ca$hminus to deliver two tracks born in a place where Belgian new beat, EBM and early rave sounds meet. The result is club monster 'No Satisfaction', which comes in two incarnations: the original vocal version plus an even meaner acid dub for those anxious strobo moments.

Listening to Unknown Path's Pathfinder for the first time is a claustrophobic experience. It's as if the tracks had been recorded to tape and left to decompose for 10 or so years, then dug up and re-recorded. A thick layer of grunge and an overall murky feel sets the tone for Path 0.1 and continues throughout the EP. Paths 0.2 and 0.3 add a more upbeat feel to proceedings, as the beats get scattered around like they were in a pinball machine. Path 0.4 finishes off the experience by bringing the tempo back down, while all the time keeping the uneasy atmospherics that make this EP a unique and rewarding listen.

MICK HARRIS (SCORN, QUOIT, PAINKILLER) returns after several years of hiatus with ten tracks of blasting landmine bass and interlocking shrapnel rhythms.I've been asked to write a press piece for the dark lord MICK HARRIS.Where does one even start Especially for someone with decades of releases over various solo projects, collaborations and pseudonyms, whether it's doing blast beats in the original NAPALM DEATH to crushing techno brutality as MONRELLA, or savage drum & bass as QUOIT. Then of course there's the mighty SCORN and his numerous collaborations with fellow luminaries such as JOHN ZORN and BILL LASWELL (in PAINKILLER).Rather than being tied to genres or scenes, MICK HARRIS is one of those producers who creates a whole sonic world uniquely of his own, in which varying tracks, styles and tempos take form, but yet in which everything sounds unmistakably characteristic of the creator. Needless to say his work has influenced legions of producers like SURGEON, REGIS, ONTAL, VATICAN SHADOW / PRURIENT, FAUSTEN, SHAPEDNOISE et al, and pretty much anyone in the world of powerfully dark, abrasive music you could name-drop. And yet after all this time, it is impressive that HARRIS still stands way above his successors and has never been surpassed in his own production/performance game.After a hiatus of several years, he is back with a new album under the guise of FRET.Working at a faster tempo than his SCORN material, the FRET project first surfaced years ago on the DOWNWARDS label, rooting it firmly in the dark, industrial and technoid world, and appeared more recently on Tresor (Kern mix by OBJEKT), maintaining the characteristic colossal bass-heaviness and textural depth.And now a full album on KARLRECORDS, Berlin. HARRIS fans will be delighted to know that despite the 130 bpm tempo, the newest FRET still resolutely avoids any straight four-on-the-floor kickdrums, every track lurches, stumbles, staggers and charges forth with beats in beautifully broken asymmetry.We get 10 tracks of crushing, percussive destroyers, each itself a storm of precision chaos, with colossal low-end frequencies that'll cause stampedes in the right circumstances. The classic HARRIS sound is there, searing waves of feedback distortion, intricate, interlocking rhythms and cold, abattoir atmospheres, especially track 6 "Stuck in the track at Salford Priors" which sounds like you're being continuously suspended in the air from multiple explosions all around, each kickdrum throwing you up in the air, the next one going off before you can fall completely back to the ground.The lazy-minded would probably lump it in with the term "techno", but the disciplined brutality, blasting landmine bass and interlocking shrapnel rhythms are clearly HARRIS' own trademark style, sitting somewhere between SCORN and QUOIT.The tracks appear deceptively chaotic on the surface, yet each is meticulously and masterfully composed with great attention to layering and detail. MICK HARRIS fans rejoice, the dark lord still remains at the top of his game.

(Derek Szeto / Fausten / Combat Recordings)

Expansion's most successful and longest running compilation series returns with a 2017 edition. The concept remains the same, fifteen must-have modern soul room gems taken from the year's biggest dance floor spins on the soul scene. While tracks here have topped UK soul charts, many have not been available in all formats. Once again, attention is paid to the 'flow' of the 15 gems chosen here from shuffling beats to boogie to more soulful house as played at modern soul events. Participants this year include Omar with Los Charly's Orchestra, Tawatha Agree (voice of Mtume's Juicy Fruit') with Aeroplane, Kenny Thomas with Thames River Soul produced by and featuring Incognito, and both Wez and The Groove Association formerly members of Brit Funk group Second Image. Leela James is here after her stint in a US realty TV show R&B Divas: Los Angeles', other guests including Amp Fiddler, Faith Evans, Trina Broussard and Lifford.

Auf der Zielgeraden seiner 12-teiligen "The Golden Ravedays"-Serie holt Superpitcher den Rock'n'Roll aus dem Sack und zeigt Alice Cooper, dass er nur ein geschminkter Clown ist. Ein Tribalbeat schiebt das Stück konstant voran, während uns eine gruselige Stimmer versichert, dass wir hier Rock'n'Roll hören. "Shining" dagegen besticht durch die warmen Sounds und eine ausgeprägte Beatstruktur. Wir sind gespannt darauf, was das "The Golden Ravedays" Finale mit seinen letzten beiden Veröffentlichungen noch für uns bereit hält ...

Some songs comes along that you seem to know the moment you hear it, even though it's for the first time. In the case of Spark The Universe it had exactly that impact. A mixture of late-60s psychedelic homage, early 80s new wave, white boy soul, plus a good dose of dub, all wrapped around a killer hook and super tight production and a hit was surely made.
The fact there are many deserving records that don't become a hit doesn't mean some are better than others and in fact, the joy in collecting and reissuing is finding amazing songs and bringing them back.
Increasingly heard in the sets of the more discerning DJs, Spark The Universe has become a cult play and with second hand prices now in three figures, a reissue is timely. As the label oft says, no one owns this music other than the writers, musicians and producers and their craft deserves to be appreciated.
Before going on to carve a successful career in 'electronica' project, Euphoria, Toronto's Ken Ramm had shown his considerable writing and playing ability with the 1981 debut LP Dragon and this 1983 follow up, known simply as Ramm.

Coming together through a meeting with a then relatively unknown producer, Daniel Lanois, via a mutual interest in tape loops and dubbing, it was the suggestion to bring in local vocalist Lorraine Segato that Ramm formed.
Recording at Lanois' Grant Avenue Studios, his interest in mixing past and present technology, with multiple digital delay units, harmonizers and other effect processors allowed Ramm and Lanois to explore using the studio as an instrument alongside real musicianship.

Backwards guitars, tremolo bar dives and guitar harmonics are incorporated with the vocals and percussion to perfection. With a 'Dance' and alternative 'Dub', the song's hypnotic and dreamy feel superimposed over beats pin-pointed to the later Euphoria project and with the addition of a latter day 'Discomix', from the labels' own Chuggy, Spark The Universe deserves it's place on contemporary dancefloors.

The return of Timothy J Fairplay sees tracks from his 2 EPs on Emotional Response remixed on one special release. Four favourite producers chosen to bring new dimensions to his brooding, shuffling electronics, featuring Scientific Dreamz Of U, Alessandro Parisi, Perseus Trax and Antenna.Part of the label since inception, the last five years have seen TJF's career explode with releases on Bird Scarer, Charlois and Hoga Nord, setting up the Crimes Of The Future label with Scott Fraser and releasing an album alongside Andrew Weatherall as The Asphodells. His EPs for Emotional Response saw some of his strongest, deep and dubbed out productions that marked their own terrain and these reworks have been a long term project. Starting with a trance inducing breaks-dub of Stories of Prison from Scientic Dreamz Of U and you understand why this mysterious producer has become a cult in his own dreamtime, as subs bump this vortexed revision to its own portal.
Next Alessandro Parisi implants his cyber-electro-harmonies to Aim For The Yellow Sector. Fairplay's late night drive-by is respectfully given a future-retro mix, gliding away from East London's dank streets to mysterious plains and beyond. Things take an analogue twist for the flip with Perseus Traxx showing his love for Chi town on his remix of Saco Bay. A bumpin' bass sets the motion, mixing the swirling original to basement vibes x 10. Win win win.
Kindred spirit and fellow Pinkman/Charlois member Antenna closes the EP with a deep retake of Night Ferry. After causing a stir with the killer Odessa EP and subsequent releases on Royal Oak and Beats In Space, a remix was a given. A mellow groove and optimistic keys is the perfect way to end this chapter of Timothy's music and await for new adventures.

"French Londoner, producer, live performer and troubadour, Remi Mazet marks the end of the summer with a release that was well worth waiting for. Eccentric, particular, specific and always surprising.

From the laid back ethereal and atmospheric scene-setting intro, through upbeat dance floor cuts, percussive workouts and back again, everything about this collection says depth, groove and flow. Sax, keys and sublime samples nestle among, beats, breaks and 4/4 rhythms to create a sonic excursion where nothing is hurried and every track is distinct yet cohesive.

Following on from releases on Colors and Love Fever Recordings, Safran (SJ002) is a continuation of his ongoing explorations. The EP is a perfect extension of his early work, a contagious evolution and transformation in a more personal way."

On this new EP, DJJ's trademark jagged take on filtered French house is still present, but with Chicago bump, techno and more random elements thrown in for good measure.I Keep Trying To Convince Myself is the tougher, more rugged and even funkier cousin to DJJ's hotly-hyped 2016 summer anthem just a lil. Chi house meets soca in this carnivalesque new classic, which hits the perfect spot between sweetness and dirt.Yn Y Ty is fast, jerky funk and almost a new genre in itself. Both melancholy and pumping, think DJ Rush meets the Tetris theme in an oddball, groovy-as-hell work of genius.The cut-up, loopy loops and tough, tribal beats on Apilli are deranged in a good way and - as with the rest of the EP - demonstrate a quirkiness and subtle humour akin to Basement Jaxx's early golden period.A big sample drives the jacking, sweaty, glitz of Upsqwar's warped take on handbag, which channels the spirit of Modjo and features a ponderous, almost chiptune melody drifting subtly over the top.The EP closes with the Greek flavoured stomper Glas, which wouldn't sound out of place on Richie Hawtin's 1999 mix album Decks, EFX & 909. This new EP is first release since jus a lil for Crazylegs, which gained high praise from NPR, Resident Advisor, Indie Shuffle, Mixmag, Dummy, Hyponik and FACT - who commissioned a video and coined the tongue-in-cheek genre name 'outsider Ibiza'. Comparisons have been made to Thomas Bangalter, Alan Braxe, Todd Edwards and David Morales - albeit a skewed reinterpretation. Like the punks' assimilation of rock and roll, DJJ's fresh and irreverent take on highlights from dance music history make for some of the most exciting sounds since Daft Punk's first forays.Although distorted and with lowered bit-rates, to call theses tracks 'low fi' is to do them a disservice, as DJJ's manipulation of frequencies, distortion and samples is deceptively simple yet not easily matched. There's a mastery of sonics and leftfield sensibility at play, akin to fellow EQ tweakers Heiroglyphic Being, Aphex Twin and Adrian Sherwood.DJJ is a member of the Bristol-based label/collective Crazylegs, alongside artists including Gage, Sudanim, Finn (all of whom remixed just a lil). He's also one half of ISLAND, whose grime-flavoured Nokia EP was release in 2015 - also on Crazylegs.

Mnestic Pressure' is Lee Gamble's first album since 2014 and his first with Hyperdub, a reset that sees a noticeable change in his sound and the concepts that feed into his music. Lee says 'From Diversions 1994-1996' (2012) through to Koch' (2014) - my music felt like I was dealing with signals from elsewhere - signals from the unconscious, sub-aqua, hallucinated, dreamt. Mnestic Pressure' feels like their decoded offspring, a terra interpretation.' The title Mnestic Pressure' comes from Lee's thinking about how our contemporary memory is pressured, individually, but also collectively. 'We live in these strobing, visual times, like a constant subliminal advertisement but, also over the last few years the world seems to have become more and more dreamlike, alien, and parodic itself and there was this part of me that wanted to drag my music back from this Shangri-La, but fully drenched and infected by its ghosts.' Mnestic Pressure' as a whole is a simulation of this experience, a flow of targeted information, through contrasting and quickly changing terrain, from one track to another you're dragged into a new space. The pressure to move is intrinsic to the flow of the album, one thing morphologically transforms into another, zooming in and out from wide angle to detail, reshaping into new forms at a speed Lee's music hasn't before. The music on Mnestic Pressure' has a hardness, with a structure and melody that was sublimated in Lee's previous LPs. It builds on his more recent experiments with more functional dancefloor forms. Here his hypermodern production and crunchy, dissembled beats feel like they could be malfunctioning holograms projected onto the hallucinated memories of his early work.

Fleeting Wax introduces Eva Geist to their rooster - a very promising producer and live act. With a nordic feeling of nostalgia Blumareciano depicts the mediterranean sea landscape on a cloudy winter day. Soft beats, braid arpeggiators and thin out vocals build a cinematic scenario of spacious narration, a odyssey vacation thrilled by the new and encouraged by the hope to one day come back home. San Propers Remix takes Blumareciano down to a rusty dirty club and manages to combine techno with the deep vocals of Eva Geist.

Autotomy is a collaboration between Belgium's Sleeperhold Publications, Brooklyn-based musician Patricia (Max Ravitz) and the Dutch artist Louis Reith. This output is the result of a long process of contemplation, discussion and elimination which gave us a record that encapsulates both Patricia's sense for hardware production and dance floor rawness. Describing this release is not a simple task. So we'll just tell it like it is: it's a record that slows down and, in this process, reveals its mystery. Referencing the title of this release, wunderkind Max Ravitz seems to provide the listener with the possibility of transformation, a way to shed part of your own being.When running though the tracks, one discovers the essentials of Patricia's sound architecture: the presence of lightness, of longing, mixed with the ability to deny it in the next instant. Sonically, there's a careful balance in these productions that belies their fundamental function as body music. It's ambient yet danceable, approachable despite it's often deconstructed layout, and ultimately warm and inviting.The entire record is made using Ravitz collection of hardware, which gives it its uncompromising texture. The presence of kicks, beats and soundscapes does not originate from a clean digital source but from a physical action, an excerpt of movement, a tick of the human hand. It is floating versus rhythmical movement, visceral versus strict. But above all, it is alive.The artwork used for Autotomy's sleeve design and the etching on the B-side was provided by Louis Reith. (All three tracks feature on the record's A-side.) Just as Patricia, Reith tries to resist technology in favour of physical and craft-based media, though the contrast between digital and analog is always present.Dutch artist Louis Reith produces works through a variety of different media, ranging from collages to wood sculptures, to paper objects and ink on paper works, always keeping an interest in simple abstract shapes and their combination. With an interest in materiality Louis resurrects found footage and creates new landscapes of shape and color, celebrating the human hand at work. Deliberate compositions form an illegible visual language where hidden words are portrayed as abstract sculptures.Reith also co-runs Jordskred, an independent publishing company worth checking out.Ravitz certainly is unstoppable and releases in a relentless and uncompromising fashion.Besides many collaborative projects with an array of artists (released under monikers such as Masks, Pulpo, Inhalants, DSR.MR...) he's released music on labels like Opal Tapes, L.I.E.S., Russian Torrent Versions, Ghostly Intl.,... 2017 has been quite a year for him so far. He not only founded his own imprint, Active Cultures, but also released a triple LP. Ghostly Intl. describes the release as a 'kaleidoscopic, a multi-faceted techno trip' and we couldn't agree more.

180 GRAM AUDIOPHILE VINYL
INCLUDES TWO INNERSLEEVES WITH TRACKLIS-
TING, CREDITS AND PHOTOGRAPH OF KRS-ONE
FEATURING THE CLASSIC HIP HOP TRACKS
SOUND OF DA POLICE' AND P' IS STILL FREE'
ORIGINAL MEMBER OF BOOGIE DOWN
PRODUCTIONS ALONGSIDE DJ SCOTT LA ROCK
LIMITED EDITION OF 1.000 COPIES ON
TRANSPARENT VINYL Return of the Boom Bap is KRS-One's first official solo album, released in 1993. It peaked on the Billboard 200 charts at position 37. According to KRS-One the album has sold over 300,000 copies.Unlike the majority of the Boogie Down Productions LP's, KRS here takes a step back from the production duties and invites rising underground stars DJ Premier, Showbiz and Kid Capri to handle the beats in addition to his four contributions. The track P Is Still Free' appeared on the Menace to Society Original Soundtrack (MOVATM152) labeled as a B.D.P. track. The track Black Cop' was originally released as a 12' single and a track for the CB4 movie soundtrack, thus also labeled as a B.D.P. track.The album was selected as one of The Source's 100 Best Rap Albums. The record was originally rated 4 mics in The Source in 1993.

We are bringing together the creative might of our residents to bring the sound of Renate on a double release EP. Over the years Renate has grown from a impetuous party to a glorious club. The people who came together under her roof and played beats that made bodies pulsate with ecstasy have become benchmarks in the music industry of today. We want to share with you that talent. The second EP is visited by long time Renate friends dOP. These french guys were there in the first Renate Party and there techno stylings grace us with a linguistic masterpiece. Michal Zietara the Polish heartthrob turned Bavarian hiker is joined by Voe the mastermind behind Suxul, together they merge to create a drop beat tune. Homeboy's Hadi is the Croatians influence by the Arab World in a culturally appropriate track that makes you wonder the streets of Damascus, leading to Mehmet Aslan our very own Sultan of beats making a sandstorm with this timeless piece.

This is the first release on secret operations by Seba since his album in march 2013. It's a four track EP available as part 1&2 on two separate vinyls or as a four track digital download.
The EP includes "Mesmerism", played by Doc Scott on three separate Future Beats sessions, and "Life is" which was the climax of Seba's set at Sun&Bass set in 2013. "Science Fiction" and "Physickl" are both brand new techno inspired tracks straight fresh from the secret operations bakery!

A split single featuring Washington, D.C.'s Escape-Ism and Light Beams. The digital
download in- cludes an extra track by each band.

Escape-ism is called "the found-sound-dream-drama," "the grieving widow of rock 'n' roll" , the "press play and run away group", the strrrripped down sound machine starring Ian Svenonius, star of Chain & the Gang, singer in The Make Up, author of 'Supernatural Strategies for Making a Rock 'n' Roll Group.' Its a single occupancy combo, a one banana bunch, the gestural rock 'n' roll provocation which combines cave person poetry with beats and melody translated incorrectly from hieroglyphs found in arch-pharaoh Cheops' triangle shaped record collection. Escape-ism is a bid at inciting long- ing for a past behind an IRON CURTAIN, and hope for a future in flames. Escape-ism -- hear it, fear it, cheer it.'

Light Beams began in 2015 when Justin Moyer (Puff Pieces) -- influenced by 80s-era freestyle music and Sheila E. -- started playing sampler and timbales with Sam Lavine, the longtime drummer of D.C. hip-hop mainstays the Cornel West Theory. With the addition of bassist Arthur Noll the result- ing polyrhythmic melange, sometimes called "zap-tone" or "block rock," reinvents late-20th century dance-pop using the tools of the 21st.

All the beats, tracks, and harmonies that Vega Records release have a story behind them, 'UNION DANCE (LOUIE VEGA REMIX) - DJ CLOCK FEATURING MADAME-X's begins where most great things do as far as we are concerned.... under a mirror ball in a dark club! One night, (well really EARLY morning to be honest) while Louie Vega was vibbing in the booth, listening to Timmy Regisford work it out for a packed NYC dance floor a wild beat caught his ear. As Louie looked over and saw the crowd confirm exactly what he felt he turned to Timmy with a smile and said "that beat is hot, let me get that", and from that moment UNION DANCE's story began with Louie Vega.
No surprise to Louie, DJ CLOCK of Durban South Africa was the mastermind producer behind this fiery beat. DJ CLOCK is practically a house hold name in S.Africa since he first got into producing and djing in 2007. He's collaborated with some serious heavy hitters including Fistaz Mixwell, Euphonik, Oskido, Chynaman et al and has become the go-to producer for compilation albums across his continent and now with Louie Vega he's making his way to all of us. This gritty beat captured every emotion that makes you go in even harder at 3am... It had heat pumping out the system but it was missing something as far as Louie was concerned.
The missing element was the incomparable force that is MADAME-X, known to many as a sexy sultry vocalist by all accounts but there is a force living within HER expressed only as MADAME-X. She interprets the words of Maya Angelou with the utmost confidence and conviction. A powerful woman, with her raw, unapologetic edge MADAME_X pro claims "I WANNA DO THIS MY WAY" transforming a hot beat Louie heard one night into a FIERCE TRACK to ignite crowds around the world today!
UNION DANCE (LOUIE VEGA REMIX) - DJ CLOCK FEATURING MADAME-X reminds us that not only is it ok but its necessary to OWN THE DANCE FLOOR! This right here is for the djs, the dancers and all those who truly understand that HOUSE MUSIC IS A FEELING!
AVAILABLE AT YOUR NEAREST VINYL OUTLET. DISTRIBUTED BY ABOVE BOARD DISTRIBUTION, UK & MANUFACTURED BY OPTIMAL, GERMANY

Hell Yeah is back with more beach ready and boat party styled summer tunes, this time from Riccio. This Italian producer has long been making essential edits, off kilter grooves and soul kissed house sounds that demand to be played loud and these new ones are no different.

Described by the label boss as Balearic Big Beat, this EP kicks off with Afro Chemy, a scorching seven minute tune that builds on a bed of fat drums. The scattered percussion is loose and organic and when the funky bass and colourful xylophone sounds comes in you can't help but cut loose. Add in a sexy trumpet line and you have the sound of summer distilled into seven sensational minutes.

Funky Cave will get any party started with its old school drum breaks and cymbal splashes sounding like the ocean when you plunge in on a hot day. Busted bass lines add a certain fatness and cosmic keys and steamy guitar licks make this another perfect outdoor anthem.

Last of all is the blissed out Heather, one to drop at sundown after a long day's dancing. The beats are warm and lumpy, the synths smear out to the horizon like gently breaking waves and soulful leads really get your heart swelling. Proper.

BTG return with their 3rd release.

A debut vinyl release from Philadelphia's Gohda. A multi-coloured combination of shimmering grime synth work, spaced out beats that occupy somewhere between the boom bap of classic hip hop, the half pulse of dubstep and the skittering high-end work of southern rap knitted together with a soulful vocal & atmospheric touch not distant from that of the elusive Burial. Gohda's sound owes itself to both sides of the Atlantic but operates nowhere within them.

The vinyl only release sees remixes from BTG's very own Bulu, twisting the original into a dancefloor ready terminator & TMSV known for his genre expansive excursions on labels such as Black Box, Cosmic Bridge & Artikal again taking Gohda's soulful and playful original and turning it into a weighty dancefloor focussed banger.

Not to be missed for fans of genre defying, psychedelic bass-weight.

diamond black metallic:
confidns founded their own label 'diamond black metallic' in 2017, as a platform for releases and remixes by friends and admired producers of the techno scence's old and new generation.
The 12" debut on diamond black metallic will be released in summer 2017 with the confidns tracks EXTASE and PROMISK, as well as a dark, powerful and refined remix of EXTASE, produced by nobody less than Chris Liebing.

confidns bio:
Talking about confidns, it is impossible not to mention the rumors and legends surrounding their 2016 residency during the Afterlife label nights, hosted by Tale Of Us every thursday at famed Space Club Ibiza. The two Berlin based long term friends, who grew up in Mannheim, Germany attracted attention with their super long dj-sets, lasting up to 8 hours.
Performing the warm up on the Space Club's sunset terrace and closings in the chamber, the duo, founded in 2015, proofed a mesmerizing sense for playing with the crowd. They mastered the artistic challenge of leading the audience through the night, with both spherical ambient sets and driving techno beats. Confidns does not shy away from mixing timeless classics from genres like ebm, synth pop, dub and industrial techno with unforgettable pieces/tracks, such as from boards of Canada and Tropic of Cancer in their ambient sets. One could already experience the two daredevils in clubs like Nordstern Basel, Labyrinth Club Hasselt, Egg Club London and Loft Club Ludwigshafen, where they played two sets of 7 hours alongside Chris Liebing and Dj Deep during the official Time Warp 2017 pre-party.
Driven by the high artistic and musical standard of Tale of Us' Afterlife label, the two artists behind confidns founded their own label 'diamond black metallic' in 2017, as a platform for releases and remixes by friends and admired producers of the techno scence's old and new generation.
The 12' debut on diamond black metallic will be released in summer 2017 with the confidns tracks EXTASE and
PROMISK, as well as a dark, powerful and refined remix of EXTASE, produced by nobody less than Chris Liebing.
2017 is promising to be an exciting year for confidns. In addition to gigs at the Afterlife showcase in Privilege Ibiza
and the Sziget Festival in Budapest, the duo will start their collaboration with the booking agency Artist Alife and
AMM' ask my management.

Seriously, how is it possible to spend two years and four months making a pop music album It's obviously not because of a fetish with technical perfection. Not a single take on 'Chemistry and Math' has been recorded in a recording studio. It is all living room, bedroom or kitchen table work. Which is the way we have recorded almost all Flunk albums. So really, how does it take 28 months to put together 10 tracks of alternative, lo-fi pop music Well, life Just life. We're busy with stuff like everybody else, ordinary stuff. And it's all in there, really. In the air in the recordings and in-between the lines of words.

'Chemistry and Math' might be about how you acknowledge the inevitability of the rules and patterns and natural laws, it's not so much mystery, it's math, and chemistry, and hormones, and a constant chaos of coincidence. In there are also a lot of pop music references, some obvious one, some slightly hidden. 'Chemistry and Math' is installed in a bleak and more distorted soundscape, reflecting the mood of the world thrown at us in a fucked up era.

'Chemistry And Math' is the sixth ordinary album from Flunk, the Norwegian downbeat/'folktronica' trio now expanded to a quintett.

Fresh from wowing us with that crazy limited promo 45, Krikor Kouchian delivers 11 tracks of expertly executed, shimmering boogie funk. BIG TIP!
.
Think of the neon lights of the boulevard or a late nite drive through the lonely hills, Krikor Kouchian's "Pacific Alley" propels you to a world of sleaze and excitement, where passion, money, and illicit substances take precedent and the sun beats down in a relentless unforgiving fashion.

Spending time as a youth in Southern Cailifornia, the French-born Kouchian developed an obsession with this Americana and the magic of everything California. The music on the radio, from pop, to funk, to hip hop fueled his impressionable mind, later on taking influence in his own music.

Pacific Alley is a snapshot of this lost period, full of juicy low slung basslines, slow bpm cruisers, Linn drum crashes, and ride or die melodies. The elements all meld together through this 11 track lp, it's equal parts uplifting and melancholic, downtrodden, yet not without rays of light; the soundtrack for days hanging in front of the corner stores and nights on the strip, both a naive love affair and backstabbing doublecross.

This is boogie funk for the grift, a dollar here buys a bottle there so step into the shade, pop the tape in the deck and enter into the concrete dreamworld.

Dark Entries and Serendip Lab have teamed up to release 'Prototech', the first vinyl retrospective by German electronic trio Hypnobeat, recorded 1984-86. James Dean Brown and Pietro Insipido formed Hypnobeat in 1983, but it was the addition of Victor Sol only a few months later that found the project reaching, as Brown puts it, "the desired level of technical sophistication." In time, Tobias Freund also lent his talents (and equipment) to this loose-fit sonic scheme, where the protagonists sought a new, electronic manifestation of mankind's tribal music roots. Two cassette releases surfaced - 1985's "Huggables", and "Specials/Spatials" the following year. By this point the Frankfurt-based group had already explored fiercely mechanical creative expression through various configurations of hardware and personnel, revolving around core ingredients such as the TR-808, TB-303 and MC-202. The project lived on in spirit as Brown activated Narcotic Syntax in the 90s. While a more modern, digital concern, rooted in the Perlon label family, NS still channeled the Hypnobeat concept of a "new tribalism", not least on their "Provocative Percussion" double 12" released in 2006. For all the punky veneer, there are instances where these tracks reach staggering levels of sophistication, not least on "Slash! Buffalo Eats Brass" with its intricately programmed 303 lines and nimble beats that sound a far cry from most machine music made in 1986. Prescient "Can God Rewind" is also dazzling in the complexity of its percussion and the richness of its synth lines in C as they throb out a bastardised version of acidic Disco straight out of the rhythm collider. Elsewhere, some tracks are more primal in their execution. Visceral opening track "The Arumbaya Fetish" was a cathartic venting of Brown's least favourite sound on the 808, the iconic cowbell, while the astounding proto-Acid miniature "Moon Jump" places limber 303 lead lines in a hail of thunderstruck patterns. "Kilian" has a stripped down quality that speaks more to the industrial era that Hypnobeat was conceived in, and "Mission In Congo" is a raw, reverb-soaked drum workout that captures the percussive-obsessive nature of Hypnobeat perfectly. Six of the seven tracks selected on this collection were primarily powered by two 808s. "I am amazed that the release sounds like we really had a plan back then..." states Brown, but this accidental magic is in fact the raison d'etre of Hypnobeat. They weren't the only ones prefiguring the next big revolutions in electronic music in the mid 80s, but there certainly weren't many artists stumbling across modes of expression that sound so relevant today.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring cave engravings by Pietro Insipido of an archer and animal printed in a wallpaper pattern style designed by Eloise Leigh. Each copy includes an transparent insert of an x-ray photograph from 1984 of Romulus Cœurque holding the circuit board of a BOSS DR-55 rhythm machine.

We are bringing together the creative might of our residents to bring the sound of Renate on a double release EP. Over the years Renate has grown from a impetuous party to a glorious club. The people who came together under her roof and played beats that made bodies pulsate with ecstasy have become benchmarks in the music industry of today. We want to share with you that talent. The first EP hosts tracks from Peak & Swift the colourful techno duo that inadvertently become the face of renate today. Sebastian Voigt, the dark techno Horse of the Renate tribe, adds a little mystic depth. Samanta Fox & Oliver Klostermann bring their high styled brand of cosmic music to the wax in a epic track and lastly Johannes Albert the wunderkid who broke free of the berlin's shackles and taken over the global stage with influences from none other the Wilde Renate.

lvin Toffler was overwhelmed. When in the morning of October 4th, 1988-it was his 60th birthday-he was starring with a still somewhat absent look into a bowl of cornflakes, he thought that in the surface structure of the yellowish shimmering milk which was making an emulsion with the maple syrup and slowly but irreversibly corroding the crunchy crystals on the flakes, he could see through a window into a timeless dimension. Toffler, who at that time had reached the peak of his fames as a future scientist, was sustainably disturbed from his peek into this extra temporary peephole. In none of his books-'Future Shock' had just been released with yet another edition featuring a proud printed note on the book cover stating 'more than 5 million copies in print'-did he ever mention this occurrence. Even after his death in June 2016, no note on this incident could ever be found in his estate. The 'flake dimension' as Toffler called it in notes which were later shredded remains a secret of opaque, hard-to-grasp radiant power.

Maybe it's too simple to describe 'Pneumatics' as a creation coming from this cornflake world Without doubt. Are there any more precise terms or instruments to determine the multifacetedness and beyond-timeliness of the 'Pneumatics' soundscape There are still unknown. 'Pneumatics' is, after releases at Innervisions, Die Orakel und his own label Sound Mirror, the debut album of Orson Wells (as long as you don't count in 'Jupiter' - Wells's first LP which was released in 2014 with 48 copies on cassette-have fun digging for rarities and bargains!).
Perhaps Wells, known in Frankfurt under his real name Lennard Poschmann and as an employee at the record store Tactile, is only a messenger. Or a psychic. The sound manifesto that he apparently transmits from Toffler's secret dimension tells of a city of upside down pyramids ('Tianon'), of passes into the land of the five elements ('Multipass') and dead straight four-to-the-floor lines which appear bended within the spherical dimension (''Geodesic'). These beats are right on the heels of the ones of Intersteller Fugitives; the strings sound like that at any moment a vocal sample edited by Moodyman could warp over through the Cornflake wormhole. Pneumatics is the science of all technological applications powered by condensed and often by quite heated air. It is a matter of mechanics, compression, jackhammer, ramblings, high pressure levels, valves for blowing of steam. On 'Pneumatics' it's all about this. And more. Orson Wells's album gets to the point of the post-retro futuristic state of the dancefloors of the house and techno clubs of this planet. It is like a peek into another dimension, right on the golden cut of spacetime geometry.

Following an accomplished EP on Perc Trax & a feature on Parallels and Influence Part II, Manni Dee returns to Leyla contributing his third EP to the labels impressive discography.

Your Public Image commences with Insurrection Erection, featuring vocals by Joke Lanz of Sudden Infant (Harbinger Sound, Raubbau). The vocal contributions harness a feeling of widespread disharmony, punctuating the bullish drums and assertive atmosphere with eruptions of frustration and expressions of malcontent. While the field recorded vocals made by Lanz feature as an empowered voice and a call for upheaval, the screams and shrieks from Lanz operate as the marginalised voice of the oppressed, sharply slicing through musical elements only to disappear and become submerged.

The A2 skips along with broken beats in very British fashion, reminiscent of Manni's earlier work on Black Sun Records, with added ingenuity and percussive flare.

The application of vocals, which has become a key characteristic of Dee's recent work, is creatively exhibited on the B1 Combination Acts; a track that displays a deft percussive density unique to Dee's style, adding a frenetic touch to a steadfast substructure. The tempo ramps up on the EP closer, satirically & appropriately titled The Jingoism Stench. The distorted & frantic yet nimble foundation propels the track forward, with reverberated contact mic and vocal recordings bouncing off the stolid walls of rhythmic pressure.

An acute understanding and implementation of rhythm and sound design results in provocative dancefloor material that blurs the lines between industrial traditions and (post) punk artistry. Dee continues to flourish as one of the most innovative and exciting voices in techno today.

Fresh from his 'Vanishing Point single on UK label Hypercolour, which saw the lead track hit the Beatport Leftfield House & Techno sales chart at #1 for four weeks, A Sagittariun is back on his Elastic Dreams label with the 'Slightly Ajar' EP. As always, A Sagittariun brings an eclectic melting pot of flavours to each of his EPs, blending Detroit techno, ambient house, highly charged electro, dramatic synths and transcendental vibes. 'Stingray' combines future techno beats with apocalyptic bass and melodious keys, with an almost early 1980s synth pop vibe to it, whilst 'Burning Crystal' is the kind of introverted and deep ambient electronica that has shaped the two A Sagittariun albums (2013's 'Dream Ritual' and 2016's 'Elasticity'). 'An Infinite Number Of Possibilities' is relentless, frenetic and funky, as a myriad of warped sounds and riffs flash past the heavy drum work, and '720 Degrees' closes the EP with crunchy 808 electro patterns, FM bass and huge melancholic strings straight out of the Derrick May rule book. A Sagittariun will be performing at the Berghain, Berlin on 26th August, showcasing a new live set before embarking on further dates at the end of the year.

* The production duo behind the rave-new world sounds of 'Turbo Mitzi' and 'Big Slug (Feat. Riko Dan)' have been busy in the studio recently and return to form with 2 killer cuts designed to shock out the dancefloor.

* 'Control' picks up the tempo from the duos previous cuts, rolling at 140 beats per minute, in it's apocalyptic form. Powerful pads create the tension before sub-heavy kicks and cybernetic snares come pounding and chopping in, building up the mood before a radioactively charged Reese-bassline emerges, rising to the surface, unleashing its terror. This is a stone-cold banger.

* 'Strobe Light' returns to the more familiar 128bpm tempo that the pair have previously worked with. Taking a quite unique approach, 'Strobe Light' builds evermore, moving into the light, layering percussion up as an intoxicating drone of swirling strings swells and swells - entrancing and empowering in equal measures. this is a highly versatile DJ tool that also makes for an engrossing listen from start to finish. Refined dancefloor ear candy.

On EP5, legendary German musician Burnt Friedman makes his Dekmantel Records debut with 'Monsun'. The Berlin based artist, who built a reputation for himself through his explorations into obscure, finely-tuned, experimental dub through his label Nonplace, alongside his collaborative relationship with the late Can drummer Jaki Liebezeit, is one of the crucial, sonic manipulators of our time. 'Monsun' finds Friedman crafting flowing, percussive, dub techno that is both esoteric, and progressive. Befitting of a Dekmantel release. Alongside Friedman sits legendary Detroit act Ectomorph, aka. BMG & Erika, also making their Dekmantel inauguration, with a record that surmises' the group's anologue, style of Motor City beats.
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There would be no Dekmantel celebration without longtime family members, JuJu & Jordash. With three LPs and countless EPs released on the imprint to date, alongside a sleuth of festival, and party appearances, the improvisational duo have become masters of off-kilter, and poly-rhytmic electronic funk, of which 'Neon Swing' -a fast-paced and extremely invigorative cut- is of prime example. And then there's Dekmantel favourite Fatima Yamaha - an artist who has a keen ear for gentle, analogue hooks that have gone to become ample festival fodder. The Dutchman maintains an ear for the serene with the track 'Platforms', a sullen, yet beautiful ambient track, the drives deep into the emotive world of soft, tender, heartfelt music.

KLYNE first caught everyone's attention with their critically-acclaimed debut EP 'Paralyzed' on Aesop, as well as their debut remix - a rework of Disclosure's 'Omen' feat. Sam Smith - before signing to Because Music and going on to release their first two singles, 'Don't Stop' & 'Water Flow'. Both tracks hit the #1 spot on Hype Machine whilst garnering support from i-D, PIGEONS & PLANES, THE FADER and NOISEY as well as receiving airplay support from BBC R1, 1Xtra, 6 Music and Beats1 with 'Water Flow' racing to over 6M streams and counting on Spotify. 'mellow electronic pop that's like a long-lost cousin of Jai Paul' - The FADER 'infectious and effortless... groove-laden soulful masterstrokes' - VICE / Noisey 'minimalist vibes, captivating vocals... impeccable melodies' - Pigeons & Planes 'more fire from the young Dutch duo... the boys are off to a strong start' - i-D

AE Productions are please to present our latest release and latest signing Cut Beetlez, a DJ/producer duo hailing from Tampere, Finland. For their first release on AE, Droppin' Needles, they have teamed up with Soundsci MC's Oxygen, Audessey and U-George delivering an ode to the almost forgotten art of the needle drop - a turntable technique pioneered by the legendary Grand Wizard Theodore. Oxygen himself is a pioneer of the art of MCing while at the same time needle dropping - an incredibly rare and extremely difficult ability and something to behold!

The beats have been created using live turntables over a raw MPC based drum track with formidable results while the MC's drop science on the art of needle dropping. The sleeve artwork recreates Marley Marl's brilliant Droppin' Science sleeve - an idea from Cut Beetlez themselves and executed by the inimitable Mr Krum - in AE's opinion the world's foremost expert on record sleeve recreation.

The 12' includes both the main version and also a remix version created with the same methods as the main version plus instrumentals, accapella, bonus beat and DJ tool - plenty of tracks for DJ's while a limited edition cassette single release includes main and remix vocal and instrumental versions.

Sydney s Post Pluto are back with the debut No Doors EP from riggles, a four track blend of crunchy beats and dusty house grooves. Doomsday takes us back to 99 with a sun drenched edit of the classic MF Doom beat. Shine follows with a bass heavy groove and stretched out vocals. On the flip, Perfect Day gets moody with textured drums and back alley sax solos. Sydney duo, Sonderr, are on remix duties with a melancholic approach to Shine , bringing it to a darker club atmosphere.

One year on since their last venture as Black Spuma on International Feel, Fabrizio Mammarella, also known as Telespazio and Phillip Lauer, one half of Tuff City Kids, are back with the insatiable Orme EP. Showcasing the pair at their best, this four tracker is where acid meets emotive melodies and shimmering Italo synths lines. In the words of Phillip Lauer it's where "balearic vibes, acid love and a lost tape from 1991 merge into pure bliss!.." The pair first met when Phillip (trading as Arto Mwambe) remixed a Telespazio track. They started working together in 2015 when their first joint release Oasi was released on International Feel. An integral part of the label, Lauer recently released the highly acclaimed self-titled Talamanca System album on International Feel alongside Gerd Janson and label boss Mark Barrott. Both Lauer and Mammarella have a history of quality releases on great labels: Running Back, Beats In Space, Permanent Vacation and Rollerboys Recordings.

Sunlightsquare keeps on exploring multiple style of House music this summer. The previous single from the last month "Oyelo" was a winning combination of authentic Latin Cuban music and classic 909 House beats. It was championed by Ron Trent, Osunlade, Hunee, Bradley Zero, Nick The Record and Atjazz to name a few. This time, the main man and keyboard wizard Claudio Passavanti deployed two remixers for deeper and more spiritual endeavour to showcase his magical composition.

Hailing from the birth place of South African House music Pretoria, the talented young producer Blaqtone laid out beautiful sunset pad, earthy African percussions and solid rolling beats, all work like magic with Claudio's original spiritual keyboard works.

On the flip side, Kay Suzuki pulled off another dubbed out psychedelic mix with "Astro Dub", just like the previous release, and the more dance-floor oriented classic deep House style of "Moon Mix" influenced by the likes of Larry Heard. The track features sequenced Mini-Moog bass line and call & response drum programming before blissful harmonies and melodies kick in.

Short Bio:
Critically acclaimed Jazz pianist, multi-instrumentalist & bandleader Claudio Passavanti aka. Sunlightsquare has been associated with Latin & Cuban music since his top selling vinyl releases such as "I Believe In Miracles"(2010), "Pastime Paradise"(2010) and "Heart's Desire"(2012) as well as producing the main title of the soundtrack on the feature film "Cuban Fury" (Studio-Canal/Film4) starring Nick Frost (2014). Claudio's talent also extends to house music production with the 2016 Osunlade's Yoruba Soul Records release "Celebration Of Oggun", as well as his remix work for Gilles Peterson's Brownwood Recordings.

As felines usually do, TYV's latest effort and Gop Tun's fourth enterprise purrs and prances along with elegance and nonchalance. From the first elements of percussion up until the last trace of reverbed and delayed textures leave the speakers finally at rest, Miau engulfs its listeners in a powerful stream of melodic strength and rhythmic intensity. Not surprisingly all of this mojo relies heavily on very typical chromatic nuances, familiar to anyone who's acquainted with Brasil's rich musical diversity and solid foundations.

Miau is a ritualistic utterance, an onomatopoeic journey that takes us deep into an utopic place where innocence is untainted and our best memories are left untouched, but never forgotten. Features that are somehow enhanced in Tuff City Kid's own Lauer's version, which is Idyllic in its pads and entrancing in its beats, but still elegantly nostalgic in its feel.
Da Terra maintains the festive atmosphere and heats up the oven a tad more. Some earthly delights await those willing to cross the dense layering of percussive vegetation and arrive at a beautiful glade where the main hook meets the strings and chants that conjure a particular vibe of uplifiting melancholia.
This is a feast for your senses, guaranteed to overload your neurotransmitters just like our native meals.

Copenhagen's Echocord Colour returns this August with Stephen Brown's 'Power Factor' EP, featuring three originals from the UK Techno stalwart.
Scottish producer Stephen Brown is a name synonymous with Techno across the globe having been releasing material since the mid nineties on imprints such as Derrick May's Transmat, Subject Detroit, Skudge Records, Ben Sims' Theory and Holland's Djax Up Beats amongst many more.
Here we see Brown join the roster of Echocord's sub-label Colour, slotting him in alongside the likes of Mike Dehnert, Nick Ho¨ppner, Luke Hess and Deadbeat in the back- catalogue.
Up first on the release is 'Sandtext', a stripped-back dubbed out opening cut fuelled by a robust kick and minute percussive hits running alongside a sturdy sub bass drive and spiralling dub stabs before 'Wet' takes things even deeper via muted kicks, shuffling shakers and delayed synth chords. 'Back Stroke' then rounds out the release with an amalgamation of airy reverberated stab hits, rumbling low end pulsations and a thunderous kick drum to once again create an understated, hypnotic composition.

After his memorable 'Wolves' EP of last year (which garnered great support and earned record of the week on B.Traits BBC Radio 1 show) Florian Busse returns to connected for his new release 'Heus' EP on vinyl and digital,retaining and developing his idiosyncratic sound sculpting, Florian has delivered another unique take for the dancefloor.
1. 'Heus' A hypnotic tom and bass groove, heavy on atmosphere and noise, foreign and far away synthesizers and a deceptive bass note, the melody starting slow with a repetative phrase, then telling its whole melancholic, wistful, but powerful story before an arpeggio in the main break brings things to an end and delivering a powerful moment in the club when the beat comes back. Memories of summer.
2. 'Intro'. As the track name says, the long intro is the 'featured' part of the track, a good starter for any dj-set where people do not leave the dancefloor if the beat hasn't kicked in after the first 10 seconds. Child like voices, steady synthesizer note coming and going and a low bass create an intense first 3mins before the beats kicks in for the first time continuing with a pretty minimal beat before the elements of the intro come back and voices replace the synth line.
3. ''Guem'. A steady bass note and a waylaying, moody synthesizer theme ,tastefully selected drums, heavy beat and percussion ,joined by weird bird like sounds place you into a wood where the sun has already set.

Wurzel's second chapter showcases four mesmerizing tracks from four different well-grounded artists. Hypnotic beats, tasty grooves and cosmic melodies merge onto a unique dynamic canvas. Mighty weapon to have in the bag.

* The debut release by Austin, TX, artist Disco Nihilist combines acid and deep house to create a timeless EP. Influenced heavily by old school Chicago house and New York's great Nu Groove records, all four tracks were made with simple hardware and recorded to cassette tape giving this record a physical presence that computer-produced tunes can't touch. Despite the limited production tools, each track has its own distinctive flavor: pumping chords, looped bleeps, dub echoes, and jacking beats make for a diverse yet coherent sound throughout the EP.

* Love What You Feel is a new label from Thomas Cox (aka pipecock' on various internet dance music forums), owner of the Infinitestatemachine blog. The pressing process of this record has been documented step by step on Infinitestatemachine, reaching a worldwide audience of thousands of deep dance music fans every week. Readers from every continent are already anticipating this EP's release.

Soundway fans frst got a taste of Jay-U's infectous beats with the track 'Some More', featured on the Soundway compilaton Nigeria Disco Funk Special: The Sound Of The Underground Lagos Dancefoor 1974-79'.
Originally released by EMI Nigeria in 1977, this now-rare album was writen by Jay-U and engineered by disco-boogie artst Goddy Oku. Opening with the up-tempo reggae number Reggae Deluxe', the album descends into mind-blowing jazz-funk featuring several killer saxophone solos. The journey ends with a trip into psych-prog rock, with a sound not dissimilar to that
coming out of the early 70s Britsh rock scene.
(*Note: track 5 from the original recording will not be included in this reissue)

The House Music Institute is the new label by Pete M.. A recognized face on the Madrid underground scene, Pete M. has been making the city dance for the past two decades mixing House with Future Disco and Techno.

His first EP, LOFT 301 - Fourth World' includes two original tracks plus a remix by Jonny Sender.
Pete M. created two original tracks with a late night vibe using a classic groove and 4/4 rhythms combined with 808 analog sounds and beats.

Pete reached out to Jonny Sender for a remix who's recently released a number of original productions and remixes. Sender, bass player in the legendary band KONK, was part of the early '80s downtown scene in New York City as well as being a long time DJ. Jumping off from the original track, Sender brings some jazzy early '80s flavor while keeping the vibe strongly rooted in the present.

eRRe has been doing damage on dub for some time already and is proving to be a deadly dj weapon.Robotic bleeps meet percussive beats as the intro announces the shape of things to come.The instantly recognizable "Play with us" sample gives way to a massive bassline which kicks in with the impact of a head on collision and works perfectly alongside the technoid elements.This cut succeeds in not only frying your brain with its acid synthwork but its pure bassbin pressure will also get your body shaking!

Vengeanze "T.M.A.C" starts off in outer space, gradually gathering energy as it comes closer, swirling, twisting and haunting the listener with shuddery sound effects and vocals.The massive build up finally unleashes an even bigger drop as a huge drum rollout rides over a squelching bassline.Crafty edits and techy effects manage to maintain an urgency about this track, driving it relentlessly through the system and leaving the ravers weak in the knees.Don't sleep on this one!

Restive Plaggona is the music project of the Corfu-based artist Dimitris Doukas -also producing under Matriarchy Roots, Leftina Osha and Plaggona-. After releasing a series of cassettes in different labels along 2016 and 2017 -including his own Several Minor Promises- 'Leaving The Body' arrives as an electronic composition of beats and synthesizer bodies disguised as a sense of provocation and mystery. Each of the seven pieces offers more than a smattering of interesting textures separated by spans of great decline, but a master class of permutations in-between accompanying sounds, stretching rhythms and viscera-and- violence noises. Driven by a deeply expressive narrative, Restive Plaggona makes a strong statement about

his post-industrial vision adding technoid inclinations in a delightful dystopian world.

This is a journey into sound. A series of journeys across the globe, in-fact. This time with Don Leisure from Darkhouse Family. Let us tell you a story. Firstly, we first need to answer a question. Who is Shaboo

It began in Africa. Nasser Barwani was the son of Shabudin. At the age of 15, Nasser (Don's Uncle) left Kenya and hitch-hiked his way to London. Nasser entered the movie business, occasionally finding himself in front of the camera, acting in Bollywood films. It was then that Nasser changed his surname to adopt a screen name - Shaboo.

According to Don, "Shaboo was the most colourful character in my family. I have fond memories of him playing tabla at family parties. When I was about 17, I was on a journey with my Uncle. Whilst Shaboo drove me around, he was playing the steering wheel as if it were a tabla. It was then I nervously asked "do you think, one day, I'd be able to make music too...". Shaboo was so furious he nearly crashed the car, slamming his hand hard against the wheel. He screamed "OF COURSE YOU WILL!! IT IS IN YOUR BLOOOOOD!!!"...

A week later, inspired by the creative energy of my Uncle, I acquired some music software, and began an all new journey. A journey through the beats..."

Long family car journeys were a constant in Don Leisure's life growing up. "We'd take frequent trips from Wales to London to visit family in the late 80s / early 90s. There I'd mainline into my cousin's record collections, and make full use of the signal radiance to the M4, searching the airwaves for pirate radio stations. However, I wasn't the only one to make use of this. Every trip, my parents would routinely tune their dial into Sunrise Radio - the only Asian radio station around back then.

The soundtrack of these road trips were somewhat unique. Whilst I tried to learn the lyrics to 90s hip hop songs taped off my cousins, my Mum would constantly interrupt, interspersing my boom bap with bonkers Indian radio ads. And here we have the premise of this album. An attempt to recreate this sonic mix, with sounds pulled in from dusty crates and breaks dug from all over the globe."

25 instrumental Hip Hop tracks, linked together in a truly unique style and fashion, this is much more than a beat tape. This is a journey into sound. For real.

Dedicated to Nasser 'Shaboo' Bharwani.

With this album Cypress Hill turned towards a more tranquil, sedate, slower, spooky sound with beats. The dark mood of this album reflects the strife within the band during this era, when member Sen Dog temporarily left the band to pursue other projects.
On this album both Wu-Tang Clan members RZA and U-God make appearances on "Killa Hill Niggas". Also notable was track "No Rest For The Wicked" which ignited the feud between Cypress Hill and rapper Ice Cube, who they claimed, stole material from the band.
At the time this album was well received by critics worldwide.

Q - 4 Stars - Excellent - "The production is sophisticated, incorporating Indian sitar and sloping, almost psychedelic bass grooves to create a vaguely threatening ambient hardcore."
Melody Maker - Bloody Essential - "...resonates with freakish cheese-wire paranoia...a gobsmacking paradox of expansive claustrophobia.... The funk patters like an erratic heartbeat, the voices are stretched to bursting with menace and loathing and mockery..."

The debut EP from Seltron 400, AKA, Polish dance favourites Eltron John (Uncanny Valley / Transatlantyk) and SLG (Studio Barnhus / Step), arriving on MOST, following a recent appearance on Catz and Dogz' PETS Recordings.

Stemming from a run of well-received back-to-back sets, these close friends emerge from the studio with two imaginative slices of house and contemporary electro, alongside a jackin' bonus beats accompaniment.

After a well-received Boiler Room set, the duo will promote their officialdebutin summer 2017with aproper live act.

With a career spanning over 20 years worth of Djing, production and label work, Shlomi Aber has gradually cemented his position as one of the scene's cornerstones. His first outing for Figure sees the now Barcelona-based artist drawing on his many influences to deliver a tastefully rounded three- tracker. ‚Under two Worlds' grooves sublty aong a funky acid riff, while anthemic synths longilgy recall bygone moments of grandeur. This unique Aber-ability, creating a composition that is as elegantly understated as it is undoubtedly epic, also comes through on the record's B-side. Paced only at half-time and drenched in dubby reverb, the weighing beats of ‚Rumbles' engage with delicately shapedhead sounds for some seriously spaced-out head nods. ‚Matrix' is an tightly woven mesh of machinery insides, which Aber nevertheless manages to channel into a fairly straight- forward kinetic energy.

Norwegian producer Tony Anthem is well known and respected for his solo work as well as his contributions to both Gunman and the legendary Drum & Bass dup Future Prophecies... For his latest offering, Tony teams up with London based vocalist Doctor for a couple of Jungle flavoured dance-floor slayers in the form of 'I Love It' & 'Tears Of Mine'
'I Love It' is an uplifting and bass heavy dedication to the beautiful art form we all love... Music.
Jungle vibes and sweet vocals make this one a perfect fit for the airwaves!
'Tears of Mine' again utilises Doctor's sublime vocals and Tony's rolling beats to full effect as the duo come with a grittier image this time of inner city life. Pure FIRE!
The combination of Tony's lazar sharp production and Doctor's awesome voice make this a must play on the both the dancefloor and the FM's all over the globe!

Beat X Changers comes back to you with our new release, introducing young and gifted Canadian producer Ferness.
Matthew joined the Beat X crew following what has become a classical path to the producers of the labels.
After joining the forum in 2015, he shared a collab with Frakktale on 'Speed Luanda' which got our attention with its deep, broken and melodic structure. Today we can proudly introduce you to his first release - Internet/Dreams/Deception - which will take you in a soft and beautiful daydream tinted with a 80's grain.
You'll be guided all along of this trip by a strong and powerful rhythmic, full of House, Broken Beats & Bass influence. Beat X Changers at its best!

After their stunning 2016 release "Blush" (D.O.C. 017) the incredibly gifted Brazilian duo ELEKFANTZ return with this beautiful 180g limited edition 'translucid clear vinyl' including an extended version and a massive remix by label boss Gui Boratto.
"Blush" is pure ELEKFANTZ beats, pushing its melodic DNA with beautiful vocals and synths at its best.

While Gui Boratto gives his well-known techno punch and unique touch to it, "Blush" is a dancefloor jewel in any town and club.
If the forecast is anything to go by, so is ELEKFANTZ, the indie heroes who joined D.O.C. Records to spread their music and explosive energy to four corners of the globe.
A perfect collectable limited edition vinyl for worldwide fans to love and appreciate.
Engineered to perfection by label head GUI BORATTO, it's an exciting step for the imprint and the project alike - we can't wait to hear where they'll go next.

The 3rd record from Pi Electronics is by the Rotterdam based, Thessaloniki born producer, Damcase. PI03 includes five original tracks of punky electro and techno, flavoured with Damcase s riffs and noisy aesthetic. Sharp percussions, along with distorted grooves and broken beats, as well as some experimentation with voltage control techniques. The label reveals new colours on its palette, though not shifting away from its character.

Immer noch unerreicht2001 der Hammer - 2007 ein Klassiker! Der House-Rap-Techno-TripHop-Mix des Londoner DJ-Kollektivs Faithless wird vor allem von den Fans als das Beste bezeichnet, was Faithless in den vergangenen Jahren veröffentlicht haben. Wie wahr: sanfte Grooves, sweet Melodies, wummernde Beats und sphärische Gesänge machen Lust auf mehr. Anspieltipps: "Donny X", "Evergreen", "We Come 1" und "Crazy English Summer".

REPRESSED !!
The mysterious CRUE has returned with some new House heat for appreciators and collecters worldwide. The 3rd installment in this limited likenamed vinyl affair is again focused on raw beats and ferm chord action. Like it's predecessors this is a heavy hitting dancefloor bomb all throughout. The formula stays the same but refreshes itself in new found influences. The B side of this splendid 10'' shows that the mysterious CRUE is not a one trick pony.
This CRUE record will definitely appeal also to those who find their roots in Techno, or even in Bass Music. Naturally this is concerning a special-coloured and handstamped limited product.
First come, First serve. No digital, No repress.

Monosoul is back on Tieffrequent with 4 timeless and classical cuts focussed on the important elements of housemusic...with love for the dancefloors, clubs and basements of this universe...
On the A-side you have - Make 'Em Match', a rough and steady house-groove containing a constantly bouncing bassline, a deep chord-pattern, a complex percussion-cluster and a well infixed electric piano...all elements are perfectly balanced, finalized and formed to a completed floorfiller. Then there is - Monument Street' after which the EP was named. Starting really deep and minimalistic it developes to an impulsive und powerful song. Organic pads, pulsating deep chords, a rhythmic bassline and well arranged drums make - Monument Street' flowing impressively from start to finish.
The B-side starts up with - Hot Concrete', a blazing, drum-driven basement-groover. With a sharp deepchord which is wrapped-up in several padsound-patterns, Monosoul creates a very own athmosphere. In combination with an impulsive bassline and a distinct percussion- ensemble - Hot Concrete' beats time on the floor noticeably. Finally - Life On The Red Island' as the perfect final track brings the - Monument Street EP' to an end. It builds up by adding small bits and pieces very subtly to a point you recognize a pulsative deephouse beauty. The remarkable bassline and the concise and bouncing kickdrum are casted in a flowing deep sounded carpet full of hope. - Life On The Red Island' disappears to where it came from and leaves you with strong impressions.
The - Monument Street EP' gives an insight into Monosoul's impressive understanding and definition of house music which you can hear on 4 tracks loud and clear...Thank You!

Repress!

Berlin based Arttu has been dropping his dusty fat beats across numerous techno labels including Philpot, Clone and 4Lux for a few years but it was 2016's track 'Hoodies' on Arttu's own imprint Cyblo that caught the attention of Accidental label boss Matthew Herbert (and which remains firmly in Herbert's record bag). Arttu was invited onto the Accidental Jnr roster and has delivered a chunk of techno with so much swing it made Donkey Kong blush.

Arttu takes the most simple of jazz bass hooks and loops across a rigid kick, it's when those hats kick in that the groove goes fucking wild. The presence of US native Roberto Q Ingram on vocals brings a full Detroit gangster flavour to the party. Initially Arttu and Roberto had an idea to record a simple and sweaty track with Roberto on the mic and Arttu at the control of some dusty old machines. The result, 'Bass Trakk' is exactly that: Roberto dropping lyrics over a raw beat and a massive bassline. The EP is rounded off with a deep bit of techno 'Debris' with all the trappings of the darkest hour of a Berlin winter in which it was recorded.

Spiros Kaloumenos has been one of the key artists of Planet Rhythm at an earlier stage. This time he's back with a completely recrafted style that perfectly fits the label's current state of mind. Adventurous Techno with thumping beats and at times a little acidic touch. The Greek artist comes up with a killer four track EP that goes from the sturdy beats of 'Introvert Shadow', through the acid tainted '101 Reasons'to the rave inspired anthem called ''De Forme''. We're happy to welcome Spiros back to Planet Rhythm. A bonus track named 'Intensity Game' is included in the digital release

The second release of Dilated Pupils on their own platform DPBEATS.! Techy yet classy vibes.! All beats are ready for the club.!

About DP:
Dilated Pupils is a collective group of likeminded friends home-based in the Netherlands. When forces are joined in one of their many studios each individual brings his own influences and styles to the table. Together they share a distinct flavor in productions and raw one-take jam sessions created with the use of analogue machines and often recorded on tape. Each of them have their own solo productions as well as other collaborations, but when united as Dilated Pupils they prefer to be known jointly as one entity with their own unique and distinguished sound. Since 2014 the group has developed an interesting and widespread discography with releases on labels such as Fear of Flying, Sol Asylum, Mode of Expression, Tabla, Music is Art, Dorcas, Make Sense and Mayak

A brand new instalment in the Trans Afryka series, that is loosely inspired by the sounds of the black continent and devoted to club-oriented Afro-House.

Riding the waves of success with sold out volume 1, Zambon employed three talented producers to bring more goods to the table.
Transatlantyk regulars like DJ Dook and Universo are joined by a newcomer Tamten and together deliver a bomb of an EP!

Aptly titled 'Afro Acid' by DJ Dook is exactly what it says on the sleeve - raw DJ tool with squelchy samples, mantra-like vocal loop and focused vibe. Think of an soundtrack to a futuristic version of Apocalypse Now. Just the perfect peaktime beats to heat the party a little bit more.

'Praise Song' by Universo is built on a wandering bassline reminiscent of Malian blues with tribal chants, penny whistles and various sorts of percussions on top. This beautiful groove rolls and rolls without end, like an endless summer.

'Ukukhnaya' by Tamten is the most atmospheric out of the three, fusing New Age midi sounds with the vibes of South African deep house.

'Dispersion' is an EP deep in style, talent and wonder. Embellishing the underground kudos of Berlin-based techno DJ and producer AVION, owner of the hotly tipped, and renowned imprint Crossing, Dispersion is an eclectic mix of cerebral, uncompromising and colorful techno. Title track 'Dispersion' is a gleaming display of spacious dancefloor beats; melancholic, yet industrial. 'Real' is clinical, functional techno, emulating some of The Wizard's influential magic. 'Inverse' blends together a contemporary approach to sonic aptitudes, while remaining a strictly dancefloor and body orientated, while 'Enidan' a colorful moment of ambient beauty, plays the EP out.
It is the first release on Marcel Fengler's regarded, techno imprint IMF in 2017. 'Dispersion' is an ambitious, and unique EP, from a true underground -and mysterious - talent. The EP's style embodies the bright, hypnotic and pulsing music that has characterized his releases to date on Crossing. Talking about the release, Fengler states, 'He got my attention after some pretty strong releases on his own imprint Crossing. I felt that this was something I didn't have on my label, but still reflected the idea of IMF.

Pantha Du Prince (Hendrik Weber) has been working with longtime engineer Kassian to create an ambient version of last year's triumphant studio return, 'The Triad'. This reworking showcases the otherworldly and moody delicacy that makes Weber's music so absorbing and affecting, with the beats and most vocals removed, his dreamy sonic details come to the fore.
LP is accompanied by a digital download that also includes bonus extra versions of some of the album tracks.

Breakbeat Paradise Recordings is back with another big vinyl release from the amazing producer due Lack Jemmon, which consists of DJ Clairvo and Kid Panel, who are both well-established producers, DJs and label owners on their own. Together they are an explosive cocktailed of big funky grooves, filthy glitcy basslines and banging beats!

Lack Jemmon has been around for a couple of years and quickly signed up with the successful ghetto funk label Scour Records where they have dropped a few tunes and remixes. When the boys reached out to us and said they had 4 bangers they wanted to drop on vinyl we didn't hesitate to say Hell Yeah!

The self-titled EP showcases their style of heavy breaks and funky basslines perfectly across the 4 bangers that are tried and tested for complete dancefloor destruction.

You can always count on BBP for your doze of party rocking beats - and for keeping the vinyl alive...

Hedonism in its purest form means nothing but adjusting one s life and ambition towards pleasure and joy as well as the prevention of pain and sorrow. Following that concept, Wice s first EP takes the listener along on a journey of extremes: persistently strolling between sensual desire, ecstasy and lust as well as the deepest abysses of human sensitivities.
Coherently, just kiddin drags the listener right into Wice s universe of fabulous oppositions without any prior warning: the Peak Time Killer, inspired by the love of Detroit Techno of the 90ies, exhibits irrepressible energy, velocity and surprising twists and turns. Driven by the progressive drive of the drum patterns, the voyager, trapped in a mesh of percussions, wanders confused and disoriented on dance floors looking for support and, as if out of the blue, finally gets released by the warm synthline and gently taken by the hand. Simply just kiddin.
When legs are broken, things have to be done can be described as a small masterpiece of urban, intelligent dance music. The composition, which ranges in between complexity and simplicity, with its breaking beats in combination with spheric pads shows up the necessity that one should, despite setbacks, consistently remind oneself that life, love and music reveal their most beautiful aspects in a balanced and smooth flow.
The eponymous track hedonism draws a painting of obscure and rugged techno landscapes, which attract the listener magically, even though their beauty and grace can only be assumed at first glance. Once identified, the shimmering pads, the forceful bassline and the impulsive percussions unfold a world riddled with the most beautiful abysses and animality hedonism in its purest and most sinful form alike.
With blind certainty a downtempo piece rounds off the EP, which is supposed to be comprehended as a reminder for all hedonists that blind trust may have positive as well as negative consequences.
The hopeful basic mood of the song, however, always lets the light at the end of the tunnel shine through, which emphasizes the optimistic exit of Wice s world of hedonism.

Profusion (noun): an abundance of something rich.

The sonic partnership of K15 and Emeson originated in the days of MySpace. A future of combining their skills was inevitable, and now in 2017, it's time to unleash their debut studio album into the ether.

The solo-projects of Tottenham-raised Kieron Ifill (aka K15) date back a decade, but were truly kick-started on labels such as Kyle Hall's Wild Oats and WotNot Music, with a number of genre-crossing releases dropping ever since, including the WU15 project (along with Yussef Kamaal's Henry Wu, on Eglo Records). Additionally to his production work, he has established himself internationally as a DJ, from the Jazz Cafe to the CoOp parties.

Partner in Profusion, Emeson, has many skills to his bow - singing, songwriting, producing, promoting, DJing (under the alias Ed Nice) and acting. As a musician, his varied skill-set has seen him work with Chico Hamilton, Carla Duke, Karmasound, Uzo Madu and Chris Jerome. A frontman for soul-jazz groups LifeSize, The One and Saturn's Children, he has featured on releases for BBE and Tokyo Dawn, and appeared live on stage at the likes of Ronnie Scott's.

The debut single was supported by tastemaker blogs Wonderland, XLR8R and Stamp The Wax, has been bumped by selectors such as Lefto and Jazzie B, and played on NTS, Worldwide FM, Mi-Soul, LeMellotron, Balamii Radio, Itch FM, Invader FM, Soho Radio and various stations across Europe and the US.

This album is full to the brim with summery sun-soaked synths, drifting across the warmest of basslines and heavyweight beats. Emeson's rich vocals gracefully ride atop of K15's delectably bruk twist on neo-soul sonics and electronics, this is some seriously classy contemporary London soul music, that manages to incorporate flashes of various dance music techniques, sound-system etiquette and jazz-tinged rhythms. As future-thinking as it is subtly retrospective, it doesn't lend itself to one genre, it intentionally embodies the best of many. An array of everything that is great about British black music in 2017. The message the album conveys itself couldn't have come at a more poignant time. Where do we begin

Profusion - an abundance of something rich indeed.

The one and only Joey Beltram delivers a remix of Jungle Love with a techno electrifying spinoff complete with strong drum basslines and favoured by the industry's best.
Techno - Matt Sassari gets deeper and darker than ever in this classic techno must have.
Audio KoDe is a beast calling to the signatory sound of De-Noize with driving techno, heavy drums and bass, and raw heart-stopping beats that have appealed to Richie Hawtin and the likes.Additional PR info to follow.
All tracks promoted through Press N Play distribution and Strikeforce Media, along with RuntheScene PR (Brooklyn, NY) and radio play across Europe. Tracks also featured within DJ Charts on Beatport and Traxsource.
Joey Beltram's Remix reached Beatport's Top charts at #47 and stayed there for almost a month, boosting both Audio KoDe and De-Noize Records. Support from Joseph Capriati, Richie Hawtin, Marco Carola, Danny Tenaglia, Paco Osuna, MonkiDJ, DMC WorldMagazine and plenty more!!
Matt Sassari's track met with early success reaching #29 on Beatport's Top 100 in techno and climbed to #19 Traxsource's chart, staying there for over a month. Support From Richie Hawtin, Romanolito, Marco Carola, Paco Osuna, Joseph Capriati, Skober, Hollen, DFormation and more..
Richie Hawtin played this track on his livestream several times and at Space Ibiza Opening party during Hawtin's ENTER Event. This was followed by plays by notable DJS during the summer festivals and numerous related tweets to Richie Hawtin and tons of support by his followers.
Track fully supported by more including Skober, Hollen, DubFire, Dj Boris, Danny Tenaglia, Nicole Moudaber, Tocadisco, Mark Antonio, Meat Katie, Anderson Noise, Angy Kore, Tom Laws, Tiga and more.

Ekoplekz returns with his fourth album for Planet Mu, in the shape of 10-tracker "Bioprodukt". The unique lo-fi, woozy sound of Bristol's Nick Edwards stays intact while he veers towards the nineties for inspiration: the bleep and bass sound of the north of England is one touchpoint and the acid gurgles of the 303 are another. While the murky lo-fi production levels and evocative melodies remain, they are now bolstered by a more muscular rhythmic chassis. Snappier kicks and snares mingle with dense layers of percussion and deep undulating sub-basslines adding a funkier edge, as typified by opening track "Elevation" where playful beats interlock with breezy keyboard flourishes to create something uncharacteristically upbeat. Similarly, the gentle, fluid motion of "Slipstream" and "Calypzoid" represent some of the most appealingly chilled grooves in the Ekoplekz canon to date. But the darker-edged material remains. "Expedition" has a pensive, percussion-heavy feel whilst "Acrid Acid" is a dirt-encrusted slow-mo techno meltdown. "Transcience" displays the Ekoplekz trademark dub-fx in full flight over a driving lo-end, before "Descent" leads down to the final section, where the beats fade out, replaced by rippling layers of spectral ferric ambience on the epic "Low-X Over", before finishing with the radiant looped stasis of "Denier Daze". The albums shifting, mperfect patterns and muted colours are visually mirrored in the beautifully realised sleeve by the Print Project.

Fusing tantric sexual spirituality and speech with the energy of pounding beats and a functional driving acid baseline. According to Thee J Johanz it's inspired by an incidental visit at Love Temple (Arambol, India).

Fusing tantric sexual spirituality and speech with the energy of pounding beats and a functional driving acid baseline. According to Thee J Johanz it's inspired by an incidental visit at Love Temple (Arambol, India). Tantric Temple stirs and elevates the floor, making all 'feel as one' through a unifying vocal climax. The Tantric Bricastic version channels basic raw and dance energy, stripped down and nice in the mix. Last track Once Upon A Time, a co-production with Nathan Homan, explores the outer zone with some dubby acid disco tech with a tasty spaghetti western touch. Sleeve art by David Homan.

One of the core members of the Apollonia family is the mastermind behind the label's latest release. Shonky steps up with his first solo EP since 'Plombiére' which dropped in July 2016. Full of funky flavours and that distinct 'Shonky style', the new EP consists of four brand new tracks produced exclusively for Apollonia. Each track emanates its own unique vibe, while reppin' Shonk's irresistible groove. On side A we have 'Tyrolien', a jaunty number with bright tones and a tight, rolling groove. Shonky injects it with a series of unusual FX and what sounds like an wizened old creature, speaking about 'the foulest stench in the air'. It's a superb combination and sets the EP off to a great start.Next up is 'Beat Street' which has a heavier set of beats, which stomp down as a marauding b-line gets to work. Tiny fizzes and cheeps in the background add depth, sounding like robotic birds at play in the wild. The track is minimal in its make up, but deep and engrossing, classic Shonky material.Flip the vinyl over and we have 'Torro Rosso', a bold, stomping workout with fresh percussion and a jovial analogue riff. As the bubbly low end percolates way down below, the beats pump the track along and an extra layer of analogue funk enters the fray midway through. The final track is titled 'Serpent a` Sonnette' and swithes the vibe. It's loose, meandering and twisted, with a hypnotic bassline and super sharp percussion. This one is going to get the dance floor locked into a groove, as it progresses a sweet, chirpy melody brightens the mood. Feel the glow!Once again Shonky demonstrates his ability to produce groovy dance floor cuts that have their own unique fingerprint; danceable, unusual and utterly captivating. Grab the new EP now!

* Includes a DIN A2long poster inside the 12" sleeve with edition number and music download code

* Rogue Style 1 EP is an international homage to b-boy culture, where the worlds of breakbeat music and breakdance collide. Sinistarr (USA), Kiat (Singapore), Kabuki (Germany) and HomeSick (Canada) are connected in many ways, now they lay bare their hip-hop roots and give something back with a fresh take through the eyes of drum & bass and juke/footwork. Here is what they have to say:

Sinistarr: "As a teenager I grew up as a b-boy, dancing anywhere I could: schools, parks, festivals, you name it, my crew was there with cardboard and a speaker. I eventually got deeper into DJing and making music and learned to bring a sound that's not just for the crowds and the purists, but also for all the dancers!"

Kiat: "Hip Hop has taught me to keep evolving, to explore new forms in all my art. Progression is the key to evolution. -- I met Sinistarr online thru myspace and we had a musical connection which led to our first collaboration 'Black Diamonds' which is still one of my personal favourite tunes I've been fortunate to be part of it's creation. With Kabuki, i've always been a fan of his work since his 'Makai' alias on No U-Turn, despite meeting him only recently thru the label.I've always known him to be constantly progressing his ideas in his music which I respect alot."

Kabuki: "B-boy culture has always been a strong influence on how I pursued my art, mainly because of its DIY ethos and attitude of perfecting your craft. Incidentally these were also the aspects that drew me to Jungle when I first discovered it in the nineties. -- I'm happy to rub shoulders with Kiat, Sinistarr and HomeSick on this release, as I'm a fan of their music foremost, but also because we became friends through the music."

HomeSick: "I was only a child in the 90s and as a result I feel like my understanding of b-boy culture was experienced second hand thanks to 90s/early 2000s hip hop music. I appreciate the parallels I can see with footwork culture, particularly the similarities to the community mentality of break dancing. -- I know Sinistarr through booking him for our local party night in Alberta, Canada called Percolate. Our city must have left an impression on him because a year later he made the move here from Detroit. Had the pleasure of hosting him as a room mate for a little over half a year, the home was a very potent creative space during this time. Kabuki hit me up a few years ago and we very quickly got to sharing tracks and collaborating together. Mans a master of production and a super important part of the global scene."

The idea for a reminiscence of b-boy culture stem from label owner Booga:

"Why am I interested in this so much I grew up in East Germany and as the movie "Beat Street" premiered in 1985 over here I was age 13 and blown away by the energy, the music, the wit, the style - everything in this movie was better than everyday life in Leipzig. So I started saving for a cassette recorder and taped music shows from West German radio and prepared tapes for school disco gigs to the hope somebody would do the "robot" to Arthur Baker "Breaker's Revenge". Unfortunately that never worked out hahaha. But I was hooked since then and as the wall came down in 1989 I travelled to West Berlin just to buy the Beats, Breaks and Scratches 1-4 vinyl box by Simon Harris. The fascination for breakbeats never stopped and before I discovered Jungle around '94 I was down with the British cut up house thing from the likes of Marrs, Krush and Coldcut as another form of breakbeat music. The "do it yourself" spirit from hip hop culture inspired me to start a local website called breaks.org in 2000 to locally promote the drum and bass scene with emerging producers, djs and mcs for a wider audience and I threw in some interviews with Storm, Kabuki, Rob Playford, Klute and John B. That turnt into a multi author blog called itsyours.info in 2004 which still exists - that is where I had the pleasure to introduce Kiat and Ash in 2007. All these years I was listening and playing drum and bass tunes when the occasional "bboy tune" came up, some were obvious like Alex Reece "B-Boy Flavour", Lemon D "B Boyz", Commix "Change" and some were not so much self-explanatory like Digital & Spirits "Phantom Force" and the remixes by T-Power & Codeine or Fracture's Astrophonica Edit - but I felt the hidden force of breakdancing nevertheless. With the Rogue Style series I have the first class opportunity to ask established and new Defrostatica artists to present a current interpretation of b-boy culture. This is a dream coming true."

This Rough Guide features deeply cool cumbia influenced by 1960s Western rock and the hippy movement, spanning the spectrum of psychedelic cumbia from the 1960s pioneers to today's innovators. A classic selection ranging from the vintage Peruvian recordings to classic contemporary bands from Colombia, Chile, Mexico and beyond highlighting how cumbia was reborn in the 1960s to make it relevant to the younger generation.

Includes a FREE download card allowing you to download the full album

Peru has had its share of great electric guitarists bending strings to the rolling beats of cumbia - from Enrique Delgado to José Luis Carballo - who came from its own important domestic tradition of criollo guitar music as much as rock). So it's not an exaggeration to say cumbia peruana (and regional variants at times referred to as cumbia andina, cumbia selvática, and more recently chicha) has had the lion's share of Carlos Santana influences evident in the mix.

Interestingly the Peruvian psych sound so prevalent in the early 1970s had a profound effect on the originators of cumbia; hence we offer the two fine examples from 1970s Colombia that follow. We round out the mix with a gaggle of contemporary artists from Chile, Mexico, USA, Peru, Colombia, Argentina, and Germany, bringing the psychedelic tropical vibe up to date while still retaining the trippy trappings of yesteryear.

ll Camille, LA hip hop's female perspective.

Ill Camille has been a vital member of the LA music scene for some years. Kendrick Lamar used her vocals prominently for the 'good kid, m.A.A.d city' track 'Sing about me', she has been working with other TDE artists occasionally and spend a lot of time writing for different projects Terrance Martin was involved with.

At the same time Camille was developing her own material with her fellow peers such as MNDSGN, Iman Omari, DJ Battlecat, Like (Pac Div) Georgia Anne Muldrow & SIR who are all featured on her album 'Heirloom' just like TDE co-president Punch. 'Heirloom' productions range from smooth, g-funk esque west coast beats to live & organic soulful beats, working as the perfect backdrop for Camille's powerful, intelligent and thought thru lyrics

The album is deeply personal revolving around the issues that mater in her life from friends and family, her role as a woman and the heirloom of her and her surrounding: 'I feel like everyone are heirlooms of our mothers and fathers. An heirloom is just something that's passed down through a family. We get heirlooms in the form of game, encouragement or wise words. I know everyone has an aunt or uncle that's given them some bars about life in general. I have a village around me that have given me heirlooms in the form of conversations'.

"Daito" The Temple
Sub filtered kick delays deliver heart pounding bass, followed by spacious overhead sounds of nature, leaving the tubular synthesis builds up the tension. Featuring a melodic buildup, to get any dance floor calm, quickly to be filled with warm sub bass & soft percussion, ending with a clean mixable outro.

"Balas" Molecules (J. Manuel Destruction Mix)
A mechanically arranged techno slammer, with creatively delayed sci-fi elements, pounding broken beats & subtle, clean percussion, all coming together to dominate any dance-floor!
Starting with a slowly resonating acid line, medieval sounding pads add depth & progression, followed by a sharp snare & tribal tom, all ending in a galactic buildup, with the acid line adding the energy & the pads giving the track an ancient sound.

"Projekt Gestalten" The Fight, The Victory, The Death
Starting with a slowly resonating acid line, medieval sounding pads add depth & progression, followed by a sharp snare & tribal tom, all ending in a galactic buildup, with the acid line adding the energy & the pads giving the track an ancient sound.

"Cristian Marras" Project to Escape
Hypnotic but also energetic, this is peak time techno!
The first hook gets your attention as the overdrive percussion builds you up to the breakdown. As the frequencies slowly change, the buildup arises, building up the energy levels ahead of the discreet drop, filled with high frequencies to put you into a state of trance.

Hell Yeah is proud to present a new EP from an artist that has been on their radar for a while. That artist is Napoli's Quiroga aka Walter Del Vecchio, the Italian DJ and producer who also runs his own Really Swing label and has been given props by the in the know Test Pressing blog, as well as having all his tunes dropped by
Balearic Gabba Sound System at every opportunity.

One of the finest talents to come from Italy in recent times, Quiroga cooks up hypnotic and trance including sounds from a myriad of diverse influences from opiate jazz to shuffling funk beats, from shifty landscapes to library music.

First up is Viaggio a Tulum, a perfectly loose and jumbled mix of sunny vibes, feel good chords and clipped vocals full of soul. The sort of thing that has you day dreaming of lazy afternoons and drunken BBQs, it's perfect example of Quiroga's efforts style.
Non Dire Notte—featuring Acido and ReallySwing act 291Out members Luca "Presence" Carini on electric bass and Vincenzo "Warren" Ciorra on electric guitar—is even more lazy and elongated, horizontal and blissed out. Twanging guitars off set pixelated synths, squelchy chords and Afro signifiers bring the heat and overall you cannot fail to get lost in the groove.

Prati Bagnati is a serene ambient interlude that feels like laying on your back and looking into a deep blue sky and second ambient cut Bava is more textured and intense, with shifting drones and muffled voices bringing a sense of filmic unease to the table. Overall, this is a perfect window into Quiroga's most intoxicating musical world.

Support by Alexis Le Tan, Aficionado Djs, Coyote, Ibiza Sonica, Reza Athar, Gonno, Noema, Fabrizio Mammarella, Riccio, Bill Brewster, Private Agenda, Soft rocks, Tim Love Lee...

The Band > SCARLETT'S FALL is a duo formed in 2014 by Ruth Childs (British-American performance artist and singer based in Geneva) and Stephane Vecchione (Swiss performance artist and musician based in Lausanne). They define themselves as dirty-girlie-kitchen-pop mixing catchy melodies and repetitive looping with fragile vocals and provocative texts. Out of their playfully ironic and poetic universe you can ear shades of CAN, Broadcast and Young Marble Giants. SCARLETT'S FALL toured their first album all over Switzerland and supported Tricky, Peaches and Anika.SCARLETT'S SCARED' is SCARLETT'S FALL ironically seductive second album. It all started with an (blue) demonstration vinyl entitled 'The Incredible Sounds of the Synclavier II' released by New England Digital Corp in 1981 to promote the first digital sampling system. Its content gave the basic atmosphere for the whole album: each of the 10 tracks samples a specific Synclavier sound. Add haunting melodies, mysterious vocals and fun beats and you get 'SCARLETT'S SCARED' complete. As the title suggests 'SCARLETT'S SCARED' is about being scared and takes its roots from vintage movies such as Klute (1971) and Metti Una Sera a Cena (1969) that deals with phone stalkers, insomnia, sexual tension, vampires, ghosts and explosive watermelon attack!

germany-via- artist osker offermann, the owner of leading label white presents us a quality dou-bled package on the mule, strongly effecting his meditated mindsets.
as well as his dj sets, his crafted productions have a superb balance between being not too exces-sive, but not being too minimalistic -

creating the dynamism which make people move, based on his own aesthetic featured with well-polished, functional electro phrases and raw machine beats.
because of its floating grooves, will be nice for club use, but also surely will be a good accompany for the home-listening. oskar continually points forward us the fact, that listening to deep house is no longer meandering journey, but something meaningful and fruitful in your life.

Artik becomes the second artist involved in the COUMSC serie. Distorted crushed beats, rawness and some driving soundscapes behind this five track EP inspired on the Asimov's trilogy "Foundation".
Hand stamped and hand numbered black vinyl limited edition of 100 copies, lacquer mastering plus exclusive digital download.

Acclaimed Russian producer, DJ and live musician Kito Jempere is back with a stunning second album, this time on Italian label Hell Yeah. Entitled Sea Monster and due for release in early 2017, the nine track album is a fantastic fusion of live instrumentation and electronic production.

Kito Jempere is a musical polymath. The Russian artist, producer, multi-instrumentalist and band leader has been involved in many projects over the last ten years plus. These range from rock to acid jazz to electronic bands and often call upon a rotating cast of other members who are all equally talented.

From playing in small bars to headlining big shows for thousands of people in Saint Petersburg, he has put out a number of albums and singles on labels like Freerange, Room With A View and Hell Yeah and DJs around Europe.

Jempere plays live as the Kito Jempere Band, and here he calls upon his bandmates for their many skills to lend the album a richly musical feel.

Mixed and co-produced by band member Roman Urazov, the album features Artemiy Gunbin aka Noteless, the voice of the Kito Jempere Band and front man of his own rock band Videatape, as well as Ruslan Gadzhimuradov, a long time drummer on many projects, plus Matvey Averin, the bassist but also co-producer for cult group Manizha and finally Sergey Lipsky who here plays guitar and is also half of Simple Symmetry as well as having played for Kito's other project Saint Petersburg Disco Spin Club group.

Sea Monster kicks off with Lifetime Theme, a heavenly groove with loose drums and percussion and gorgeous keys. Form there, Artemiy Gunbin's ethereal and crystal clear vocals take centre stage amongst balearic guitars on album single 'Ampa', and then 'To Talk' is a deeper cut with bumpy drums, long tailed pads and shiny synths all making for a curious and whimsical atmosphere.

'Grid Cells' is a lush instrumental track with clever revel and echo adding a sense of grandeur to the freeform jazz drums and frazzled synths, 'Uohha' is as sunny and laid back as an afternoon on the beach and 'Puzzled' then layers up scuzzy basslines, popping hits and suspenseful synths into something smooth and seductive.

The final third of the album closes out with blissful guitar licks, lazy broken beats and brilliant drum playing that all have you wishing it was summer again.

This is an album with elements of jazz, house, disco, balearic and many more sounds all smoothly blended into one coherent and captivating album full of soul and musical skill.

There was a time when to die was something slightly different from what it is today. Back in the last days of the middle age, some hidden monk was concerned about how to die properly, according to the catholic standarts of that era, so he wrote a book that was a cornerstone in that period.
This has been the leitmotiv and ispiration in the concept that drives this album, the Ars Moriendi book from 1415, a book that gave some clues about how to die properly, avoiding lack of faith, despair, impatience, avarice or spiritual pride, all those actually track titles in this compendium.

Album starts with Impatience a short atmospheric drone sets the path to post industrial mayhem, based on a continuous and obsessive metallic sequence that drives the angst over a dirty rhythm workout until the textures go on top after several bars.

Rules of behaviour breaks the beat into metallic hits as starting point, then more percussive layers add to the main beat until the dark pads take over mixing hate with beauty on a grey canvas.
Despair return to adrenaline, icreasing the tempo, running unstoppable on a relentless sequence with skeleton beats as a driver.
Speculum acts as a sequel from the first track, same sequence different rhythm, extending the anxiety feeling but with a cleaner groove, again a few elements make everything run smoothly no fillers, just tension.
Lack of faith keeps on with the beat as fundamental component, based on a cemented kick and breathing components that grow during the running time.
Avarice returns to harsh kicks and martial sincopation having distortion as the main element until Fm percussions shine on top.
Spiritual Pride is the adrenaline shot in this album, obessive dry sequences, harsh kicks and razor hats in a direct floor burner.
Closing the travel, The search for identity goes underwater: cavernous landscapes and absence of brightness with a pulsating sub frequency doing the low end, while drones and obscure sound design make the rest.

Florian Meindl surges ahead in 2017 as he returns once more to his home base FLASH Recordings. He has been locked away in his studio and is now ready to unleash his new album 'Time Illusion'. With these album sessions Florian has created a special collection of analogue focused tracks which will be released on a double vinyl album and digitally in the Spring.

Amalgamating his array of impressive hardware, he has refined his sound and crafted a selection of tracks that demonstrate intricate knowledge and mastery of his analogue equipment. His aim was to find the right balance between musical depth and sound design while interacting with the hardware.

In anticipation for the LP release in early April, Florian has prepared a unique live set featuring a Modular System, the KORG Minilogue, effect boxes and a 909 drum machine which were used in the creation of the album and which he will be touring throughout 2017.
Electronic Beats visited him in his basement at Riverside Studios Berlin to record an exclusive live session, which you can find on Youtube and his Facebook page.

As we gradually build toward the release of Rebekah's debut album on Soma, the hard hitting DJ/producer drops her 3rd single in the shape of the Code Black EP. Rebekah is on somewhat of a frenzied run of form at the moment with not only an exhaustive touring schedule but a slew of releases that stand as a testament to her dedication to Techno.

Title track Code Black hits the ground running with ice cold percussion and thunderous kicks running the show before a more jacking vibe is introduced backed by some seriously perilous pads. Disaster looms even more as Relapse Paradigm tears in next with clunking beats and straight percussive workouts as screeching synths and hooks give an overall foreboding atmosphere. X Confessions closes out the EP in no less vicious terms and Rebekah sets out on the warpath utilising pulsing rhythms and calamity inducing sequences to really rip into the dance floor.

Bucharest's Romansoff brings post-industrial heat on Sportiv002. With previous releases on Creme Organisation, Mörk and his own Raw Tools, Tudor cranks it to 11 and does crunchy, saturated beats under a killer analog riff on Colonial Past. Bodylock on the flip is equally intense but chooses a more stone-cold approach. Gripping, energetic material from a country at peak creativity. Sportiv is a dexterous white label operation that brings you heavy-weight rhythmic performances from the world of techno athletics.

Skudge White returns with Finnish legend Mono Junk who delivers three tracks that together spans 23 years.

Onto 2017, Skudge White returns with Finnish legend Mono Junk, who has been around since the early 90's. Continuing in his own established tradition, he delivers three tracks that together spans 23 years.

First off on A1, a 14 minute journey takes us to the far depths of electronic music. Made in 2016, this beast of a track has all the true, vital ingredients of atmosphere: rolling and thundering beats and perfected synth work - one for the specialists!

Turning the 12" around, we find two pumpers from the archives. Dusted off in perfect harmony with the current musical state of affairs: Mono Junk, in collaboration with Pete Salone, showcases a true spirit and heartfelt blizzard of a tune, where 'Disillusions' resembles the forgotten experimental touches of Techno's early days.

'Melody Boy's Melody' goes into a sing-a-long (in the right way) appeal, with enchanting rhythms and a perfected melody, this is a heady piece with IDM resemblances

Breakbeat Paradise Recordings has teamed up with The Chosen Few Records to proudly presents the latest escapade of TURNTILL & MERLIN: "BREAK A DAY". This tune is dedicated to all the b-boys and other funkateers worldwide that love the drumsound and the funk. The MCs on the song are DOPPIA ERRE from Apulia, Italy and SKY 189 from Capetown, South Africa.

Both are true Hip Hop heads that love the art of breaking! In the hook you hear the sweet, catchy voices of Stella Baraldo and Dominique Bouvier. A real powerful b-boy anthem and club joint alike, which is interpreted in five additional versions on a six track 12" vinyl release.

Guests on the A-Side are DJ KID STRETCH (Greece), FUNKY BOOGIE BROTHERS (Belarus) who is giving the tune a new flow in the oldskool b-boy direction. On the flip side we have invited some of the very best from the Ghetto-Funk scene to give the tunes an injection of electro vibes and big basslines. For this job we called upon the dream team DUBRA X ARTEO (Latvia) and ghetto funk superstar B-SIDE (United Kingdom) who are always armed to the teeth with big beats and electro basslines. Last but not least we sent for a true veteran and pioneer in the Nu Funk scene QUINCY JOINTZ (Germany) to do his thing on the electro side of this vinyl release.

The funky beats and breaks has once again brought people together from all over the world to collaborate on this big release that not only tips the hat to the b-boy community but also pushes the limit to the new eras of funk music. Something we share the vision for and feel strongly about on both Breakbeat Paradise Recordings and at The Chosen Few Records.

Newly launced Samo Records is setting out to explore the depths of the dancefloor by celebrating the darker, moodier facets of electronic music.The NYC label's first release comes from Pixelife (Sean Dack), a highly accomplished visual artist and veteran of NYC's underground. In addition to releasing on such respected labels as Throne of Blood, Horn Wax, and Let's Play House, he also makes up half of GHOST COP, a band known for its textured synths, iconic vocals, dissonant beats, and captivating live sets. Incorporating the same expert sonic-layering techniques he employs in his live analog sets, he's created a dynamic EP that's both intimate in feel and broad in scope.'Omega Block' stomps out of the gate, all driving rhythms and throbbing basslines with an underlying element of frenetic foreboding — aptly reflecting these geopolitically tense times, while still remaining suitable for losing yourself on the dancefloor. The track gets the remix treatment by Bristol, U.K.-born, Berlin-based Antoni Maiovvi, a self-described 'electrodisco horror mindmelt DJ/live performer/film composer' who heads up Giallo Disco Records with Vercetti Technicolor. Here, he trades his trademark horror elements for successions of staccato beats and a stripped-down sensibility that successfully translates to perfect late-night-at-a-warehouse vibes.Chimeras in the Matrix' soars with gorgeous dystopian melodies overlaying squelchy undertones, revealing labyrinthine layers and anxious crescendos before building to a full-on acid frenzy. Producer/remixer/DJ Tronik Youth (who, like Maiovvi, also hails from the U.K. and currently lives in Berlin) is co-head of the prolific (averaging nearly a release a week in 2016) NEIN Records, which he founded five years ago with Ian Considine; the label has released music from the likes of Rodion, Curses, In Flagranti, Heretic, Man Power, Daniele Baldelli, The Emperor Machine, and Moscoman, to name but a few. He is also a member of Permanent Wave, a spooky, pitched-down, dark-wave-inspired disco project with French singer Justine. He brings a chuggy, bleepy edge to his take on 'Chimeras in the Matrix' with bouncy rhythms, multiple breakdowns, and echoing robo-vocals, taking the original's intensity down while upping the dancefloor quotient.

Lagartijeando is the name of producer, musician and DJ Mati Zundel. Born, raised and currently living in a small town on the outskirts of Buenos Aires called Dolores. From a very early age, he was musically curious- experimenting with percussion, charango, guitar, bass, voice, and beyond.

Strongly influenced by his travels through Latin America, Mati's signature psychedelic dance tracks latch onto everything from traditional folk sounds from the Bolivian altiplano to the jungle beats of Brazil. Mati hypnotically fuses his traditional influences (with an emphasis on shaman chant and charango loops) with contemporary electronic beats, creating a sound that once left NPR speechless.

Lagartigeando was signed to the infamous ZZK Records in 2009 (Chancha Via Circuito, Nicola Cruz, etc.) on which he released his first EP Neobailongo- a mix of cumbias with electro and dubstep elements. After releasing the EP, Mati soon took to the road and dove deeper into the music of the Andes, studying charango and various traditional folk styles. In 2012, under the name Mati Zundel, he released his first full length album Amazonico Gravitante, via ZZK as well as Waxploitation (Gnarls Barkley, Danger Mouse) in the U.S.

Some more miles later, Mati released his second LP Cardos Redondo also on Waxploitation, which featured 8 songs recorded across Latin America- an album he calls an 'imaginary sound map of Latin America,'

Freshly into 2017, Mati brings us El Gran Poder via Wonderwheel (Novalima, Alsarah & The Nubatones)- named after an important Aymara festival that takes place in Bolivia and Peru, purely to celebrate family. At these festivals, the community also celebrates their culture and the importance of the collective identity. Like these festivals, the album is a celebratory one, and will tempt any listener out of their seat. The album was recorded in Mati's town, Dolores, outside of Buenos Aires. Once again taking a huge variety of sounds- this time influenced by Brazilian house,afro-brazilian rhythms, and folkloric Andean music. All songs are written and produced by Mati, apart from Lunita, a danceable track written in collaboration with Barrio Lindo.

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records softer, more melodical and experimental side. Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time!

Aleksander Zekovski might not ring a bell but it should ring a bell within a few months.
We warmly welcome Moda on OrbisX with his very special and pure analog feel to sound.
Unique, funky, very good arrangements and multi-talented. Nothing more, nothing less.
Someone who deserves to be discovered or at least get a bigger audience.

We re taking the leap of faith with Moda, serving him a full EP to experiment.
The Roots EP was born.
The full EP is a mixture of funky beats with some housy touches with, in some phases, gentle and experimental dirty glitches.
Something to add to your collection. This EP can be played in quirky eclectic DJ sets, lounge bars or just at home with a nice glass of red wine.
Background music while having dinner with friends and you want to serve something special This is one of those special EP s!


Something To Talk About is funky, dreamy and sparks that twitchy leg movement when you doubt if you should be dancing or be slightly head banging to that tune.
That kinda track. Serves well with candles, wine and late night talks.

Under Her Skin might take off on a weird bit quirky dirty start, but when that lead kicks in, ... we were sold.
Extremely funky. Be aware: you can t hold yourself from clapping to this song.

On the B-side, "Winter Tale" counts as the second A track on the EP. Deep! Gentle and yet so snappy in it's own dirty way.
We fell in love from the first note, or should we say that filthy deep baseline, those dirty well mixed-in toms and snappy rude claps!

"Running Man". Well... if you like dreamy catchy house. This is for you.
A nice extra track, making this EP a brilliant pressing.

We can't emphasize the talent Alexander has.
We hope he gets more attention with this EP.
Full support for you Alex.

- mau