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In November last year, Undo released 'Disconnect', his third album. A charming long-player that has won very good feedbacks and reviews. Now it's time to unveil the first Ep with remixes from the album. A great and variate package including reworks from friends and artists he admires as mexican Iñigo Vontier, russian Dimitri Veimar and belgium Cabaret Nocturne. There's also a new mix by Undo himself.

Toby Tobias can be found in the shadows of South London. This is his first offering for the ESP Institute. On side A, 'Gravitator' evolves slowly over ten minutes from a somber intro of supernatural sighs, pulsing machine feedback and techno squelches into an ethereal landscape peppered with dissonant fragments of synth. With side B's 'Right Turn To Nowhere', Toby stretches out even further, flexing a tasteful programming of the 808 while taking the long road to a reverb-drenched crescendo of distortions and expansive string swells. After a prolific output of material for other quality labels around the world, Toby Tobias has undoubtedly re-focused his point-of-view upon his induction to the ESP Institute. These two songs will have you locking up your children at night.

It's a pleasure to introduce Tony Rainwater - undoubtedly the most productive and creative savage we've come across recently. See usually we don't do this, Lehult is a crew affair, but this guy left us no choice. Being a music enthusiast, DJ and dancer for a long time, Tony has only most recently picked up producing his own music, yet at a stunning rate: When we first asked him for a demo - three months after he started producing - he swiftly dropped us a set of twenty-five tracks, another set of fifty more soon followed. His productions are straight rough edged, no-prisoners-taken Jams, combining samples from the most far-flung corners of his eclectic music collection. His magical patchwork wild style is on full display on his debut "Rockberry Jam" EP for Lehult. The A-Side takes us through the lighter side of his repertoire with the title tracks slow building house groove, some dizzy medieval monk grooves on "To All The World" and seductive R&B on "Lay It On The Line". On the flip "Operalight" irresistible groove and "Black Dream Flowers" provide some darker moments, before "Alone" closes on a soft note. The Vinyl version includes an extra goodie after the runout's. Tony is now a fixed member of the crew already and we're proud to have him and his crazy energy on the team. This won't be the last you'll hear of him.

Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and depth of style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally. And full-length it is: The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period on record label, Hippie Dance.

The second chapter of The Golden Ravedays saga, due for release in February 2017 introduces two further tracks of the haunting sound adventure. Side A introduces a very surprising spectacle of sound entitled What do you miss This track is unlike anything Superpitcher has released in the past. What do you miss is diving into a river, serenely floating past visions that bring calm, just to be overwhelmed by jazzy white waters of saxophone and primal animal poetry all the way from forests long forgotten. Let's Play Doctor is aptly titled as one can't help but imagine a satellite-propelled ambulance meandering through the galaxies without any haste or emergency whatsoever. Almost 20 minutes in length, Let's Play Doctor never bores. It's a playful tribute to taking one's time in enjoying the very now.

The second chapter of The Golden Ravedays saga, due for release in February 2017 introduces two further tracks of the haunting sound adventure.

Side A introduces a very surprising spectacle of sound entitled What do you miss

This track is unlike anything Superpitcher has released in the past.

What do you miss

is diving into a river, serenely floating past visions that bring calm, just to be overwhelmed by jazzy white waters of saxophone and primal animal poetry all the way from forests long forgotten.

Let's Play Doctor is aptly titled as one can't help but imagine a satellite-propelled ambulance meandering through the galaxies without any haste or emergency whatsoever.

Almost 20 minutes in length, Let's Play Doctor never bores.

It's a playful tribute to taking one's time in enjoying the very now.

2023 repress

For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992 is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers.

As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.

The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andréa Daltro, Maria Rita, and Fernando Falcão, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty.

Compiled by John Gómez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil's rich music history for the first time.

Ricky L and Marcoradi have been friends for as long as they can remember. They frst met on the dancefoor of one of Italy's most iconic clubs, Red Zone in Perugia, where Ricky has been a resident DJ for the best part of 25 years. Now, they've joined forces in the studio for the frst time, uniting under the Hear &
Now alias for Claremont 56. Those with a keen knowledge of Italian dance music will know their impressive track records. Both have a history of producing fne deep house records and remixes for the likes of Ibadan, Uomo, Reincarnation, Top Tracks, Restricted Tracks and Vega Records. With Hear & Now, they've decided to step back from the dancefoor, instead producing hazy, emotion-rich music for after-hours listening, and mornings spent blinking into the sunshine. A-side 'Hirundo' is a thing of rare beauty: a gently fowering opus constructed from shuffing, mind-massaging drum rhythms, spacey pads, stretched-out
organ chords and Marcoradi's effortless guitar playing. Lilting, alien synthesizer refrains seemingly tumble from the heavens, intensifying the duo's blissful mood. Flip for an even deeper excursion, the softly spun wizardry of 'Sabbia Magica'.
Here, the duo's house infuences gently rise to the surface. This is slow, deep and dreamy house from the top drawer, with jazz-fecked guitar fourishes and undulating electronics combining effortlessly with hypnotic, metronomic drums,
cascading string lines and a wonderfully dexterous electronic bassline. You can dance if you wish, but you may just want a hug instead.

Julian Stetter might be best known as 'one half of the electronic pop duo VIMES', but he is no stranger to the Cologne club scene. His debut EP 'Insides' stems from a long history of djing and organising underground parties across the city. A resident DJ and collaborator at Cologne's famed JackWho club, it was these surroundings that drove Stetter to dive deep into producing. His first solo project is now set to be released on the label PNN. It features three tracks plus a remix by Beyou. Stetter's sound is polished and the precise production of each three tracks make this EP feel far from debut. 'Emily' is the first track set to be released this Friday. It draws you in on shimmering waves that rise and break into a deeper and spacier sound. Warm beats are interjected with random snippets of whale song. Listening to Emily feels like receiving a welcome hug at an after party.

Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.

'I take my guitar and strum and sing some tings and blow people's mind. But I ain't trying to do anybody's music. I'm doing what I feel' - Shadow

When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago's Shadow (aka Winston Bailey) was described as 'way ahead of its time'. Undeservedly it was panned by critics and, unable to reach markets, disappeared into the dusty record collections of a few music aficionados. Now, more than three decades later that cosmic dance-floor UFO is about to take off again, change all that and set the record straight. Remastered and cut by Frank Meritt at The Carvery the album is truly a masterpiece.

But who is this Shadow behind Sweet Sweet Dreams Shadow is a man of understated magnitude. A truly enigmatic artist, he first emerged in Trinidad and Tobago during the 1970s, becoming a part of the tapestry of Caribbean music and reinvigorating calypso at the time. Calypso, the indigenous folk music of Trinidad and Tobago, has roots in West African kaiso rhythms, French Creole influences, and the hardships endured by the African slaves brought to Trinbago, whose descendants still use it as a tool for satire, self-expression, and social commentary. Calypso has also given birth to several other music genres, including soca, with its uptempo beats and festival context. Shadow effortlessly moves between both.

Shadow came from a humble but musical family and started writing songs as a youth while tending cattle in the fields. To his family's initial chagrin he chose calypso over church music but his talent and drive were undeniable. In the early days of his career Shadow's style was cramped when working with some of the more conservative music arrangers who felt that calypso and soca should fit a mould. But after a while Shadow teamed up with more innovative arrangers, including Arthur 'Art'de Coteau, who followed their and Shadow's intuitions resulting in a long line of hits.

'The first time we met for me to arrange his music we had a heated argument on the arrangement for one of his songs, I was theoretically correct but Shadow was musically right. Shadow broke all the traditional musical rules and made his own and that made him a musical giant. He changed the face of Calypso music in 1974 with the release of "Bassman" a tune in which Bass and magnificent horn line took central stage changing Soca music for ever. What Shadow did with his music was to put calypso on the International Dance circuit, giving it a totally different groove. You could take his music and swing it in any direction, Disco, Pop, Calypso, you name it. His music was different from anything that existed before'. - Carl "Beaver" Henderson, one of Trinidad's veteran producers.

This inert creativeness culminated in Sweet Sweet Dreams which was arranged by Shadow and deals with burning and ever-relevant themes like love and the ups and downs of relationships. a surprising fact for someone mainly known for his satirical and political lyrics. It prompted his manager to wonder if Shadow had written the lyrics while in a state of 'tabanca' (a word used in Trinidad and Tobago to describe lovesickness).

Sweet Sweet Dreams was recorded at the legendary SHARC studios, located on a hill in Chaguaramas (near Port of Spain) and despite a fantastic sound and monster Soca-boogie tunes like 'Lets get it together', 'Lets Make it Up' and 'Way, Way Out' the album was a commercial flop, probably due to the fact that it didn't sound like anything else coming out of Trinidad & Tobago at the time: It fused a range of different rhythms and new sounds, primarily heavy synth riffs.

Shadow took the album's lack of success in his stride with usual aplomb:
'When I did Sweet Dreams I expect something could happen. But nothing big happen because I have no big market and no distribution and all this thing now. So I just cool myself and move on to another song. I wasn't doing just one song. I used to always have plenty songs at the one time. And be writing music'.

What Shadow didn't realise back then was that the proto-electronic cocktail he had mixed in 1984 would only find the recognition it deserved three decades later. Life has swung full circle: Sweet Sweet Dreams has come true and been elevated to holy grail status becoming one of the most sought-after Caribbean disco records in existence.

For this re-release we carried out extensive interviews with Shadow and the musicians and have included as bonuses exclusive photos from Shadow's personal collection and the dancefloor filler tune 'D'Hardest' was added as a bonus track.

7"

Dürerstuben are back at them ivory keys to prove once again their broadly spread outcome of funk and groove.
Being responsible for mothership Luise's first release and hence smoothing the way for a whole lot of pleasent memories we can look back to by now, it's that kind of re-(re!)-animation which puts our hearts to pleaseant warmths. Saddle your moped, pull up your Levi's and straighten your backs: Trays'n'Hits is the right compagnion for long lasting late-night drives, self proclaimed city slackers and mother earth's first outcome of country music you are bound to be proud of listening to. Spin it, Johnny!

We've waited really too long to release this ep. These tracks were given to Musique Risquée more than 10 years ago and waited since then on harddrive before they got rediscovered on a boozy night in Tokyo. They have not aged a bit, fresh as when they were given to us. Maybe we weren't ready then. But we are now and hopefully you are too.

Virginia-born singer/songwriter Nicole Wray has everything you'd want in a singer: an infectious Jackson-5-family-member flare, a range like Aretha's, and a church upbringing that's brought a pure, healing texture to her voice. But the struggle she's been through has made her more than a singer. Nicole Wray is an artist. When talking about Queen Alone, her first solo album in some time, Nicole explains, It's a reflection of my soul. It's who I am today.' And aptly so. Nicole is writing and singing songs about her life. And yet to even start to know her soul, you have to go back to the beginning. Growing up in Portsmouth was tough at times for Nicole. However, at the age of fifteen, life opened up quickly when Missy Elliot paid a visit to Nicole's family home to audition her on the spot. Missy was there on the rumored strength and quality of her voice. Instantly blowing her away, she signed and left with Missy that night. Two years later, at age 17, she had a hit gold single off a solid debut album (Make It Hot). Suddenly she was part of a team that included late '90s R&B and rap royalty: Missy, Aaliyah, Ginuwine, Playa, Timbaland and Magoo. She made it, and fast. However, as rapidly as she achieved success, Nicole then found herself needing to re-make it. By late 2001, her time with Missy and company had run its course. They amicably parted ways and Nicole, once on top of the R&B world, was unsure of what was next. It was a very low, but important, point in her life. While neck-deep in this struggle, Damon Dash and Roc-A-Fella Records called. They signed an album deal and by 2004, in what was starting to be a pattern, just as things were looking up Roc-A-Fella suddenly (famously) split. Nicole found herself in a familiar situation. In 2013, Nicole paired up with London vocalist Terri Walker and released the album Lady. Once again, Nicole was tested. Terri parted ways with the group to pursue her own projects shortly after the album's release. Fast forward to now-the transformation from singer-for-hire to pure artist is evident in this new full-length solo release, Queen Alone. The record was written and recorded in 10 days at the legendary Diamond Mine Studios, in Queens NY with Leon Michels and Tom Brenneck handling production. Nicole says she is Singing out loud now-singing from the stomach.' Back in 1998 she was coached how to sing, and told to stay in a pocket that never let her show her range, power, and passion. Today, after stutter-stepping in and out of the industry, there is a new soul and substance to her songs-all of it from her life. They Don't Hang Around", tells the story of her post Roc-a-Fella days, Guilty", is about her brother's incarceration, Make Me Over" tells the relatable story of being broke with expensive taste, and 'Let It Go', a perfect way to end the record, is about the simple act of letting go and moving on. Almost echoing her new record, Nicole says, You have to go through something for it to be real.' She has been living with one foot in fame and the other in real life. The result is clear: she's feeling something real in her music again. And it's hard for us as listeners not to follow suit.

American experimental musican Shane English continues in a long tradition of outsider electronics as he's been humbly prolific in his output though the years involving himself in numerous recording projects.Collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name), English now commits his second full length solo offering to vinyl in the form of the General Dimensions lp.Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Highly recommended for those into early electronics.

Field Records is proud to present a new experimental mini album from Scott Monteith aka Deadbeat that touches on the traditional music of Qawwali. Entitled Qawwali Quatsch, it feature lots of transcendental sounds and hypnotic violins and voices across eight tracks. This absorbing album came about after Monteith--best known for his dub techno--attended the 2015 Wasser Musik festival in Berlin, which featured music from both the coastal and land locked regions of India and Pakistan. One performer was Asif Ali Kahn and his "Qawwali party," as Qawwali bands are appropriately known, and his show really struck a chord. The resulting music (which the artist admits is just a humble experiment galaxies away from the real power of the source material that inspired it) makes up this first album under his own name, and is a sympathetically infused album that ably captures the spirit of the revelatory, life changing music that is Qawwali, and an entry quite unlike any other in his now vast catalog. Collaborator and longtime friend Sophie Trudeau of Godspeed You Black Emperor! was involved for additional violin and voice treatments.

Aus Music follow up a string of new signings with the return of 2 of the long-standing staples - label owner Will Saul and long term affiliate Komon. The duo most recently collaborated on a 12 for Kompakt now together they ready the 'Eve's Seven' EP - a deep and dreamy 3-track EP that comes with a remix from recent signing Recloose. Bloom sets arresting riffs circling through rich textures that thicken and thin to startling effect. 'Eve's Seven' follows up with dusty drum samples and bold melodies before the Brooklyn native does what he does best in offering up a typically sunny take on Komon & Will Saul's 'Eve's Seven'. Sweeping filters and a short, driving bass line propel a highly energetic but playful rework primed for brimful dancefloors.

Miskotom is a project from Mik and Andra.Originally hailing from Russia but now both residents of Vilnius Lithuania. Both have a long history of music making going back as far as childhood.Andra was involved in 2Muchahos an ambient project which came out on Beko recordings. Mik came up through the indie scene playing in bands before finally settling in the dj booth and then as a producer....Miskotom's music has a magical dreamy quality, sometimes lovely Balearic or melodic pop sounding like long lost tracks form Wally Baderou, but also sounding like sleazy mid 80s chicago basement jams....Analog synths jam along with guitars ,voca land ,handmade percussion mixed down and recorded onto tape. Sometimes 4/4 sometimes no beat at all.....to round off this EP we have an excellant remix from Kito Jempere, who over the last few years has notched up a steady stream of releases over many labels , most recently a killer edits ep for the mysterious Bahnsteig label.

As Claremont 56 speeds towards its' ten-year anniversary, label founder Paul Murphy continues to champion little known producers and previously unheard artists. Over the past 12 months, the label has showcased material from rising talents
such as Bella Figura, Simon Peter, Paraiso and Oma & Amberfame. Now, Claremont 56 is adding another new name to the roster: Statues. Essex-based trio Bradley Lucke (production/bass/percussion/keys), Mark Crooks (keys/production) and Grant Carruthers (vocals/guitar) has been making music on-and-off together since they were teenagers, and last year decided to come together under the Statues alias. They submitted a number of demos to Paul Murphy, who was so impressed by what he heard that he offered to help produce and write an album with them. As debut singles go, 'Alaula' is stunning. Reminiscent of many softly spun
moments from the Claremont 56 back catalogue, it builds slowly and breezily via subtle waves of organic and electronic instrumentation. Carruthers' impassioned vocals pop in and out of the mix at opportune moments, peeping above alluring acoustic guitar, bass, synthesizer and Rhodes parts. Throw in
tumbling, life-affrming piano lines and swelling cello parts - both provided by friend-of- the-family Robin Lee of Faze Action - and you've got another near- perfect chunk of sunset-friendly, horizontal brilliance. On the fip, Murphy dons his familiar Mudd alias to provide a superb Piano Dub. Building the action around a sparse, delay-laden percussion track, Murphy teases out the track's most potent moments, in the process creating something
that lingers even longer in the memory. Lee's superb piano and cello work naturally takes pride of place, as Murphy expertly emphasizes the track's impeccably atmospheric nature.

Detroit isn't just a place. Sure, it IS a place, and those who physically live there know its triumphs and its tragedies far better than anyone else. But Detroit is also a feeling, a sound, a philosophical home for those who connect with the futuristic, dystopian sounds of Detroit techno and electro on a deep level.

Those tendrils of connection reach far and wide, bringing people from all over the world into orbit with the people and sounds of the city, connecting through the snap of a snare, the wiggly groove winding its way through the beat, the beauty in the sound of strings, the anger in a bubbling bassline.

On this label collaboration between two modern purveyors of techno and electro, Detroit Underground and Detroit Techno Militia have brought their game face and also connected Detroit with producers from elsewhere who've long been tapped into the techno and electro zeitgeist.Activating legendary techno mystery collective Scan 7 for the leadoff title track Direct Effect, they take us on a high speed chase, a desperately frenetic percussion jam crunching its way through the bass bedrock for maximum damage. DTM's T.Linder then slams down the accelerator on a brutal remix, kicking up the stomp and reversing the bass for a subtle melodic turn, while the ride cymbals cut deep enough to draw blood. Romania's Andrew Red Hand, known for his fierce electro production, does not disappoint with his remix. He drops down into the classic low slung bass and snare rhythm, letting the metallic bass bubble up like a submariner surfacing with soundsystem intact.

Rounding out with a cave dwelling minimalist stomper are extant techno legends Teste. Originally from Hamilton, now based in Berlin, Teste bring their hypnotic sensibility to a hammer beat to end the remix lineup with a bang.

Packing much sonic variety into four tracks, Direct Effect shows that Detroit's heart is still beating strong, collecting people in the path of its sound, mapping out a line between techno soldiers far and wide. It's what made the city great, and why it remains the spiritual home of techno.

In 1997, a quiet, unassuming man of 59 years old named Victor Tavares - better know as Bitori - walks into a studio for the very first time to record a masterpiece which many Cabo Verdean consider to be the best Funaná album ever made. Bitori´s musical adventure had begun long before this point. It was 1954 when he embarked on a journey across the seas to the island of Sao Tomé & Principe. The young man´s hope was to return to Cabo Verde with an accordion.

Following two years of hard labour Bitori had succeeded in saving enough money to acquire what was to become his most valued possession, his cherished instrument. The two month journey back to Santiago, his island of birth, proved time enough to master it. Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation. Before long Bitori was being asked to share his musical talents, igniting the local festivities around Praia with his music.

But not everybody welcomed the rural accordion-based sound. Perceived as a symbol of the struggle for Cape Verdean independence and frowned upon as music of uneducated peasants, Funaná was prohibited by the Portuguese colonial rulers. Performing it in public or in urban centres had serious consequences - often jail time and torture awaited musicians that were caught in the act'. In light of such persecution the genre of Funaná began to slowly disappear.

In 1975 Cabo Verde achieved independence from Portuguese colonial rule. Along with Cabo Verde's independence came a lifting of the ban placed on Funaná. The musical repercussions in Cabo Verde were plenty - many upcoming artists embraced Funaná, translating and adapting its musical form in new ways. It was not to be until the mid-1990's, however, that Funaná in its traditional form was actually recorded. It was a young singer from Tarafal, Chando Graciosa, who was to play a key role in this event. Upon hearing Bitori, Graciosa immediately felt drawn to Bitori's unique playing style - a raw and passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He eagerly approached Bitori suggesting they join forces and travel overseas with the objective of taking Funaná beyond its rural roots. The two of them, with others in tow, achieved their goal and travelled to Europe, introducing a receptive European audience to the vibrant energy of Funaná.

Eventually Bitori returned to his beloved Cabo Verde. Graciosa opted to settle in Rotterdam in order to pursue his career - he vowed, however, to bring Bitori across to Holland at a later date to record an album.

In 1997 the time was ripe to immortalise the sound Bitori had shaped over a time span of four decades. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, "Bitori Nha Bibinha" was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde´s No.1 interpreter of Funaná.

The success in Cabo Verde was phenomenal and Funaná rapidly gained the recognition it deserved, especially in urban dance clubs. Bitori´s songs quickly became standards - classics known and loved throughout the country. The musical success, however, was solely limited to the Cabo Verdean islands - until now!
Analog Africa is proud to contribute to the worldwide promotion of Funaná - the once forbidden sound of the Cabo Verde archipelago - by releasing a worldwide re-issue of Bitori and Chando Graciosa´s legendary recording.

The release will herald Bitori´s first European tour taking place during the summer of 2016. Watch this space! And listen!

THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL's long career. The trio of dance oor-oriented records formed by 2012's The Inertials, 2014's Polyphonic Beings and now THE ASSISTENZ are sensual pleasures rst and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world's clubs has been put into the creation of sounds that interface with the nervous system and emotional re- sponses with extraordinary immediacy. But there's much more too: together with the more ab- stracted album Eselsbru¨cke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named - but also the nal piece in this bigger puzzle, which unlocks untold secrets from the previous three records.

There's a deeper history, of course. CRISTIAN's productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has in uenced too. In fact, as you listen to THE ASSISTENZ, you realise that there's no point making comparisons with other elec- tronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music - dub, electro, acid, funk - owing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but some- what skewed vision.

CRISTIAN's understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specif- ic frequencies that make up speci c sounds and produce speci c effects on the human mind and body. And as a result, his own sound synthesis - increasingly done via the Kyma programming platform - is more and more able to reach beyond the 'synthetic' and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ's ghostly centrepiece 'Barefoot Agnete', in the alien radio signals of 'The Merman's Dream' or even in the subliminal 'aaah's hiding in the background of the noisy 'Vessels', but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.

And it's not just the boundary between human and non-human, or that between acoustic and synthetic, that get blurred to the point of non-existence. CRISTAN's creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised criti- cal faculties and go with it. Sometimes that can take you to places where darkness and physical- ity close in on you as on 'Vessels' or 'Telemorphosis', or into haunted spaces on the edge of the void like those of 'Snowcrunch' and 'Barefoot Agnete', but even in those, there is euphoria. And in the voluptuousness of 'Hold' or the body-rocking funk of 'Cubic Haze', all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.

So many of the science ction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where ma- chines learn, where images can't be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN's experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn't just ex- periment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.

A new Undefined release! We are ever so proud that our fourth EP is made by RADIQ.

This man needs no introduction. We consider him to be an absolute legend in what he does and what he has already accomplished on a musical level. A producer that fits Undefined like a glove. And we are very happy with the music he made for our label.

Titonton Duvante is on our team now too, and delivers his own stunning interpretation of Radiq's 'Daviselim'.

We are starting a series of collaborations on our label where we invite long lasting producers to do a release on Undefined. Undefined 4 is a nice kickoff for a number of vinyls and we are planning to keep this one running for a few years! Check this out.

From Amsterdam with love.

Timmy P's latest outing on Dessous Recordings continues the long list of illustrious labels that have been home to his house vision. Now based in London, Timmy has a string of emphatic releases under his belt, not least on influential imprints such as Local Talk, Extended Play, Dirt Crew and MadTech. With Safety First, Timmy's playful approach to the deeper side of house shines though. The title track mixes crisp, crunchy drums with warm, soft pads and a bubbling bass line - a deep rolling cut with plenty of punch for the floor. The fantastically named 'Grim Fandango' is a little tougher, with the snares and claps snapping tightly over a taut, un-resistible vibe. Timmy's balance of dynamics is masterful, each element perfectly complimenting each other to create a tour de force over 8 minutes. 'Bosh' is similarly crafted - the original echoing classic 90s house but feeling completely fresh for 2016, while James Dexter's remix is a robust, deep roller. This is house music made with joy and passion.

After making some massive claims regarding electronic music last year which caused a stir in the dance music community, Mat Zo had a lot to live up to with his long awaited second album "Self Assemble". What didn't help was the fact that his first album, "Damage Control" was critically acclaimed by many within dance music and is now considered a modern-day masterpiece with mesmerising tracks such as The Sky and the massive Easy with Porter Robinson.Blending genres and sounds in a way only Zo can achieve, this record flows incredibly well as the tracks move from one to the other almost telling a story of the different styles of electronic music. At times the album is reminiscent of Zo's incredible Essential Mix from back in 2013 in the way that it progresses and constantly surprises the listeners. A lot funkier than Damage Control, it's no less incredible.
Beginning with the beautifully atmospheric "Order out of Chaos" which starts with an absolute wall of sound that boggles the mind in how Zo even went about designing something so complex, this sets the tone for the rest of the record in a cracking way. The melody soon crescendos and we're introduced in to the meat of the album with "The Enemy". Bringing out all the good funky vibes on this track, again Zo exhibits his insane production talents which are a staple of the album. Featuring vocals from the wonderful Sinead Egan, this is a great uplifting tune that'll no doubt have you dancing in your chair or in the club.
'Sinful" acts to continue the funky good-time vibes and transports us to a cool summertime drive. It has us yearning for happier times and again the guest vocals from I SEE MONSTAS go a long way in getting across this happy vibe. Featuring an uplifting almost french house inspired bassline and squelch synths that wouldn't look out of place on a Daft Punk or Madeon record, this is another stunning track from the record. "Patterns Emerging" feels like a bridge into the next section of the album and is unfortunately short. The orchestral element really brings out the emotion on this track and we only wish it was longer. "Killing Time" has those classic chopped up vocals that Zo uses to great effect and some nicely programmed drums that could be a nod to the drum and bass he used to put out under MRSA.'Smacked up on Jack" features some cool middle eastern sounds and a wacky vocal sample that helps to progress the album and keep the listener interested, again though we feel like it's a bit too short and are left wanting more. The next tune "Ruffneck Bad Boy VIP" is an absolute mammoth and one of our favourites off the record. Opening with an immense rhodes melodic sequence and after some nice vocals, the track rips into the electro house and dubstep infused banger that it really is. Some dirty, dirty sound design and drum production will have the dance floors going wild and shows us again why Zo is so good, it's a far cry from the funkier elements of the earlier stuff on the album and shows how Zo can show off a range of electronic sounds. "Lights Out" is a straight up hard hitting electro banger with an infectious vocal sample that only needs to be heard to be understood. Not much more needs to be said about it! Coming into the last section of the record, "Soul Food" returns us to the groove with an astonishing house beat and bass line that have us questioning how Zo makes it so hard not to smile listening to this album."Stereo no Aware" starts sounding like it's taken straight from a space movie epic and soon transforms into a goose bump inducing melody with a driving growling bass line that bring back the epic dubstep we all used to love a couple of years ago. Skrillex eat your heart out. Finishing off this record on a more emotional note, "Too Late" starts off like a guitar ballad and then transforms into something totally different. Egan's melancholic vocals enhance this track to great effect and is all backed by Zo's lovely downbeat production until we're treated to a monster of a climax around half way through the track which will surely blow the cobwebs right off you. Zo says goodbye to us with the phenomenal "The Last Transmission" and what a way this is to close out an incredible sophmore album for the English producer. The melancholic piano chords are a subtle and pleasing way to close out this journey of a record. Mat Zo really has outdone himself here and we're really looking forward to hearing some of these bombs dropped live. Surely a contender for album of the year at such an early stage, yet again it's only the best delivered by Mat Zo.
Latest album, Damage Control was Grammy-nominated for Best Dance/Electronic Album last year

Najem Sworb brings us the thirty-fifth edition of Wolfskuil Records adding the Strasbourg-based artist to it's roster. Previously releasing on labels such as Clone Basement Series, Technorama, Metis Recordings and the now defunct Ai Records, Najem Sworb has been transforming through various genres of techno since his debut release in 2007.

Rad.Velc EP brings us 4 original tracks playing upon the themes of house and techno. 'K-159' opens the EP with a fierce relentless bass and squeaky pads ending in a harmonic disarray while 'K-166' follows in a smiliar suit rather with a dub inspired rhythms. On the flipside, Najem Sworb switches up the vibe with 'K-abL' which illustrates the artists more house influences with mystical synth lines. However, 'K-177' demonstrates his knack for techno, delivering an explosive device fit for the dance floor. Together in all four tracks Najem Sworb shows his expertise in unique synth work providing a quirky cadence to his beats.

DJ FEEDBACK
early support from
Answer Code Request: Interesting stuff here!
Rødhåd: Downloading for listen.
Anthony Parasole: This is quite good!
Ben Sims: B2 doing it for me.
A.Mochi: A2 is for me!
Angel Molina: K-abL/K-177 as my fav track on here, especially the last one, killer one.
John Osborn: Really strong release - loving A2 & B1.
Isolated Lines: Very cool tracks! I really like A2 and B2. I'll play them.
Jeff Derringer: Sounds very nice! I'll try this in Detroit.
Phone: Love hypnotic tribal sound of K159.
Truncate: Solid tracks all around... but really digging that B1 track.
Orde Meikle: Great release.
Ekserd: Another excellent one on Wolfskuil. Super nice!
Echoplex: Fresh.
AWB: Long time fan of Laurent's work.
Invite: Another great ep on the label! Keep them coming!
Jeroen Search: Yes!
Blawan: Very nice ep! Full support.
Joseph Capriati: Downloading for Joseph Capriati.
Mr. Jones: Always a surprise what new sound Wolfskuil will bring.Like this funky and fresh EP.
Richie Hawtin: Downloaded for Richie Hawtin.
Marcel Heese: Killer!
Randomer: A side bangs.
Robert Lamart: Support.
Svreca: Feeling specially K-177.
Mosca: Love that K-166 synth!
Tensal: B2 is my pic here, nice stuff as usual in Wolfskuill.
Markus Suckut: 166 & 177.
Sinfol: Will try b2.
Ame: Thanks.

Art thou ready Straight fire coming from Total Science, Phaction and Fokuz Recordings stalwarts Malaky, Satl and Silence Groove. On the A side long time drum & bass veterans Total Science flip Phaction's ''Stratos'', released early 2015 into a hypnotic, soulful groove with a bopping bassline, delayed piano cuts and vocals.

Next up are Fokuz Recordings regulars Malaky, Satl & Silence Groove. Already making a name for themselves individually they now team up on ''Skyfall'' delivering an infectious, heartfelt slice of soulful drum & bass. Good vibes all around but then again, would you expect anything different from us We think not, go and cop that!

Over the past 7 years WOLF Music have steadily blossomed into a bonafide platform for both auspicious and established producers of classically-minded House and Disco catering for listeners and DJs alike.

Having amassed a catalogue of EPs and LPs including the likes of Frits Wentink, Medlar, KRL, Mr Fries and Inkswel they are now ready to release their 4th full length LP this time from long term label friends Nicholas Church and Joseph Spencer a.k.a Casino Times.

Having first appeared on WOLF for the label's 23rd release - Casino Times have since released music through their own Casino Edits imprint, Futureboogie and Permanent Vacation.
Across each release the duo have built a musical identity that's characterised by subby electronics and off-kilter sampling.

Now they get chance to stretch their legs across 10 tracks, delving into an array of new territories, which pieces together their début LP, Familiar Circles.
Ranging from the beautifully breezy Oddity to the break-laden Love In Time the album begins to take shape as a masterclass in arresting sampling.

Continuing with the subtly mournful I Hope This Find You Well featuring Desert Sound Colony, followed by the potent, burly drums of Overcome. Panning out across its entirety as an album that achieves something rare in deftly dialing a broad spectrum of moods, adding further facets to WOLF's ever-expanding catalogue.

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

Minimal Wave present an album of long lost tracks by Dutch electronic music pioneer Das Ding, entitled 'Missing Tapes'.

Danny Bosten formed Das Ding as a solo project in the early 1980s and released his music and friends' music via his own cassette label called Tear Apart Tapes. At the time, he was studying graphic design at art school, and in turn he ended up designing the artwork, cassette-sleeves and illustrations for the label himself. Meanwhile, he recorded his own music as Das Ding. Powerful dark electro, he made several addictive and danceable tracks which later become Minimal Wave hits. Danny made all his music in his bedroom which essentially turned into a small recording studio. He went on to release many of his own tapes and also played some live gigs.

Old tapes were uncovered around 2010, and Minimal Wave released a remastered version of 'H.S.T.A.' and select other tracks. A wave of renewed interest followed the record's release and soon people were in touch to propose live shows. Twenty years later, and after some deliberation, Das Ding was reincarnated under its old moniker but now with a revised line-up and a working set-up that reflected inevitable technological change.

Recently, Danny came across further tape archives from those early days. And from the batch, we selected our favorites to present to you in vinyl release form. 'Missing Tapes' is a limited edition LP pressed on 180 gram creamy yellow vinyl, and housed in a heavy weight printed glossy black and white sleeve featuring one of Danny's original illustrations from 1982.

*Restless Mashaits hailing from Geneva are based around the core of Jil and Stuff. They released a sizeable amount of new roots classics throughout the 90s and 2000's. Recently becoming active again, they are best remembered for the sessions they recorded at Kingston, Jamaica in the mid/late 90s with legendary musicians such as Dean Fraser, Vin Gordon, Deadly Headly and Dizzy Moore. The original releases have been since long deleted, but some are now unearthed thanks to Partial Records.
*`Africa' from 1999, is a storming roots rockers piece which features saxophonist Dean Fraser and Dwight Pickney (Roots Radics and Zap Pow) on guitar.
* Both cuts are different mixes to the ones that previously surfaced on 45.

*Restless Mashaits hailing from Geneva are based around the core of Jil and Stuff. They released a sizeable amount of new roots classics throughout the 1990s and 2000s. Recently becoming active again, they are best remembered for the sessions they recorded at Kingston, Jamaica in the mid/late 90s with legendary musicians such as Vin Gordon, Dean Fraser, Deadly Headly and Dizzy Moore. The original releases have been since long deleted, but some are now unearthed thanks to Partial Records.
* This blazing horns instrumental `Good Conquer Evil' is another bonafide classic which was originally released in 1999, which features Dean Fraser on saxophone and Nambo Robinson on trombone.
* These are alternative cuts to the one previously released

Following a summer of fifth birthday celebrations, Tom Trago's Voyage Direct label returns to action with a brand new 12' from Amsterdam scene stalwart Simon Weiss.
Although a new member of the Voyage Direct family, Weiss is no newcomer to the scene. He's previously delivered high grade EPs for Rush Hour, Deepermotions and Home Taping Is Killing Music, and his contribution to First Mission, Voyage Direct's fifth anniversary compilation, was one of the undoubted highlights of that set.

It's that track - the gloriously positive 'Tele-Vision', and it's cyber-house fusion of darting synthesizer arpeggios, Detroit-influenced percussion, and thrusting acid bass - that heads up Weiss' first EP for Voyage Direct.

Dutch veteran and longtime friend of the family Dexter turns in a stunning remix, putting a well-placed boot up the backside of 'Tele-Vision' via speaker-shaking sub bass, kaleidoscopic electrofunk motifs and thumping techno rhythms. It's a stunning re-make, and one that takes Weiss' fine original to even greater heights.

Flip the record for two previously unheard Weiss productions. First up is 'Ghost', a supernatural house shuffler full of alien synths, wayward melodies, intergalactic electronics and crunchy drum machine hits. Weiss flips the script slightly on 'Super Sub', pairing his now trademark vintage synthesizer refrains and tumbling electronics with a heavyweight, bassline-driven groove. It's a sweet and evocative track, but critically also packs a punch.

Dear Vinyl Enthusiast / DJ,

The tracks on this 2 X 12" received some special individual treatment which I hope you'll enjoy listening to or playing in your local disco as much as I did making the. Box Saga has been a firm favourite of mine for a good 20 years already and although it's baggy pants and loose groove is exactly why I love it so much I thought it would be fun to do a slightly different take on it.

Ü is a recent fave of mine but as the record is super long and has a very DJ-unfriendly ambient intro, I gave it a couple of chops and hope you're brave enough to bring it to the dancefloor where it belongs. The tracks by Joachim Holm & Alejandro Mosso, Actress, Hieroglyphic Being and Blacknecks are all quite sparse to begin with and with the approval of all involved you can now smile or cringe at these "Versions" where I "join the band" on some of my recent favourite records. Thanks to the artists and labels involved for letting me use their music.

Art school friends GG and SB
living room dancing nights, long hours in the cave
another failed evening of warm beers and cigarete buts
a sound emerges and...
pop!
The EP 'Don't Touch Me Now' features 4 melancholic and beautful art-pop songs, packaged in a
hand stckered heavy-weight card sleeve, complete with download card. The EP was mixed by DEEK
head-honcho, Bullion. The vinyl EP was pressed at The Vinyl Factory and is strictly limited to 500
copies.

French heavy weight producer and long time friend of the label, Rocco, is now back on Colourful Recordings! Going back to his techno roots sporting a gritty Lyon sound, A-side Viana, is building around a funky hook and housy beats. B-side sees Rocco picking it up a notch with a techno groover Basic Channel-esque style. On remix duty, romanian Marcman steps up to deliver an almost toolish remix of Viana that's been hammering the dance floors during the summer. Mastering by Andreas at Schnittstelle.

London centric debut album from Floating Points with a host of guest musicians and vocalists.
the label say " Sam Shepherd spent five years putting together Elaenia, juggling the production with his DJ commitments and his now-completed PhD in neuroscience.

The album takes its inspiration from classical, jazz, electronic music, soul and Brazilian music, much of which can be heard in Shepherd's DJ sets. There's a long list of contributors, with Tom Skinner and Leo Taylor (drums), Rahel Debebe-Dessalegne and Layla Rutherford (vocals), Susumu Mukai (bass), Alex Reeve (guitar), Qian Wu and Edward Benton (violins), Matthew Kettle (viola) and Joe Zeitlin (cello) all featuring. Shepherd also provides some of the vocals.

Shepherd's influence on the album extends to the cover art: he built his own harmonograph to create Elaenia's sleeve, using fibre optic cables that were connected to light sources and responded to bass drum hits and other sounds.

Aside from a couple of early excursions on R2 Records and Planet Mu, Shepherd's solo material has come out through Eglo Records, the label he co-runs with Alex Nut. Records like Vacuum, Shepherd's breakthrough release in 2009, and 2011's Shadows, which scored a five-star review on RA, have cemented his reputation as a classy, inventive producer. On top of that he's also released music from his Floating Points Ensemble project, and produced some of Fatima's 2014 album, Yellow Memories. "

After impressing with his debut album, 'Buy The Ticket, Take the Ride', on Tsuba last year, Magic Feet label boss Craig Bratley is back with a hot new EP on his own label that features tracks by Unisexl Audio Club, Beato Cozzi and the man himself.

Since 2014's LP release, Bratley has been remixed to great effect by Ewan Pearson and has continued to take his machine made, darkened disco sounds to clubs and festivals around Europe.

His sound is robust and analogue, has come out on labels like Andrew Weatherall's Bird Scarer and Is It Balearic and now for the first time arrives on his own Magic Feet, a label that has showcased sounds by Timothy J Fairplay, Antoni Maiovvi and Tommy Awards amongst others.

Up first here is Unisex Audio Club with 'Event Duality,' an elastic, low swinging, mid tempo track with frazzled synth lines, pixelated melodies and lots of dark energy. Flabby bass adds serious weight to this most arresting affair.

Beato Cozzi offers up 'Killer ', which comes on like a long forgotten Italo B-side, a chugging rework of a solitary 1990 chart hit that sounds all the more resplendent for its rainy alien melodies, extra visible and twinkling chords and invitingly laboured drums.

Then comes Bratley with the first of two cuts. 'Photons' is seven minutes of loose and lush house music with arcing pads, feel good chords and emotionally swollen melodies. It's the sort of breezy, al fresco tune that would sound great at a boat party and shows a more tender, vulnerable side to Bratley's work.

His second, 'Analogue Voodoo', is a slow and sparse affair where futuristic synth lines, apocalyptic drums and darkened spoken word snippets all conjure an unsettling, industrial mood. It's a fresh sounding cut that is destined to stand out on any dancefloor.

This is another fine offering from Magic Feet that offers disco lovers of all shapes and sizes something to explore and enjoy.

* Jon Gurd's Birth Right EP is the first material from the Portsmouth based Techno producer in more than 2
years since his ventures on Octopus recordings, 8 Sided Dice and Quartz. The EP therefore indicates an
audible step change not just in the approach to production but also in the mindset and emotive feeling
behind each texture and layer. Having emerged unscathed from a traumatic family related drama Jon
communicates a tortuous and re-evaluated life message across all 3 tracks, and is dedicated to his brother
with a hidden meaning conveying, Tomorrow Is - Promised - To No One'.

* Dissecting the EP further the educated are blessed with field recordings, analogue rumbling and modular
synthesis exiting from almost 24 months of lab driven experimentation. No real process has been applied or
extant formulae followed and the EP's resounding success is that this now exudes what Jon feels' innately
rather than what the industry wants, therefore the journey, endless noise making and experimentation gives
a balanced and exciting offering. Jon comments seriously my process for producing this has been all over
the place, literally stumbling on shit, slipping over my own creative vomit, workflow went out the studio
window on day one'.

* Having spent two years asking himself why he makes music, I think on first listen of Birth Right EP we will all begin to empathise why. Remixes kindly provided by Messrs Dave Clarke and Ancestral Voices (new project from Liam Blackburn formerly Indigo / Akkord).

* A long time-friend and recording partner of Alan Fitzpatrick, as well as one third of Mister Woo with Dave from Reset Robot, Jon Gurd is best known for his work on the likes of Octopus Recordings, 8 Sided Dice and Quartz. Abundant with field recordings, analogue rumbling and modular synthesis, his latest signing to Derelicht is a result of almost 24 months of lab driven experimentation, and marks an auspicious return from a musical hiatus that stemmed from a personal tragedy. From the off, 'Tomorrow Is' is a driving piece of techno complete with sinister undertones and menacing atmospherics, meanwhile 'Promised' focuses on a low-slung groove as tantalising synths operate on top. The last original, 'To No One', then exhibits a deeper vibe with ebbing pads and spectral chords. Dave Clarke's decadent rendition of 'Promised' ups the tempo whilst demonstrating commanding kicks, until Ancestral Voices, the new project from Liam Blackburn (Indigo / Akkord), strips back the beats of 'To No One' for a subdued subterranean workout.

* Press / Promotion: 3 x Co-ordinated PR Campaigns (In House campaign by Derelicht, Dispersion PR and EPM Music, 100 vinyl hand-distributed to leading editors, artists and tastemakers. Key editorials through Resident Advisor, Inverted Audio, Ran$om Note, Beat Vision, Slate The Disco, Magnetic Magazine, DJ Mag, Noise Porn, Mind Grub Audio, Portals, Elevated Culture. 1 x videos produced to support Dave Clarke remix
Tiefschwarz - 'Just Beautiful!'
Alan Fitzpatrick - Yeah massively into this, will play a lot. Thanks for sending.
Dustin Zahn - Feeling the original of "To No One." the chord/pads are hitting the right spot for me this morning! The remix is also a nice take on the original
Baikal - to no one and Derelicht are dope
Kirk Degiorgio - Dave's mix for me!
Bas Mooy - yep! A1 for me mate!
Ben Sims - a1 is the cut for me, heavy and heady but still has the groove
Benjamin Damage - Thanks for sending this, top work!
Bryan Chapman - really feeling this EP, fav is the Ancestral Voices remix, that downbeat vibe
Bryan Zentz - Wonderful, moody, and emotive...LOVE it
Carlo Lio - Actually feeling all of them. Something for every time of the night. Can see myself playing a few of these for sure
Lo Shea - Tomorrow is sick! Dave Clarke's remix is dope too.

Entitas, is the second instalment of Jay Clarke's BLACKAXON imprint, and sees the label boss bring out the big guns in the form of three distinct and diverse cuts. First up is Entity, an autonomic monster which has sweat soaked energy written all over it. It's auspiciously one part deep, and more than double just as twisted. Things are far from linear with Entity, it's mercilessly the sum of it's own parts, and has the hallmarks of a true big room pleaser written all over it. A truly authentic demonstration of the old adage 'It's not where you are going, it's how you get there'. Entity is certain to be reached for by all of the major players on the Techno circuit for a long time to come.
On the flip, Ghosts Of Acid is the Yin to Entity's Yang. A plangent and introspective groove opens up with wispy cymbals, cleverly placed rims, hats and claps. Exploratory and evolving subaqueous acidic forays dare the listener to dive in a little deeper, with the reward being a very proficient and efficient take on the now classic Acid sound.

Existence Through Perception seeks to carry on where the previous two tracks left off. A driving groove and sinister hook lets up briefly midway to a near triumphant fanfare, only to be brought back to it's mischievous overture. A perfect late night/peak time track for DJ's looking to elevate the bar of their set just one more rung higher.

Support From:

(Phase), DVS1, Ben Klock, Answer Code Request, Luke Slater, Norman Nodge, Chris Liebing, Lucy, Oscar Mulero, Speedy J, DJ Deep, Tommy Four Seven, Cassegrain, Inigo Kennedy, Slam, Brendon Moeller, Nihad Tule, Kr!z, Psyk, Jonas Kopp, Truncate, Samuli Kemppi, Juho Kusti, Anthony Parasole, Eric Cloutier, Jereon Search, Moerbeck, Truss, Distant Echoes, Yac (I/Y), Philippe Petit, Thomas Hessler, Randomer, Volte-Face, Fundamental Interaction, Arnaud Le Texier, Ame, Angel Molina, Tensal, Kwartz, Stacey Pullen.
Credits

Now here's something special. A straight up, bona fide summer smash. A massive dancefloor-smashing beast of a tune. Daniel Dexter continues his long and fruitful relationship with Poker Flat by channelling the sound of classic Clivillés & Cole in 'Deeper Love', an early 90s house bomb that will send shivers down your spine. Underpinned by a resounding synth riff and dancing counter-motif, Kaori Kaneko's vocals provide the perfect foil, packing a powerful and soulful punch. Prolific Parisian Alexkid provides a radical reinterpretation: stripped down, muted and glitchy, with the vocal cut up into fragmented shards that flutter and fibrillate in an ear-tingling fashion. While on the flip, Berlin's Bay Area import Kevin Knapp intones the names of classic Hollywood starlets over the smooth groove of 'Heroine'. The fulcrum of the track - a fat and rubbery analogue bass - comes to the fore on an instrumental mix, perfect for long blends and deeper palettes.