Cerca:the k system

After 2 long years, Michal Wolski is back with his second release for International Day Off. From what we can hear, we're definitely sure that at least half of this time he wasn't leaving his studio. The music just sounds big, 4 fat tracks, including remix from Gathaspar, is a heavy based techno stream, making every cardiovascular system pumping more blood. Thanks to the fact that Michal apart from production was responsible for mastering, we guarantee that this Ep will generate the appropriate sound pressure from every speaker so be careful with the volume knob!

Support: Âme, Aurora Halal, Carl Craig, Drumcell, Electric Indigo, Ilario Alicante, Richie Hawtin, Slam, Subjected...

Some gigs are simply meant to be out there - even if they take decades to actually make it into our hands. This is without doubt one of those concerts, recorded at the Philips Halle, D sselsdorf on the 28th March 1979

during the Live Herald Tour. Includes the only known live recording of Talking to the Sun' Released following the AIM-nominated deluxe box set from Hillage, 'Searching for the Spark', this new 'Dusselsdorf' double CD showcases the Steve Hillage Band's prowess with excellent sound quality - a quality so high that you'll forget that it's a live recording until the applause. This is a band at the height of its powers, with Steve in great voice throughout, and most obviously utterly

enjoying themselves. The vibe is completely infectious and doesn't let up throughout the entire gig. Featuring Steve's own adventurous compositions and covers of Beatles and Donovan classics, all are approached with a joie-de-vivre and high sensibility. The trademark heady combination of vibrant psychedelic rock interwoven with an irresistible full blooded groove, interspersed with the smoothest of deepspace synth/guitar trips gathers all before it in a tsunami of up-lifting music.

With the benefit of hindsight, Steve's musical trajectory from the creative space riffs of Gong to the trance and techno of System 7 is made instantly clear. This version of 'Dusseldorf' will be released as a double CD presented in

mediabook packaging complete with a 24-page booklet and 3LP gatefold pressed on to 180g heavyweight vinyl.

Off the back of Rudeboyz follow up EP entitled Gqomwave, Goon Club Allstars are back with an EP from UK Funky producer KG. In 2007 Karen Nyame, otherwise known as KG, was at the Nottingham Trent University producing beats on Fruity Loops. Slightly isolated in Nottingham - away from the UK Funky scene's London epicentre - KG posted her tunes on popular UK Funky message boards and Facebook pages, but never had an opportunity to properly stake her claim as one of the scene's heavy hitters. 808 and Midnight (Flute Riddim) are two lost anthems from that era, although receiving support from the likes of Marcus Nasty and others, they were largely forgotten amongst the numerous stand out tracks of the era, appearing rarely in mixes of those lucky enough to have digital copies. 808 is the party anthem, it's joyous, quivering melodies ascend above the thumping kick drum, while relentless crashing snares and carnival whistles rain down - guaranteed to heat up the coldest of dancefloors. Midnight (Flute Riddim) on the flip side is the softer, slinkier bubbler. Built for smouldering club action and hot sunny days. BSNYEA is a new addition to Goon Club Allstars' burgeoning family of artists. Hailing from the Bronx he is a veteran of the Borough's Litefeet genre that soundtracks the performances of subway dancers cross New York City's transit system. On his remix of 808 he focusses on the whistles and gutter synth lines adding in booming bass drums and lock inducing chants. Hitmakerchinx comes fresh from his anthemic Night Slugs compilation. Bringing his signature FDM energy he drops the tempo and builds on the light, airiness, letting the flutes play out softly underneath the thumping drums.

The third chapter in the vinyl installments on Gaze ill's Danish Cue Line Records is written by Belgian artist Zygos, Georgio Roumans. An unforgettable piece formed by 3 distinct original tracks plus an outstanding remix by Italy's most wanted, DPRTNDRP (D- Operation Drop).

The EP opens with the toxic symphony of 'Laicism'. By chest pressuring hits right from the beginning, we're pushed into another world where everything is moving though it feels like time stands still for a moment. Mellow melodies formed in layers of feedback alike sounds and endless reverberated stabs generate a persistent tension held tight by the static, marching drums. The title track 'Sudd' forms part 2 of the journey through Georgio Roumans' explorative universe. To think everything can move this fast yet keeping a minimal expression is beyond reality. From 8th to 16th to 24th notes - variations through the bass, percussion, and melody sections - a discreetly conducted progression is reached throughout the track. Accompanied by weird background soundscapes the sub bass takes the lead on the tight Halfstep- package of 'Tapered'. The drums are simple and hard, which is just what's needed to tame and control the strong movements from the sub. Super minimal for the sound system. Italian DPRTNDRP brings new life to 'Sudd', which awakens in a completely different light than the tempo- filled original. Strange sounds and rhythms, raw and dirty. DPRTNDRP makes the remix a must hear.

The vibe is intense from start to end, and the EP hits perfection due to Georgio's naturally alive style, and the clever remix from the ever boundary pushing DPRTNDRP. Signature sound, deluxe on 180 grams heavyweight vinyl!

Following our first release with Opal, which aimed at the dance and the bodies, we wanted with this second EP to reach to people's mind. As a Geneva-based techno label, it was fundamental to work with our local hero: Opuswerk. He's already been working outside of the country with artists like Fran ois X and labels such as ARTS, Semantica or Dement3d. It was time we involved him in our project. Through this EP, Opuswerk clearly shows what he knows and does best. Much like his DJ Sets, he connects dots and layers in unexpected ways, like a rhizome connecting different multiplicities. Inspiration for the original tracks came from designing systems of independent yet connected sounds, where events are triggered, un-triggered and alter other events, each behaving on their own. As one of those elements, the artist acts as a guide, directing them from one place to the next acting as and with the machines. The "mot d'ordre" is about becoming one of the machines, blending techniques with vibes and catching them like ever escaping dreams. The result is two uniquely sounding spaces, either filled with raw energy like on Extensum or with subtle and serene ever-evolving bleeps on Spatium. Those two extremes are fitting to how we want present the multiple dimensions of our artist's works to the world. The same logic went into choosing the remixers, with whom Opuswerk had a human connection with. Inland and Antigone need no introductions, having both established their sound on labels like Countercharge or Token. Each brought their own re-interpretations of the original tracks bringing them closer to the dancefloors.

Both hailing from Italy, Was A Be and Synth Ethics are two of the freshest talents emerging in drum & bass right now. Joining forces for Critical's Systems series sees them cementing this reputation even further with four unflinching tracks full of dance floor and ingenuity. Viva Italia!

Another dig from the vaults results in another reissue in a 90s roots / dub classic which was recorded and produced by two of the most respected producers in the UK reggae scene: Nick `Manasseh' Raphael and Dougie `Conscious Sounds' Wardrop.
* Originally released on an extremely hard-to-find Conscious Sounds 7' in 1990.
* Featuring UK based roots reggae singer Tena Stelin and Centry which was the given name to any project that Dougie was involved with before he formed Bush Chemists.
* This 10' slab features the original vocal and dub cuts plus two extra previously unreleased dub cuts.
* `Can't Touch Jah' has been played extensively for nearly 30 years by the sound system heavyweights Aba Shanti I and Jah Shaka.

* Boom 90's sought-after selection from versatile JA/UK vocal veteran Danny Red licking out against bad boys and gangsters alongside Boombastic Crew aka Nick Raphael (Manasseh. Riz Records, Roots Garden) and Gil Gang (Tuff Scout, Riz Records)
* Riddim-wise this is a sound system bullet which has hints of the mid 80's in the style of King Jammy, Jah Tubbys and Unity Sounds.
* This track originally came in the early 1990s on a Riz Records LP `Themes From Riz' which is now a wallet-busting records to secure.

Having been an electronic activist in Marseille for more two decades and more, DJ OIL is now a firm staple of LDDLM. Following the RAIN ep released in the summer 2016, here is the first 2018 outing from us: the already bubbling HERITAGE ep.
'Heritage' has been an Ivan Smagghe (and a few others) secret weapon for more than a year now, a strange sampladelic track featuring a full Marcus Garvey speech. A subtle yet powerful appropriation of early house clichés, the hit has one feet in tradition, one feet in political modernity.The EP comes with two more warped cuts: the slow guitar swamp of 'Brouillage' and the System 01/McKenna influenced 'May Be'. Psychedelics and sun.
A second 12' by DJ OIL will follow shortly, doubled with a full digital release of the two EP's with digital extras.
Expect new releases from our camp by Rheinzand, Init, Johnson and more...

This is the 2nd installment of Sable Noir recordings: the Jojoe EP, a 4 track vinyl exploring a deeper, sometimes darker minded side of the 170 spectrum.

The first 2 tracks by Jojoe are some really deep, clean, and strong tunes, and also dancefloor destroyers, we saved them for years until finding the right idea to release them and this is whats happening now with this vinyl.

The first track untitled is a deep and dark minimalistic tune with a really strong bassline and some great cuts that makes it a fantastic dj tool for your sets.

The second track "97" is a clean and deep tune driven by some analog pads and a reese bass that will make a great job on any
systems!! Watch out for the switch in the second drop!!

The 2 tracks on the B-side are by Joakuim the first one "To Chant Down Babylon" is a halftempo dub influenced tune @ 170 bpm with a strong vocal sample and dubby bassline! The last track "Snow" leads you onto a world of deep and cold atmospheres with a rolling beat and bassline!

This vinyl is done in the memory of Joe Holland, beloved friend and music producer. This EP is done for him!!

A sadistic God: He doesn't exist until he touches your body, and when he manifests himself he kills you without hesitation, leaving you on the ground, humiliated and stunned by the letal power of a breath that didn't even seem to exist until you inhaled it.

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

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

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

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

Soul Has No Tempo are proud to present 'The Self' - the new album from London-based drummer/producer Richard Spaven.

Richard Spaven is one of the most sought-after drummers in progressive and contemporary music. Drumming for the likes of José James, Gregory Porter, Guru's Jazzmatazz, Flying Lotus, The Cinematic Orchestra, TY and more, he has gained international recognition, both on stage and in the studio. Richard is an influential, genre-defying musician - the result of working closely with a diverse range of artists, combined with his own rich musical taste. Gilles Peterson said it best - "there's much more than just rhythm with this man".

His debut album 'Whole Other*' (2014) touched on many musical palettes and bridged the gap between jazz and electronica. With 'The Self', Richard introduces us to his personal journey. The moment in time where a jazz drummer affirms his love for club culture, delivering an album that travels from drum & bass to broken beat, dubstep and more, all seen through the lens of a drummer. The club culture influence is apparent in the way Richard wrote and produced this album - sampling his own drums on the Photek cover 'Hidden Camera' and collaborating with Metalheadz MC, Cleveland Watkiss to recreate the London sound system vibe so integral to his background.

Featuring guest artists from diverse backgrounds - Jordan Rakei, Jameszoo, Kris Bowers, MC Cleveland Watkiss and Richard's established partner in crime, guitarist and composer Stuart McCallum, 'The Self' is masterfully combined with Richard's unique production and showcases his trademark drumming style of precision, creativity and finesse.

The Single > Side A 'PHRAKHANONG DISORDER' is T.D.O.S. second single featuring Japanese turntablalist DJ TO-RU (Dujada-Goja) is a bass battle on a downtempo hard drum beat, hypnotic and chaotic like Bangkok's streets. Phra Khanong is a neighbourhood of this megapolis where hip hop culture meets local traditions. Side B is 'NAMBA VIBRATIONS' with DJ TO-RU fine cuts on a dirty digital mish-mash of bass and dub beats,. Just in tune to get lost in electric downtown Osaka before heading to the dance floor facing a massive sound system. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few.

The Berlin-based Citylow label has been releasing quality house and techno for some time now. Born from a mix of musical influences from the metropolitan suburban life, the label is characterized by vintage, analogue sounds, modular systems and the many other influences of label manager Alfredo Trastulli aka F.T.G. The heart of the label is Citylow Humans Crew, a movement of underground artists around the world who day-after-day match their story with an underground music philosophy.

Staunchly dedicated to vinyl culture and with an ethos that tends to veer toward assured, confident sounding house and techno, theirs is a modus operandi that's served them very well indeed. For their latest, the attention switches to Fuckthegovernment.Ltd label boss F.T.G, who hooks up with regular collaborator Brando Torri aka Siyha Kuma for another release that speaks volumes of their talents. The A side features the remix, which comes at us from none other than the fucking parisienne talent Jef K, who in this instance has hooked up with Mikael Weill to supply a differing take on the original. Jef K of course, is a man who needs no introduction to house music fans. One of Paris' most acclaimed DJs and producers, he has a monthly gig at famed club Concrete, where he's renowned for sumptuous basslines and exquisite house music. Gritty and relentless, their remix is characterised by some steely bass hits and a stubborn refusal to compromise. A gnarly jam that soon comes to life courtesy of a quite brilliant bassline, this one is sure to make an impression wherever it's let out of the bag. Exceptional stuff we're sure you'll agree. Elsewhere, the B side features the original, which we soon realise is where the aforementioned remix earned its industrial stripes.

Tachyon Audio is a new vinyl label that's focused on forward-thinking sounds in the techno realm targeting sweaty, dark places, with large, high-quality sound systems.


Inhabitants make a strong offering with their first EP as a duo, IGC. These two primates are often found inhabiting dark spaces, forging ahead on complex math equations. Their distinct, driving, mathematical, and drumming techno is a result. Expect more solid work from these two mysterious beings on Tachyon Audio as the label continues its progression.


Tachyon Audio is coming out of the gates strong with a diverse EP that touches on three techno sounds that are helping to lead the march forward into the future of sound production. The first Tachyon release comes from the mysterious dark studio of Inhabitants, who's inaugural release as a collaboration is sure to move feet on a diversity of dance floors. The A-side track, Mut14 (sc8.18 Mix) (A1) is a futuristic pounder that weaves its way into a frenzy with subtle yet penetrating synths that sweep through the soundscape. The simple and sound drumline will keep even the pickiest selectors satisfied. Side A ends with two separate open-source NASA space samples. The first, Iota_20_0.998_h (A2), is the repeating sound of two orbiting neutron stars. The second sample (A3) is two 50 solar mass black holes spiraling into an inevitable collapse, eventually becoming one. These samples are poised for reuse in production and make for good intro and looping material for performances.


The second side of the EP starts with the dark broken beat track, Mut7 (B1), that starts with a solid groove and works its way into a breakdown that captures the mind with a chopped and effected late 1990's Frankie Bones vocal. By the end of the track you'll be left wanting it to forge on, as it can flow well with a wide range of techno sub-genres, especially the dark, more broken beat tip. Inhabitants then continue to make their impression with Mut10 (B2), a track molded around an originally crafted 303 line that morphs and builds throughout and creates an atmosphere that separates itself from the remainder of the EP with a lighter, yet heady feel.


M=100 (2 - 50 Solar Mass Black Holes)

Granny13 opens with Nicola Ratti's 'Odd Doubt'. With the use of a modular system and tape loops, a broken rhythm is obtained by parallelism between single sound signals as LFO one or processed tapes.On the second side, Giovanni Lami's 'Johnny Leech' is made with a small bunch of equipment, just a chaotic hand-made synth (cacophonator) and a memoryman, working mainly on static electricity and leakage current in the synth used without any kind of power supply.

Reviews

The Wire
''Two Italian mucisians share a split single of glitchy fun and everyone goes some happy. Lami s piece uses a defective unplugged synthesizer to make huzzing chitters that have a kind of rhythm in spots. Ratti s contribution is a bit more structured it sounds like a record of accordion miniatures broken into pieces, then glued back together with little pieces of felt stuck onto it. Which would definitely be a pretty hep thing to hear.''

Textura
''Some releases qualify as art objects as much as musical collections, a case in point this recent seven-inch vinyl outing featuring material by Nicola Ratti on one side and Giovanni Lami on the other. That shouldn't be interpreted to mean that the musical content isn't worthy of one's time, as it assuredly is, but more to emphasize how striking the sleeve artwork by Opora is and how effectively it complements the musical content.Mastered by Giuseppe Ielasi and issued in an edition of 150 copies, the release opens with Odd Doubt, a concise experimental setting by the Milan-born Ratti, who's issued material on labels such as Anticipate, Preservation, Die Schachtel, and Entr'acte and who's presently working with Ielasi in the project Bellows, with Attila Faravelli as Faravelliratti, and with Enrico Malatesta and Faravelli in ~Tilde. Though Ratti started out as a guitar player, his current focus is more on beat-analog experimentation and sound installation. In Odd Doubt, Ratti's modular system and tape loops generate broken rhythms that varyingly call to mind dub-techno, even if dub-techno of an extremely wonky variety. Off-beat chords, crackle, and snare strikes add to the dubwise flavour of the material, though ultimately it registers as more of an experimental exploration than straight-up dub exercise.The flip side features Johnny Leech by Lami, a one-time photographer now known as both a field recordist and a musician focusing on soundscaping and sound-ecology. In his contribution to the seven-inch, Lami's chaotic hand-made synth (cacophonator) and memoryman give birth to blustery smears of static electricity that ultimately mutate into an Oval-like array of ripples and scratches. Johnny Leech is so removed from anything conventionally musical, it makes Odd Doubt sound like a Top 40 pop song. Like Ratti's piece, Lami's is short, so short, in fact, it gives the impression of being an excerpt from a larger sound art work. Here's a release where the abstract nature of the musical content matches its visual presentation.December 2014''

Vital Weekly 951
''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''

Nested Structure is the first Great Circles release from artists outside of Philadelphia. THRIVE are Tetsuya Yoshida and Hitoshi Kojima. They both grew up in the North Kanto area of Japan. They first met at the club run by Tetsuya Yoshida called SOUND A BASE NEST, which is known as having the best sound system in the North Kanto area. In 2007, the duo started their DJ / Producing unit THRIVE. Previous releases have included a split 12' with Keia Yano for Japanese label Struct, and recent solo releases by Hitoshi for Always Human Tapes and for his own label Ambivalent Deviation. This record almost didn't happen! --- Tetsuya and Hitoshi were picking up Great Circles records in Japan and, having periodically communicated with each other about music, they sent us the Struct 12' to check out. While
cleaning out the back of the car a few months later, the presumably empty record mailer was about to land in
the recycle bin when we fortunately discovered a demo CD of unreleased THRIVE material inside. We drove
around listening to it and week later we agreed to release a 12'. The music on the Nested Structure 12' is dark, foreboding, even outwardly threatening. It's hypnotic, textural and rhythmically complex.

* Making his debut on Subaltern with SUBALT014 is Estonian producer Bisweed, famous for his trippy and intricate sound design and original take on bass music. A psychotropic journey into the weald, this is a typically dark and surreal release from the well-established Subaltern imprint.

* Shelter
Sinister sounds welcome the listener to the journey as we enter the weald. Dark synths lead into weighty bass-lines, embedded in driving percussive elements and a spine-chilling atmosphere. Tasteful orchestral elements accompany before reaching a climax of tribal percussion and pure bass. Bisweed's musical sensibility and dance-floor know-how blend symbiotically to create this heavy yet soulful bass music masterpiece.

* Swamp
Going deeper, haunting textures guide the listener into a pulsating implosion of low frequencies, which is bound to shake up the dance as well as your expectations of a quiet night in. Rumbling and chopping wobbles complete a captivating piece of sound system music. Tread lightly so you don't sink in too deep - the swamp might just consume you.

* Dolmen feat. Mentha
Like stepping into a clearing, Dolmen lightens the mood - but only ever so slightly. Chanting voices hail the listener, as wide planes of sound unfold into a bass-heavy yet deep stepper. Subtly and slowly, Bisweed is masterfully transitioning into a soothing and melodic vibe, featuring label head honcho Mentha on Guitar.

Rat Life Records presents Serial Error a Project by Credit 00, Jacob Korn & Sneaker. This outfit was brought to life in 2013 when Red D called for some New Beat style tracks for his "Our Beat Is Still New" Compilation. Flying a bit too low under the radar ever since Rat Life decided to reissue Drum Abuse on a Super Sound Maxi Single. The Track was made in Jacob Korn's headquarter studio / synthesizer museum. The task distribution was hit quickly: Jacob squeezing the acid out of his huge Formant modular system, Credit 00 beating the drums on the Boss DR 660 and Sneaker throwing his unique vocals on top!