Buscar:the do

Superb purple design !

Disco Techno Rave anthems !!!

Music by NKOD from Tikal/OQP.
Joining the forces !!!

3 tunes of newskool Pumpin Tribe.
Do not miss !!!

Double pack of full Pumpin Tribe !!
Newcommers and old schoolers meeting !!

Double LP for a travel into darkness, Tribe to Hardcore with lots of storytellings... At the concept album frontier !

Unique !

Bundle pack !
Discover the old realeses for few pennies.

Hardcore/Darktribe in a Freetek-Doom sound !

A second cut was done and new viuals, that was needed for sound conveniance :)

Livesets from 1998.
Amiga set-up in parties.

A side at Concarneau "fête de la musique". June 1998. (12 minutes)
B Side at the Teknival from St-Goazec, Mai 1998. (15.30 Minutes)

This should have been released as Keltik 02, a label from Bretagne. But it never came out finally...

All sources are DAT, extracted at DK mastering in Paris.
Mastered by Fred in Rennes and cut at... DK Mastering in Paris again.

Alex Caballero, also known as Doctrina Natura (Seville, Spain), is known for his organic, nature-inspired sound, and this remix follows that style closely. It exists alongside my original track, like two versions in different universes with the same purpose.

In his version, the focus is on punchy, tight drums that give a 90s feel. The track starts dark and moody, then gradually builds into a more intense and powerful climax, keeping its natural and immersive vibe throughout.

This is the second time Alex has remixed one of my tracks. The first collaboration dates back to 2019 on Edgar’s Nferee. While my own sound has changed significantly since then, Alex has remained true to his distinctive style, steadily raising the quality of his work.

Welcome back, hope you've had a good trip so far. While we're digging global tunes, let's not forget what's cooking in our own yards. No less then a new dub don has risen from the wastelands of bratwursts, nutcrackers and garden gnomes: Toni Wobble is looking back on over 20 years of roots in punk, free parties and political movements. From anti-nuclear activism to the Gaggeldub performances, Toni's dug deep into the Dub universe: from Dubstation to Rootsbase to Subardo. By 2012, Toni became a respected operator of Leipzig's Plug Dub Soundsystem. Soon after, he didn't hesitate to create the very own solarpowered Sunplugged sound. Toni's live dub sets hit with all depth and energy of low bass sound culture, shaking the foundations with refreshing freakuency adventures. After a guest spot on our 18th release, helping RUZ dubbing out a deep b-side, it's time to unleash the full Wobble fury on 45Seven!
Out In Da Streetz was born in a lockdown, when urban life got stall, opening space for experiments. Inspired by Juke and Footwork at nights such as Bassmæssage, Toni ventured into Jungle production - the genre him love from way back. The result is an opus of subs, breaks, skanks and dubs. Expect 30 Hertz bass, wobbly midranges, halftime snares and Jungle edits sharp like razor. Don't miss the Ini cameo and hand-made skank work straight from the lab. The result ain't just a track, it's a state of inner and outer emergency, a deep dive into groove, texture and creative chaos.
Irie Cruise rolls up like a cloud of green smoke riding through the streets with a sick ride in a surreal vibe. Rootsy rhythms meet subtle Jungle twists inbetween the twinkles of Dub and the flickers of breakbeats. When the hook drops, the impulse fires up, the lowrider bounces through the turns of skanks, throwing dub delays and gliding deep into the night. By the final tone, you didn't just take a ride, you're actually a bit closer to the sun.
Toni Wobble is giving the full hundred. Dub ain't just a genre, it's a portal to infinite spaces of sound. It's a culture, a process and an attitude, all about echo, bass and space. But it's also about experimentation, consciousness and transformation. Each delay loop is reshaping reality, tearing it down and rebuilding it from the ground up. D.U.B. equals to deep universal beats, the universal frequency... Deep, wide and open. Tune in and dub out!

Andreas Tilliander returns to Kontra-Musik in a grand style with his second TM404 album. Titled 'Acidub', this highly anticipated release is much more of an evolution than a repetition of the first superbly self-restricted album, where Tilliander even decided to use only one of the two Roland TB-303 waveforms. Acidub is a more playful and open listening experience, no doubt inspired by his extensive live touring with the TM404 concept. In fact, you can almost hear Tilliander's flock of acid machines breaking free from the restrained modus operandi. Every sound is like a migratory bird with a heart yearning for high altitude and favourable winds. The opening track Alinge paints a lucid picture of these acid birds leaving a cold industrial landscape behind, the flickering black shadows from their wings against the white smoke rising from a forest of chimneys below. The very last seconds of Alinge even echo of the place the silver birds are longing for, but that will remain a secret between Kontra-Musik and the avid listener. Sufficient to say, we can follow these birds of passage as they're heading south towards a warmer climate, fleeing the cold discipline of the North. Mutron Mantra, for instance, brings us to a rainforest full of serpentine lianas, giant leaves dripping with moist and green pools of water bubbling with organic life. Don't Defend Mascot guides us through a steaming savannah at dusk with hundreds of yellow eyes following our every step while Pade vividly describes the perils of the flight and the pace and courage needed to press on. In all, Acidub is a surprisingly exuberant follow-up to the more introspective TM404 album. But while the musical journey of this second album is quite different, the experience of sheer aural eminence remains the same. Andreas Tilliander has done it again, and Kontra-Musik couldn't be prouder.

Earth Dog Records label heads djfix & Jek present the 12th release on their label, Unknown Species.

The A-side, “Unknown Species,” highlights the duo’s signature bass driven, swampy tech steeze. The original track snaking listeners deep into tech-house hypnosis, with neck-snapping, pitch bent basslines, spiraling vocal chops, and crunchy looping drums.

To beef things up, they’ve asked Koduku for his deep techno take on the title track. He takes the original to a hypnotic sweet spot with time-stretched rippling textures and subtle, hard hitting percussion.

On the flip side, “Datura” and “Earth Dub 2” go full on freak mode. Tunes perfect for the deepest, darkest part of the night, or as the sun starts to break through a smoke-filled dance floor.

Pre-orders available now through One Eyewitness, with digital available via Earth Dog Records Bandcamp.

Credits:
Written by Ethan Donovan & Jack Anderson in Bedstuy, Brooklyn
Mastered by Mike Grinser, Manmade Mastering

Expanding beyond the West Coast with release number three, Goodtunes invites master of the craft Rob Pearson for a dark & moody EP.
Opener “Odd Job Mischief” bends itself over dubbed out low end pressure as echoic LFOs rip through the groove. A2 “Dodgy Brass” doubles down, forcing hazy horns through truncated rhythmic cracks split from beneath its own weight.

On side B, “The Right Speed” is all gas, no breaks. A moody, stripped back weapon with detailed texture & the dark, tripped out aesthetics of Jayson Walker’s murmurs over the top. “Beautifully Mangled” wraps up the EP with a dark minimal groove & lush atmosphere that slowly builds into a warm driving force.

Third time’s certainly the charm on GT003, with Pearson pushing his productions into new territory with meaningful intention.

London-based RUKI joins forces with Japanese producer DJ Himitsu for a playful and percussive EP rooted in the natural world. DJ Himitsu’s polished productions collide with RUKI’s love for nature, creating an energetic and esoteric four-tracker.

Opening strong with the rainforest-infused rhythmic house of ‘Mint’, the EP then turns to the hypnotic percussion of its title track ‘Sometime’. On the flip, ‘Matane’ offers a buoyant, uplifting contrast in 4x4, while the low-slung psychedelic-infused breaks of ‘Door’ close proceedings in a surreal fashion.

Pressed on EcoVinyl, ‘Sometime’ removes up to 50% of the record’s traditional carbon footprint by repurposing the offcuts from coloured pressings

The recordings on Volume II were captured in Copenhagen, Denmark on January 18, 2020. Guided as much by human instinct as by musical intention, the ensemble moved through the evening with a shared sensitivity…listening, responding, and trusting the moment as it unfolded. Though Morten McCoy admits to having felt quite ill that evening, nothing in the music suggests restraint. Instead, what remains is a vivid, playful exchange, where McCoy and Johannes Wamberg carry both Part I and Part II as a flowing conversation, speaking through sound rather than words.

Part I begins abruptly, almost throwing the listener back in time to the exact moment the improvisation was born. Jonathan Bremer steps to the forefront, providing a solid, melodic bassline as Kristoffer and Eliel, perfectly in sync, lay down a steady foundation for whichever voice chooses to rise above the rhythm.

This is also one of the few I Am An Instrument recordings to feature two guitarists. Johannes Wamberg leads the way, shaping the harmonic direction, while Steven Jess Borth II adds subtle rhythmic textures through muted palm work, deepening the groove without ever stepping into the foreground.

Part II unfolds with Morten McCoy on his Moog One, delivering a beautiful, expansive solo. Using a carefully chosen patch, the sound pulses through the rhythm, moving with the groove rather than above it, riding the beat like a wave through the ocean.
Shaped by trust, presence, and collective improvisation, Volume II captures a group deeply attuned to one another, allowing intuition and momentum to guide the unfolding form.
——
Volume III was recorded in Copenhagen on March 5, 2020. Little did anyone know that only days later, the world would be placed on pause for years. Captured just before that moment of global stillness, this session carries a heightened sense of presence, a final gathering before silence reshaped everything. Recorded in a space more commonly associated with a club atmosphere, the music draws on a different kind of energy and immediacy. With Eliel Lazo unable to attend, the group invited Victor Dybbroe of Girls In Airports to join on percussion, subtly reshaping the ensemble while preserving its core spirit. Part I opens with Steven Jess Borth II calling out on tenor saxophone, answered by Morten McCoy on Wurlitzer electric piano. The piece gradually unfolds into a meditative groove, patient and expansive, carrying the listener through an eight-minute journey of layered rhythm and restraint.

Part II begins with Jonathan Bremer on stand up bass, slowly joined by the rest of the ensemble as each voice enters with intention. Midway through, an unexpected vocal melody from Borth emerges, drenched in reverb and delay, later reappearing as a melodic line on the tenor saxophone.

Part III is led by Morten McCoy on Wurlitzer electric piano. His signature melodic language sets the direction, guiding the ensemble while leaving ample space for the music to breathe and evolve through collective improvisation. Reprise returns to the closing moments of Part II, its title reflecting its origin. The familiar groove reappears, transformed into a distinctly Jamaican-influenced rhythm, over which Borth delivers a final tenor saxophone solo, bringing the conversation to rest.

Any questions about any of these products feel free to get in touch and we'll help you out!

[a] a1. Part I [Vol.2]
[b] a2. Part II [Vol.2]
[c] a3. Part I [Vol.3]
[d] b1. Part II [Vol.3]
[e] b2. Part III [Vol.3]
[f] b3. Reprise [Vol.3]

The latest edition of 'Downtownsounds Classics' arrives from Dublin disco messers Fatty Fatty, just in time for the summer sunshine !

Fully licensed and cut loud on 12 inch vinyl the way God (aka Walter Gibbons) intended, it sees in-house producers Pablo and Shoey take on two choice cuts from the legendary Salsoul label.

Salsoul was the very first label to release a commercially available 12 inch remix - the aforementioned Gibbons and his 9 minute extension of Double Exposure's '10 Per Cent'. They would go on to issue a raft of underground disco classics with mixes by the legendary likes of Larry Levan, Tom Moulton and Shep Pettibone. Having robbed the famous 'Baker-Harris-Young' rhythm section from Philadelphia Records, they defined the disco sound in the second half of the 1970's and kept roaring well into the next decade.

The new mixes pay explicit tribute to two hugely formative influences on the Fatty fellas - The A extends the mysterious and wondrously wonky Big Bear edit of Bunny Sigler's 'By The Way You Dance'. Back in the day, these cosmic under-the-counter 12s helped show the Fatties how to disco real right, and they've stood the test of time wonderfully. This one has been at the front of Pablo's bag for longer than he cares to remember, and now the rest of the world can enjoy it, with some extra Pablo and Shoey disco magic thrown in for good measure...

Speaking of cosmic, the flip sees the lads turn in a stripped-back, ever-building mix of First Choice 'Hold Your Horses'. Having first heard this played by the Cosmic King himself, Danielle Baldelli, they found themselves let down by the commercially available mix. Through the disco haze, and with some subtle stemming, several outer-space whooshes and a string/vocal climax to die for, they've tried to recreate the way they heard Baldelli play it...

With the classic Salsoul artwork also present and correct, this is a love letter to perhaps the most important label in dance music history, with music that still sounds amazing five decades on... Don't sleep!

For the decennial release on Punctuality Warsaw duo W.A.C., aka Private Press step up with their Forever W.A.C EP. Moving away from their more techno-oriented offerings, Forever W.A.C. keeps the tempo and energy of their earlier work but suffuses the mood with warm, glowing trance and prog energy. This is peak-time Punctuality business in its purest form– on time as ever. “No More No Show” comes in hot from the get-go: galloping snare rolls, raved-up breakbeats, uplifting pads, big basslines, acid licks, and the low-end wubs that have become synonymous with the Punctuality sound. One for that point in the night when the dancefloor has melted into sweaty, eyes-closed, hands-up amorphia.

Barely recognisable to its original counterpart, the Rhyw remix strips the A1 down to the bare essentials. Preserving only a few percussive elements, the euphoria of No More No Show is replaced with hazy, cinematic synth washes that drone around a skeletal groove loaded with bassweight, warping the original into a dubbed out psychedelic UK stepper. Shifting to the morning light, “Only Froggerz” is a shimmering roller that ebbs and flows around barreling kick drums, kaleidoscopic synth lines, and vaporous FX, with lustrous chord work driving the emotion dial to 11. Elegant and restrained but relentlessly pummeling, it’s early-morning club gear at its finest.

Rounding out the EP with an essential slice of modern prog, “Close” utilises all the good bits: skippy basslines, filtered squelches, tribal-leaning percussion, and a relentless groove that builds around the subtle interplay between the stabs and the vocals. An epic closer that feels as true to the Punctuality canon as ever.

The evolution of Andreas Tilliander's moniker TM404 has reached its third stage. The first TM404 album was a heavily self-restricted concept album, live recorded with classic Roland machines. The subsequent album had a more playful vibe, shaped by Tilliander's extensive live touring. This third TM404 album on Kontra-Musik simply tells the story of what he's been up to since. The third part of a musical diary, initiated in 2013. The TM404 venture might have started out as a dreamy acid dub project, more suited for the chill-out than the main floor. But by popular demand Tillander found himself touring big clubs around the globe and the TM404 sound adapted organically. As a result, the album features tracks like Vactro and Rymdeko: fast paced acidic techno tracks in the same vein as classic Plus 8 releases, but with more space echo. Much more. But never fear, fans of the classic warm and bubbling TM404 sound. You'll certainly get yours as well. A substantial portion of this album was recorded in a studio flat in Berlin as part of an artist residency. For obvious reasons, Tilliander could only bring a small portion of his studio gear to this German sanctuary. As a consequence, this album has a more stripped down vibe than its predecessors, which creates more space for Tilliander's glowing melodies. The last track on the album, a loving homage to Kontra-Musik's label boss, is a sublime example. And for the Instagram generation, here's the short version: The album is called Syra. That translates to Acid. You're welcome.

Phwoar! TD go four for the floor on Volume 9, letting loose with a set of sure-shot hits from all corners of their sonic spectrum.
A tag team match up, this action spectacular trades peak-time pump, Balearic cool, Italo thrust and dance-punk theatrics on its way to snatch the championship.

Obviously TD ooze subtlety and taste, so as we sat sipping Schnapps from our Stanley cups, we couldn't help but take a little inspo from our kitchen decor. 'Live Love Pump' - what a mantra. In musical form, this philosophy takes the shape of a capital D-isco delight, equal Pats Cowley & Adams, EQ-freaked and filtered into something dafter than a pair of chrome clad millionaires. Big room mirrorball magic if ever we've heard it.
The A2 sees the drunk AOR funk of 'Sure Line' take a leisurely stroll down the coast, a Gauloises in the gob and tattered Baldwin in the back pocket, flipping and flopping along the prom to buoyant bass, melting brass and more than a little melancholy.

Booting off the B-side, 'Un America' is a massive mid-tempo chugger replete with laser fire, synth scree and nipple high guitar. Powering along on a serious bass sequence armed with hooks-a-plenty, mostly incomprehensible lyrics and a groove which won't quit, this has all the ingredients required for an Italo all-timer.
The finale finds us in the company of some punk pioneers at their absolute silliest, bringing the kind of whacky vocal vibe, surf-centric style and off kilter groove the B-52s made a career of. Add in animal chatter and scratchy guitars and you've got the sort of secret weapon the Idjuts unleash waaaay post peak.

Limited Press - Numbered Insert - Drum Fun Guaranteed

There are records that follow the rules, and others that rewrite them in real time. With O R G A S M A N I A, Byron The Aquarius returns to Skylax with a deeper, freer and more unpredictable statement — where jazz instinct meets raw machine funk, and structure dissolves into pure feeling. Rooted in the lineage of Detroit yet never confined by it, Byron operates in that rare zone where house music becomes expression rather than format. His sound doesn’t chase functionality — it breathes, it stretches, it resists. The EP opens with Back 2 Zion (Tomorrow), a spiritual and meditative journey built on loose drums and luminous chords, carrying a sense of elevation — early morning music where the dancefloor begins to think again. Enter the Co$mos (Fool) pushes further into abstraction, with drifting synths and broken rhythms unfolding in a non-linear structure, navigating between Sun Ra’s cosmic language and Detroit futurism. On the flip, Mr. Captain Crunchhh brings a raw, playful energy — crunchy textures, off-grid swing and an almost improvised groove, alive and unpredictable, a leftfield tool designed to disrupt expectations. Finally, O R G A S M A N I A stands as the centerpiece — hypnotic, sensual and immersive, locking into a deep repetitive groove while evolving in subtle layers, a late-night body experience guided by a sharp musical mind. Across four tracks, Byron The Aquarius confirms his unique position between jazz musician, house producer and sonic storyteller, with a trajectory spanning Sound Signature, Axis, Eglo, Apron and Shall Not Fade, continuing to resonate from Detroit to Berlin and beyond. Artwork by H5 — the iconic studio behind Daft Punk, Air and Vitalic — reinforces Skylax’s timeless and art-driven identity. This is not fast music, this is not algorithm music — this is music for those who still listen. Strictly for the heads. Vinyl only. No repress. Skylax Records.

The first track is a hardware masterpiece of a kind ! Don't miss that classic way...
Then comes a cool Tekno banger, again very analogic.
The other side is more some kind of meeting between Win and Jaquarius, Win for the structures and the global ambiances and Jaquarius for the way of using and growing the acid gimmics...

Hedonistic club music from the mysterious Glasgow Sound System. Incredible productions from an artist that has appeared from the ether to bless our dancefloors with otherworldly and atmospheric tracks. Varied productions overspilling with excess and emotion. This record is split into 2 phases; the first comprised of 3 club-focussed tracks for dark rooms with a red light, the second phase are 2 downtempo trips to mellow the comedown. Welcome to the club, Glasgow Sound System – what a debut.