Buscar:the sol percussion

First vinyl release for 10 Years Of Metroline Limited series - Produced by label bosses Octad and Phiorio

This release is one of round numbers. It's Metroline Limited release number 50. You may have actually noticed that we almost got to release 90 by now but number 50 was always kept behind for a collaborative release between the two men behind the label: Andrea and Gianpiero aka Octad and Phiorio. It took a fairly long time to put this release together, mainly because running a label with a DIY ethos is a time consuming affair and most of the time doesn't leave too much free time for sonic experimentations. We really hope it was worth the wait! And what a better opportunity to release Metroline number 50 like for the label's 10 years anniversary. So much has happened since 2007, we released a LOT of music, some of our tracks have been played in the best clubs and festivals and by some of our favourite dj's. We are not going to name names but we are extremly proud of what we have achieved in our 10 years history. We are also proud of the fact that we are still around with energy and enthusiam to keep on releasing new music, this time (finally) by our label owners and also soon by a lot more talented producers in the months to come. Music wise, in this EP you will find some of the syles that made Metroline music known over the years. The two tracks on the A side are produced by Octad. Missing Bits has Octad's trademark minimal groove with hissing hats and a huge sub bass. There is a clever use of percussive bits, dark stabs and vocals to create a sublime dark minimal techno builder. Synopsis of 8 keeps the A side atmosphere well dark. Andrea managed to create a solid machine funk dark and spooky techno number with metallic percussion and plenty of groove. Phiorio takes control ot B side with the opening

Panorama Bar resident Nick Ho¨ppner gets to Work on his second solo album on Ostgut Ton, connecting the territories of House music with the ease of Alt-Pop.
Work as in labor. An axiom that fuels the capitalist system just as the Techno/House scene economy says that one needs to keep oneself busy to make a living. As a musician, things are complicated of course. It's a long way from the romantic idea of creating music simply for the sake of art to becoming a full time musician. Those who have accomplished this feat often find themselves in a professional loop of writing the music, producing it, promoting it (with an info text like this), releasing it and then hopefully selling it. After leaving his full time job as Ostgut Ton's label manager in 2012, Nick Ho¨ppner went fully freelance, focusing on his musically diverse, deep and dynamic DJing in and outside Berghain's Panorama Bar, but more importantly spending more time in the studio. The result was his critically acclaimed debut album Folk (Ostgut Ton, 2015), various 12' releases and remixes, and now his sophomore LP, Work, which, more than ever, lays out his refined production skills and his talent to work the machines until they reveal their inner ghosts: nine new songs that now dodge the dance floor, then fully embrace it.
Work as in body of work. A record is more than the sum of clocked up hours at the studio, but the result of an artistic-creative process. On Work, Ho¨ppner shows his everlasting lust for musical detail, his increasing technical skills and compositional finesse. Work is a very personal, soulful and deep record that breaks through the usual club/dancefloor narrative by documenting Nick's interest for hybrid sounds and combining elements from varying musical genres. Work's lead single 'All By Themselves (My Belle)' is a very atmospheric, intimate and steadily unfurling IDM piece with ethereal synth and vocal pads; on the album it's contrasted by 'Clean Living' with Tram 78, a modern Ho¨ppner club classic: powerful, kick-heavy, muscular, cheerful and uplifting. It's a very personal track resulting from a recent reencounter with an old friend. Having spent countless hours together in Berlin's clubs in ever changing states of mind a decade ago or longer, things have since changed for both towards a more - clean living'. Connecting to this musical vibe 'In My Mind' follows with a slightly darker tone putting emphasis on bassline, percussion and squeaky sound detailing. 'Hole Head' pays tongue-in-cheek homage to Nick's love for UK club music, when a dashing melody of synths and vibraphone is matched with clattering breaks and syncopation. The dubby, mesmerizing 'The Dark Segment' not only impresses with its hypnotic synth figurines, but also by morphing to a shuffling Jazz rhythm towards it's middle part; 'Forced Resonance' uses Oberheim synth brass stabs to dramatic effect; the percussion- and clap-laden 'Fly Your Colours' comes with an irresistible piano melody atop an energetic kick; and finally the album-closing, shuffling but rhythmic, noisy yet bluesy 'Three Is A Charm' featuring the duo Randweg on clarinet, cajo´n and acoustic guitar is a coherent departure heading towards Indie Pop territory. It sees Nick collaborating with acoustic instrumentalists for the first time in his ten-year- spanning Ostgut Ton release catalogue.
Work as in artwork. Staying in line with the Folk album, the visual companion for this record comes from German collage artist Frank Bubenzer. As with the artwork at hand, Bankentsunami, and his other works, Bubenzer cuts up print magazine advertisements and recontextualizes them into new motifs, removing all human depiction from the source material, here as a commentary on the world of business, big money and the banking crisis.
Work as in work it. As a slogan 'work' has always been one of the genre's most utilized paroles, coined and put on wax by pioneers like LNR, Blake Baxter or Steve Poindexter, to name a few. Not only calling for the crowds to get moving on the floor but also to fully express themselves and their unique individuality inside an all embracing environment. A mindset rooted in House Music that has been an integral part of Nick Ho¨ppner's identity as a DJ and producer from the beginning and all through his decade-spanning residency at Panorama Bar. Work it!

"Alpha percussion", recorded in 1985, is a cult groovy ambient album of acoustic percussion, pleasant to listen to and full of samples and break known very well by Djs and artists likes Danny Brown (which uses a sample in "Really Doe", a song of his latest album on Warp Records).
Giovanni Cristiani is one of the most prepared and complete Italian percussionists. Born in Rome in 1952 he graduated in percussion in young age and began playing professionally in Italy and abroad. In 1979, after years of activity at the side of the most popular jazz musicians, constitutes the Music Workshop A.D.E.L., playing drums and percussion courses. Pentaflowers (BEAT Records sub-label and publisher) asked him to make a solo percussion library music album in full artistic freedom that was pressed in limited edition for insiders; so was born "Alpha Percussion", a gem now finally accessible to all thanks to Mondo Groove label.

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

RELEASE

'The Practice of Pseudoscience', a three track EP by M Parent, is the second vinyl release from the US based label Chem Club Records. Having been inspired by peripheral thoughts about pseudosciences, this EP is washed in steady emotional build ups using airy reverb, scattering percussion, throbbing stabs and solid kicks. The title track (A1) uses these elements to move towards a piercing synth peak while 'Cycle of Intellect' (A2) spaces out these features as it creeps to a dubby impactful end. The B side 'Temazcal Rites' was directly motivated by a scorching summer day when the intensity of the sun sparked an idea for a sizzling percussive experiment. What we're left with is a funky but emotive soundscape that tops off the EP in a unique fashion.


ARTIST

M Parent, the artist behind Chem Club's second vinyl release entitled 'The Practice of Pseudoscience', is a Brooklyn based animator who uses his background in this story-driven medium to further express himself musically. His storyline approach to producing makes for an attentive listening experience full of arcs and plot twists that still maintains it's focus on the dancefloor. Using hardware exclusively, M Parent's aim is to produce emotive tracks that exist somewhere between a continuously evolving song and a fully functional track. M Parent DJs regularly at Bossa Nova Civic Club in Brooklyn and has a monthly residency at Jupiter Disco called Modal Form with fellow Blankstairs artist, Nathaniel Young.

Maurizio Martinucci (aka TeZ) is being warmly welcomed back into the Frigio fold. Following his work with Most Significant Beat, a partnership with Saverio Evangelista of Esplendor Geometrico, this Italian artist, and member of Clock DVA since 2010, is flying solo on new wings: Pragma.Martinucci examines, scrutinises and magnifies mechanics. And under such inspection all things change. Drums blossom into serrating melodies. Snares, hi hats, toms blur into one as they are distilled into a heady brew. At times this reduction is sour and sharp, as in the cruel cud of 'Ospel', at others its strangely smooth like in 'Dusk.' The lines that divide electronics and techno all but disappear, dissolved into insignificance under Pragma ´s barren palette. 'Espex' is stripped. Percussion is dipped in distortion, bass bleached by hiss as the reductionist manifesto is applied. An artist cut from the same caustic clothe closes.Arturo Lanz of Esplendor Geometrico amplifies the fuzz and static of 'Espex', shaving away all decoration to leave all but a harrowing husk of cables, wires and pain.

Palto Flats & WRWTFWW Records are ecstatic to announce the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient / minimal album "Through The Looking Glass", originally released in 1983 by RCA Japan.

Considered a Holy Grail of Japanese music by many, "Through The Looking Glass" is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience.

The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes.

It was the spring of 2007 when Paul 'Mudd' Murphy and Kevin Pollard announced the arrival of the former's Claremont 56 label with Villa Stavros', a magical frst collaborative 12'. It
seems somewhat ftting, then, that Claremont 56's fnal release of its' frst decade will be N7 Odyssey, the frst collaborative album from Mudd & Pollard. By the time Villa Stavros' came out, the pair had already been regular studio buddies for a couple of years. Initially, Murphy had recruited Pollard - a hugely talented keyboardist and composer - to play on tracks he was working on for Rong Music. One thing naturally led to another, and soon they were joining forces to make music as Murphy's home studio in
Holloway, North London. As the years rolled by, further acclaimed singles followed Villa Stavros' - the bubbly, Rhodes-laden Balearic disco shuffe of Vincent', and the lilting, intergalactic dub disco of Scaffold', most notably - before the duo's other musical commitments began to take precedence. Murphy had his hands full running the Claremont 56 and Leng labels, while Pollard carved out a successful career as a soundtrack composer for both flm and television. Now, the album they set out to make all those years ago is fnally fnished and ready to be
released. N7 Odyssey - titled in tribute to the Holloway studio they recorded in for many years before Murphy moved - draws together freshly re-mastered versions of their previously released singles with a clutch of previously unheard tracks. Built around the duo's own fne musicianship, with Pollard handling synths, keyboards and electric piano, and Murphy guitar, bass and percussion, the album's ten tracks offer a musical journey through their shared love of shuffing grooves, sun-kissed soundscapes and
gentle positivity. Highlights come thick and fast. There's the swirling strings, futtering futes, jammed-out electric pianos and heady female vocals of Far Away', the enchanting new age ambience of December', and the rush-inducing Balearic disco breeze of Mawson's Walk', a former single blessed with sublime horn solos and rising, cinematic strings. Check, too, the head-
nodding beats, fuid electric piano solos and jazzy guitars of Inatin', the gentle Eastern mysticism and vintage ambient house aesthetics of Anura', and the ultra-deep house pulse of N7 Odyssey'. The album fttingly fnishes with a sublime ambient interpretation of Scaffold', arguably the duo's most celebrated track. It may have taken a decade to emerge, fully formed, but Murphy and Pollard have delivered an album that's beguiling, magical, and hugely comforting. Clearly, it's an odyssey worth
taking.

Jump in your spaceship and join us on our intergalactic exploration, as we are happy to announce that our next vinyl release is from Blossom Kollektiv's very own Leo Woelfel . Making his debut last year with a digital only release we are very excited to present his first vinyl release for the label titled Heuweid EP. The four track EP features three originals and a remix from Matthias Vogt that will take you on a deep exploration of space so buckle up and get ready to blast off.

We start our journey with the Frizzante mix of 'Heuweider Mineral' the track features a deep brooding bassline but with deep and dubby pads that takes us to a universe that plays with the darkness but keeps the light in plain sight. Backed with a solid kick and percussion to give the track a fully rounded feel this is one track that will put a big smile on any lover of the deeper side of house music.

Next up we get Matthias Vogt's interpretation of 'Heuweider Mineral.' Bringing a more broken beat reconstruction of the original, Matthias brings a raw flavor with a roaring bassline, moving snares and a redevelopment of the dubby pads that transforms the track and creates a feeling of weightlessness while floating through space.

On the flip side we are presented with a more classic deep house vibe with Leo's original 'Elke Ueber Der Bruecke ' this track is careful crafted with the dance floor in mind. A strong kick paired with tightly woven percussion and a classic deep house pad keeps everything moving in this distant but familiar world.

Our final stop on our planetary adventure is 'Stahlgruber Andacht' speaking to us in echoes the pads gently intertwine with a detailed drum patterns until the moving acid like bassline comes in to create a whole new dimension of sound. This concept is something that isn't all together new but done in a new and forward thinking way to finish off the full package of a finely tuned deep house record.

After a short break Unison Wax returns with a brand new four-track collection of music from the bossman himself, Diego Krause. The Berliner took a year off in 2016, concentrating on other projects and letting the label have a rest, but now he's back with a refined sound. Unison Wax embodies a more sophisticated aesthetic, with warm analogue hues and subtle textures to push things forward a little. After all, we couldn't come back from a break without progressing, huh!
First out of the blocks is 'Nihilate', which helps introduce this updated Unison Wax sound, crisp beats lock us into a groove in conjunction with a dainty selection of analogue effects and a funky little b-line. Diego carefully adds new elements as the track progresses, keeping you interested right until the end.
Next is the title track, 'Rituals', which kicks off with an insistent bassline and spellbinding percussion that keeps you gripped from the off. He throws in some claps to add energy and muted pads, which slowly rise to prominence, giving the track an emotive atmosphere which wraps itself around you. One for the eternal dreamers...
Flip the record over for side B and 'Dysfunction', which turns things grimy. Marauding beats and bass conspire to create a morose atmosphere. Diego's penchant for super sharp beats is present here again, and the energy builds slowly but surely. A new layer creeps in every few bars and sucks you right into the track's lair. Expertly done, and impossible to resist, this is darkside pressure at its best.
'Eudaimonia' rounds things off, with more deep grooves. Initially propelled by minimal percussion, the track really gets going when more beats are added. It maintains a laid back feeling and, while the drums are solid, the atmosphere is mostly quite soft with swirling pads keeping things light in the top end. When they fall away towards the end of the track we have a rather gnarly close to the composition, as the beats and bass take over.
And there it is, the welcome return of Unison Wax - smooth and refined for 2017...

Following on from Plus Instruments Love Is Enough Remixes EP comes an accompanying Dubs EP, featuring deeper reversions by Jamie Paton, Luke Solomon, Khidja and joining them with a breaks meets dubwise, Alphonse. Truus de Groots return to her Plus Instruments project after a 30 years break saw the label pick up her off-kilter House roller, Love Is Enough for one of our (e)special remixing packages. Here then, we turn out attention to everyones favourite, the Dubs. Starting with label mainframe, Jamie Paton, his Cloudy Dub-Out pulls his mix through modular prisms for heads down basement rumble. Echo chamber vocals, twisted syncopations and a bass to breakdown walls, this is Patons true calling - dub to get lost in and rightful to kick off the EP. Next guest remixer de jour, Luke Solomon stays close to his original bumpin remix, warping the vocal with skatntrippin wonk, all atop a funk bass line and riding shuffle percussion. Cha cha cha. On the flip, Khidja triumph again with a tougher version. Not a straight up dub of their remix, this pushes a nod to colder (wave) vibes, with industrial percussion riding high on their trademark production. Hard kick atop refrained synths, growing out of Eastern protoid routes to glimpse their future. Finally, mystery man Alphonse comes in from the dark to close with a killer breaks inspired dub. Utilising the originals bass with an angular break, the intricate cut up percussion, Theremin and vocals all glide, keeping the head and feet (jazz) dancing for some (free) party sound system love. Dub is enough

Following the recent reissue of Vox Populi!s Aither album, Emotional Rescue further explores the more discerning, esoteric sounds of the French 80s avant-garde scene in coute Visual artist, sound designer, musician, label founder and emotional tree consultant Ramuntcho Matta is a man of shifting, relentless talents. Diagnosed with autism at a young age. Therapy based on yoga and music set him on a path, leading to learn from the likes of composter Cuarteto Cedrn. Discovering avant-music at an early age, he moved to New York to study in the "Third Street School of Music", meeting John Cage and going on to work on projects with Laurie Anderson, Brion Gysin and Don Cherry. His architectural concepts applied to composition were explored on his 3 solo LPs from the 1980s. The middle of these, coute, is possibly his most cohesive, exploring the use of extra-European musicians, especially African and Brazilian percussion, jazz horn playing, as well as Uruguayan singer Elie Meideros. Mexicos Cacau de Queirozs performance on saxophone and flute is stunning, former Gipsy Kings member, Jorge Negrito Trasante attributes much of the LPs Brazilian percussive flavour, while Magmas bassist Jannick Top brings gravitas, including performing a water claps duet alongside Matta on the exquisite O Clapo. As one piece, coute endlessly avoids standard musical formulas, seeking textures of far-flung elements; alchemy against a background of freedom to experiment that would be the theme throughout Mattas career, whether setting up SSR records under the alias Michael Pope or in his more recent output, teaching methodology of doubt

Jam Money is the shared musical vision of Kevin Cormack and Mathew Fowler. Mathew (Bons) and Kevin (Half Cousin, Harry Deerness) first began collaborating as part of the Blank Tape Spillage Fete, an ongoing collective project of art and music which focuses on the creation and perpetuation of small DIY exhibitions, related events and limited releases that celebrates the hobbyist nature of home recording.

Jam Money revolves around a passion for the simple and sometimes restrictive nature of four-track cassette recording. Using old half-broken guitars, clarinets, charity shop keyboards, toys, family heirlooms, zithers, home-made percussion, and household objects a shared dialogue appears, involving both mark making and musical mishaps, allowing the makers to be carried along as the music finds its own way.

Genre definitions melt away in Jam Money's music as ambient dissolves into lo-fi rock, noise into fragile naive classroom melodies. Creativity beyond easy categorisation.The first recordings titled 'Blowing Stones' were self-released in 2014. The cover and insert artwork for this record featured abstract paintings by the artist Aimée Henderson whose work and process is a great influence on their music. Having played gigs alongside kindred spirits National Bedtime and Plinth, the tail end of 2015 saw the the band travel to Germany to play with the Notwist and Le Millipede for a series of 'Alien Disko' nights organised by Alien Transistor, a label with a shared kinship of both the weird and wonderful.

'A Gathering Kind' is the second album by Jam Money: a journey of sound and colour, subliminal images and narrative. The roots of this collection found Fowler and Cormack using an earthier, more instinctive language, making it a rougher-edged sibling to their other recordings, with parallels to the home-spun worlds of Flaming Tunes, Pumice, Maher Shalal Hash Baz and World Standard. Aimée's artwork features again, both paintings and music forming a collective language of dream-like adventure.

"Poignant and exploratory. Melting together acoustic and electronic elements, the narrative throughout is one of a ghostly world heading for winter. A firm fan favourite Stephen Pastel (The Pastels & Monorail Music) on Blowing Stones.

"Created in question and answer form, their songs exist like little sculptures - wayward and peaceful, sometimes whirring into automatic life under the pair's combined attention."

Here comes R-Zone 05, this time coming from a pair of established producers who work both solo and as a duo (and one of them runs a prominent German label). The first track is 'Jungle Fever', a slowed down, dub-culture tinged track of sampled loon bird calls, tooting melodies and raw metallic drums that churn deep down below. It's the sort of track that needs to be played in summer, ideally with a reefer on the go. 'Down-E rave' again calls on druggy references for its inspiration - this time E'd-up dancefloors in the mid-nineties. It's a lazy beat with curious vocal stabs, prominent drum breaks and plenty of deft synth work that takes you up, up and away in style. The flip-side sees two versions of 'nRg Zone'. The Happy Mix is a rinsed out and tripped out track of streaming melodies, more old school and rough drums and plenty of bright, pixelated melodies stabs as well as softer background pads. The Moody Mix operates much more down in the darkened doldrums. It seems to have heavy heart and sultry mood as the percussion churns on beneath golden streaming pads and like everything on the R-Zone series, is stuffed with plenty of very real atmosphere.

A veteran of the music industry, Dave Ellesmere is way past his hardcore drumming days. Harboring the accumulated skills with a multitude of instruments, his electronic productions are intricate and meticulous. His passion for Detroit and Chicago soundscapes is evident in his latest vinyl release for MixxRecords.

'Caught In A Moment' starts off the EP with a steady techno grip engulfing a serene melody interspersed with sharp and gritty accents.

The second track opens up with solemn piano progressions combined with high pitched synths, conjuring different spheres of the musical spectrum. Aptly entitled Universal Vibe', the track evokes a very diverse array of sounds layered on top of a dubby bassline.

The sub-bassy 'From Now On Only Good Things Will Happen' kicks off in a very introspective manner, developing into a dreamy yet dark journey filled with anxiety ridden chords and drum pads.

Label chief's Tony Rodriguez aka Brothers' Vibe is on duty for the 'Universal Vibe' remix. Percussion takes the main lead, giving the track a rolling pace. Stripping down a lot of the global elements but keeping some bell chords, Rodriguez's reinterpretation offers a tribal infused piece with a completely different mood that is just as contagious as the original.

Krishnanda is an album in the truest sense of the word - a spiritual, psychedelic Brazilian masterpiece from start to fnish - celebrated by everyone from Seu Jorge and Kassin to Floatng Points, Madlib and DJ Nuts. These days, originals change hands for thousands of dollars. Pedro dos Santos, born in Rio in 1919, was a percussionist virtuoso, composer and inventor of instru-
ments that apparently included oddites such as the 'Tamba' (electrifed bamboo drum) and the mouth berimbau whistle. Nicknamed Perdo 'Sorongo' afer the rhythm he invented, that features throughout 'Krishnanda'. A highly spiritual man who was regarded as a philosopher by many. He worked with greats including Baden Powell, Elis Regina, Maria Bethany, Elza Soares, Sebastão Tapajós, Roberto Ribeiro, Milton Nascimento, Clara Nunes, Paul Simon and Arthur Verocai, playing on
his legendary self-ttled LP. In the same vein as Verocai and his self-ttled LP, 'Krishnanda' was Pedro's chance to shine with his own, and only, solo recording. Krishnanda was produced by Hélcio Milito, the drummer of Tamba Trio, and arranged by conductor Joppa Lins, and originally released in 1968 on CBS (Brasil). Musically, the album touches folk, samba,
afro-brazilian and psychedelia plus added efects, with a lyrical depth and diversity to match; themes including morality, percepton, existence and ego. Despite the genius of the record and the infuence that it had on musicians at the tme of release, it
disappeared into obscurity. We frst discovered the record around 2003, through a friend Julio Dui. Around that tme Brazilian funk and bossa was the favour of the day, so didn't catch our ear immediately, however it contnued improve with age and now we consider it to be one of the best albums ever made, regardless of genre or origin.

Midgar is finally reaching the 10th release with MDG008, a rich ensemble of live jams, adapted to the vinyl format by ambient specialist Shaded Explorer. The record opens with the bleeping saucer Emerald Weapon, activating hyperspace mode as the sidereal ambiances take over in the middle of the track. Skyward follows up with thunderous kicks, adding consistency to the groove but keeping focus on windy atmospheres. The slow-builder Shaded Gems reset the pace on the Bside, where the italian artist fully express the solemnity of the machines. Underwood ends the record with natural textures: a sonic representation of Mother Nature waking up the forests using bright pads and perpetual chirping. Uncanny vibes in Naive's Reality, track which is perfectly resuming Shaded Explorer signature: evocative melodies and organic percussions. This last track will be released digitally with the record, in free download.

Vakant comes back with a very special release from an unknown group of creative entities. Three cuts of tribal space techno weaponry aimed at the dancefloor. We have received a message from entities lost in between the stars in the vacuum of interstellar space. The transmission was encrypted in an ancient code we were able to translated into frequencies understandable to earthlings. A psychic telegram has been sent to us, activating the body and the mind, divided into aggregations of codes that form three tracks of straight in your face, high-octane fueled, acidic tribal techno, riding on solid bass lines, trippy synths, shiny percussions and abstract ambiences.

Just This 's first Various Artists aims to the research of a mix of sounds by producers from different countries, to a journey into a variegated world. Melancholic vibes, deep ambient atmospheres.
The second part of the Various Artists, gets straight to the point, reaching the dancefloor in a more hard and deep insistent way.
The First track ''Inside world'' is composed by Hunter/Game, as a playful banger with a solid kick, brushed percussions and surging, subtly atmospheric synth pads that make the track dreamy while fierce.
The Second one by Pisetzky comes with a strong, continuous 4/4 bassline and organic percussion from start to end, further on dominated by a hypnotic melody followed by a more romantic and dreamy motif full of longing melancholy and eternity.

The third one comes from Just This new Artist Altman, with a breaking

mellow downbeat theme, it lets all squeaky sounds mesh nicely

like a dream landscape opening up into a widescreen chord progression, with an epic build up.

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.

Ben Sun returns to Delusions for his 4th release on the label including three more tracks which show the Australian via London on his best form yet. Full Moon kicks off the Tides EP at full throttle with a muscular conga-led disco house roller. Slurping 909 hats and the most twisted of synth solos courtesy of regular collaborator Fantastic Man (and his beloved Juno 60) provide the icing on this simple bass-cake which never fails to energize the dancefloor in the most special of ways.
Star Ritual drops next, going heavy on the percussion once again for a minimal stripped back drum tool which packs a mighty punch. Dubbed out vocal hits punctuate the beautifully loose groove with subtle hints of afrobeat implied by the bassline making for a warm summer track dripping with tropical vibes.
Finally we have Glass Waves bringing the EP to a glorious close, all chiming synths, bouncing moog bass and waves of chords layering on top of a heavy drum track. Ben repping an early 90's blissed out Nu Groove mood on this one and managing to sound as fresh as ever in the process.

Philippe Quenum returns to Cadenza Music with 'Solitaire', some thirteen years after helping kick start the Swiss label with the 2003 release 'Orange Mistake'/'Funky Dandy'. This groundbreaking single, co-produced with Luciano, has since become a landmark release, not just for the label, but also as the benchmark for the micro-house and minimal tech-house genre that developed over the decade. With a music career than spans back to the mid-80s (dancing in NYC as part of the breakdance troupe, The Magnificent Force), Quenum found his forte with house music, both as a DJ, and as a producer and label owner. Setting up the Access 58 label in 1998 as a platform for his music and collaborations, Quenum has consistently released over the years for labels like Crosstown Rebels, Soma, alphahouse, Thema and Trapez LTD. 'Solitaire' finds Quenum on fine form; on the lead track, dubby FX and bass shaking shots roll out over an urgent disco beat, muted brass and technoid stabs fire from all directions as the tension building pads flourish. Shadowy forces are at play on 'Mystic'; discordant sounds echo and bellow over reverberating percussion and a dense back beat that fire into life with shuffling hi-hats. Wrapping up this welcome return to the label is 'Mystery'; whipping snares and industrial clangs rumble over the urgent drums for more hypnotizing dancefloor work from Philippe!

Berlin-based Marlon Hoffstadt drops 'Coach Mike', the fourth EP on his own Retrograde imprint, featuring remixes from Massimiliano Pagliara and The Friend and following a hat trick of successful releases. The four-track EP is the sophomore release from Hoffstadt on his burgeoning label, which he co-founded with Natureboy Gold and Matteo Luis in August 2015. Previously featuring the likes of Kris Wadsworth and Tuff City Kids, Retrograde provides a platform for the artists to explore music alongside other forms of expression such as art, particularly surrealism. The vinyl sleeve artwork from the first four releases, when fitted together, completes the painting 'Interaction' by surrealist Hermann Reimer. With previous releases on FFRR and Play It Down, Hoffstadt boasts a sound that is both innovative yet authentic, and 'Coach Mike' displays the sonic alchemy that the talented producer, aged only 22, has already become known for. The title track starts as a grooving acid-based cut peppered with percussion before building up suspense to a surprising yet satisfying breakdown. This is his first release without vocals, allowing him to focus entirely on creating pure soundscape. Panorama Bar resident and Live at Robert Johnson mainstay Massimiliano Pagliara's rework of the A side is a Balearic-tinged affair, starting with a solid drum and building to a crescendo of bass, pads and synths, along with the analog synth elements for which he's known. This is an undeniable summer anthem that will captivate dancefloors across the world. 'Broncos' is a club track created for the floor. An acid bassline sits alongside industrial elements and stabbing synths.

Thomas Blanchot, 40 years old percussionist and drummer, started his production structure Mato Production in 2001, where he collaborated and directed for many projects.

Composer, music publisher and producer of music for TV, advertising, films and records, he also began a career as reggae producer since 2006, under the name "MATO". Since then he's released music through various projects concepts, coming out through labels such as Makasound, EDR Records or Big Singles. In the meantime he developed a real trademark: taking over classics French, Hip-Hop, or Pop song, into roots reggae-dub new versions.

Besides since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records. And in 2014, he presented Homework Dub, giving his own vision of the multiplatinum classic album by Daft Punk, quickly acclaimed internationally as a true performance.

Today, Mato is back with another target for his special skills as a tailor of reggae music, this time focusing on classic musical themes from original soundtracks. Imagine if Lalo Schiffrin, Nino Rota, Gorgio Moroder, Ennio Morricone or John Williams had been blunted at Lee 'Scratch' Perry's Black Ark studio... there you go, this is Hollywoo Dub!!

Cute Heels is the solo project of Victor Lenis, a contemporary artist living in Barcelona, Spain. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in various digital-only releases as well as his debut album Spiritual" for Dark Entries in 2014. Cute Heels has been called ''the new blood and spirit for the next step in techno music'' by Electro/Techno pioneer Juan Atkins. Third Skin' is a 4-track EP that connects the dots between Detroit techno, early Chicago house and Belgium electronic body music. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club. On the A-side are two fresh compositions recorded in 2015. Third Skin' kicks things in a metallic EBM funk with a pounding bottom end. Lipstick Information' takes the listener on a dark, psychedelic and twisted journey through thrillingly intense arpeggiations. On the flip we present two remixes. The first is from Steffi, House and Techno DJ and producer born in The Netherlands and residing in Berlin. She picks up the pace for an uplifting, percussion-driven, DAF-eque dystopian stomper. The second remix comes from Michel Amato aka The Hacker, French born DJ and producer and frequent collaborator with Miss Kittin. His early musical influences of bands such as Cabaret Voltaire, Throbbing Gristle and Front 242 shine through on this pumping and sophisticated remix ready for any dance floor.
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made jacket designed by Eloise Leigh featuring a photograph by Corinne Schiavone printed with hi-gloss finish. Each copy includes a postcard with with notes and image for fetish lovers

Arthur Verocai's first appearance in the series - a double A-side featuring tracks from his incredible self-titled LP, soon to be reissued on Mr Bongo. Sylvia is a warm guitar-led instrumental orchestral samba, laced with percussion and woodwind.
Na Boca do Sol is a firm favourite from the LP - a perfect mix of drums, rhodes, vocals and strings.

Saft welcomes 'Nortasun' to it's expanding roster of artists. With not too much info being available about the artist, the music should do the talking. 'Nortasun' comes up with a sample drenched EP that consists out of swell basslines, mind expanding chords and outlandish percussion works. ''Untitled 1'' opens up with a carefully placed disco sample that hovers over the rhythms very nicely. The percussion section and the ascending chords serve the overal ambiance while Nortasun plays with the extended loop pattern that maintains of interest. ''Untitled 2'' serves as a very deep but functional voyage into tribal territory. A vary of percussion sets in and smartly exchanges tones with FX cuts. On the B side ''Fudge Fingas'' debuts on SAFT with an atmospheric beast of a remix for ''Untitled 1'' that constantly grows and cleverly uses vocal cuts that change up the original atmosphere and makes the overall a very broad work of house music. The Stevie Wonder like clava hit + piano solo's that come in when the remix progresses are all in courtesy of the Edinburghian producer himself.

The debut release for Kalyma on connected - The Brixton / Berlin based label
A1 'LayDown' original Kalyma teams up with his friend, singer and songwriter Peter Stanowsky. The song was written during a relaxed and loose jamming session in late summer time at their home studio.The vocal performance is surrounded by a groovy and very percussive beat. After a long, calm intro a hypnotic bass melody kicks in together with more percussive elements in order to get up to full speed. The catchy bass combined with the repetitive vocals gets the listener in a driving,
rhythmical, dreamy mood 'Lay Down' was made to enable smooth transitions in the dynamic range of a diverse house DJ set, without loosing energy and create a special intimate, percussive vibe
A2 'LayDown (Florian Busse Mix) A hypnotic ping pong tom groove that gets heavier with the introduction of a lazy distorted bassline.
Provides an easy ride for the vocal to entwine with as the music elevates with the rise of snake-like synths B1 'LayDown' (Aaaron Vinyl Exclusive Mix) With whiffs of Kraftwerk-like electronics and a rolling percussive underscore , Peter's vocal bounces across the ever changing groove helped by rhythmic stabs and mysterious drones as the groove gets minimal and sequences motor to the end .
B2 'LayDown' (Aaaron Mix) A driving ,solid, nailed to the tracks club groove with exotic sounds peering through the sonic picture in a deep subtle carnival celebration.
The vocal talks to us without interrupting the movement as bass synths juxtapose to the rhythm and electronic percussion punctuates the atmosphere,absorbing us into the tune.

In 1989 Oumou Sangare, a young singer from the Wassoulou region of southern Mali, went to the JBZ
studio in Abidjan, Cote d'Ivoire to record her debut album. Except for electric guitar and bass, the
line-up was traditonal - kamalengoni or 5-string 'youth's harp', karinyang (iron scraper) and violin
(substtutng the local one-string fddle). The music they recorded was exactly the kind of music per-
formed by hunters to charm the wild animals and invoke the protectng spirits, but with updated lyrics
refectng the concerns of young women living in African cites today.

The music of Wassoulou, with its funky beat and strong melodies has become increasingly popular
in Mali over the last few years. But no one could have foretold the wild success of Oumou Sangare's
recording, which within a few months had sold over one hundred thousand copies in West Africa
alone - not countng bootlegs. This was Mali's best selling cassete ever. And not a drum machine or
synthesizer on it!

What is the secret of Oumou Sangare's astounding rise to fame Partly the sheer force and beauty
of her voice - she frst trained with the Mali Natonal Ensemble and then lef to join the independent
group Djoliva Percussions (with whom she toured France and the UK in 1986). And undoubtedly, be-
cause of her powerful lyrics, which address the problems of young Malian women - torn between the
old values of the countryside and the modern ways of city life. But it's also the brilliant arrangement
of the typical Wassoulou sound - with its slow-driving rhythm punched out on the bass strings of the
harp and its soaring melodies. 'Moussolou' ranks among the best recordings of Malian music of all
tme.

Now for the very frst tme World Circuit are releasing this iconic album on deluxe single vinyl.
Mastered at Abbey Road the vinyl is pressed on 180 gram heavyweight vinyl and presented alongside a
beautful 10 page booklet and download card.

We've had our eyes on Obas Nenor for a while and after his disco-meets-Detroit affair on 'Mahogani', and some great releases on his newly started own label 'Nenorian music' and 'Sol Power', we're happy to share his work for Heist with you. 'The Ceaper Buing EP" features 4 original cuts and a remix by Swedish "Mr. Tophat" that navigates somewhere between really weird, and really groovy. If you've seen any of his studio videos, you'll see he's has a great mix between live instrumentation, and sampling on his MPC, and each track on this EP has so many great elements working together, that it will be hard to pick a favourite. "The doors" has a great filtered funk loop going on with some roughed up disco percussion, whereas the Tophat remix twists and turns the original into somewhat of a tribal(ish) drum workout that is probably best enjoyed in a really really dark room. "Glimpse of light" has some really interesting sampling going on with a feel that is almost 'rock', but gets more and more disco with some lovely synth work as the track progresses. As a counterpart to the first part of the EP, 'Wacky' slows things down to give you a summery, afro inspired track that we forced him to send us after we saw a short clip online of him jamming away on his Korg x-911. UV lights is a somewhat special track for us that you wouldn't expect on Heist at first, but makes for a great addition to our musical world. It's perfect 'hands-in-the-air' end of the night material, with a serene and emotional vibe that is really hard not to love. Altogether, it's a great EP that we're really happy to share with you. Sincerely yours, Lars & Maarten

This special release revisits classic Brothers' Vibe tunes, edits and a never before released on vinyl track. Kicking off proceedings is the 1989 gem "I Ain't Gonna Wait". An early Brothers' Vibe piece and massive underground anthem! Brothers' Vibe distinctive gritty style of groovy house takes us on a hypnotic journey into uncharted territory. Melody and percussion interchange amongst a framework of zippy synths and sinuous kicks. Released under the moniker Silent Rodgerz, the second track "Infractions" saw the light of day back in 2008 solely in digital format on a MixxRecords compilation. Low slung with an acid influence, the cut reveals a distinctly natural groove lead by the classic bassline. The final track is the definition of a house classic!! Featuring echoing words of the great Maya Angelou, "Words To a Nation" exudes a timeless quality, unveiling a masterpiece which stays firmly in your head...

Ostgut Ton reissues Acht of Zehn with original tracks by DIN (aka Efdemin and Marcel Fengler), Fiedel and Tobias.
2015 marked Ostgut Ton's ten-year anniversary, celebrated with an extensive 30 track compilation release, titled Ostgut Ton Zehn, spread out over ten 12 vinyl records housed inside a limited box set. This sampler sold out in no time, which is why Ostgut Ton is re-issuing these ten 12"es individually in 2016.
Bubbling synths, a stoic bassdrum, some live hi-hat percussion and synth pads full of bliss - what started as Marcel Fengler's and Efdemin's inaugural collaboration as DIN for 2013's MASSE ballet sees its continuation in form of Mono' on A1. On A2 Fiedel contrasts the opening track's cool sounds with an upbeat contribution: Probe-806 gently brushes Funk, Electro, Acid and even Boogie territory atop the general muscular rhythm.
Analogue synth aficionados are being served by Tobias.: Like A Drug is a minimalist Techno track with maximalist dancefloor effect through its use of haunting, distanced vocal fragments, discomforting alarm tones and crackling background textures. As with every good drug, you don't necessarily want more of it, but rather a longer duration of effect (in this track's case: 8:36 minutes).

2016 reissue of an earlier album by Apparat, aka Berlin's Sascha Ring, who's also singing in Moderat, originally released in 2007.

"Apparat has had one hell of a year. His collaboration with Ellen Allien, the critically acclaimed album Orchesta of Bubbles, forged electrifying new connections between techno, electro and pop music. They developed the material into an electrifying live show that wowed clubs and festival audiences the world over. Apparat kept honing his solo show at the same time, delivering a powerful electro/techno laptop attack that would leave crowds twitching in its wake. And somewhere, in between all those activities, he managed to record Walls, his first solo studio album since 2003's Duplex. Despite its title, Walls isn't about dividing lines. Instead, it describes a circle that pulls many elements together into a protected, enclosed space where they jostle and roam free: strings and mallet instruments; rock guitar and gravelly sawtooth synths; stuttering digital percussion and muscular studio drumming."

Canadian based label Eternal Drive Recordings is proud to present it's first vinyl release by Jay Zoney titled "Workhorse" with remixes by Audio Injection & Axkan.

This is the label's eleventh digital release and first to be cut on vinyl featuring two original tracks from label boss Jay Zoney. Jay's productions have picked up previous support from artists including Ben Sims, D.A.V.E. the drummer, Bas Mooy, Speedy J, Sam Paganini, Joseph Capriati and Gary Beck.

On remix duty is Los Angeles native David Flores, who takes on the EP's title track under his Audio Injection alias, where many people will also know him as Truncate. Between his two aliases this heavyweight producer has racked up an impressive back catalogue of labels including CLR, Mote-Evolver, Affin, 50 Weapons, Figure and Gynoid Audio to mention only a handful.

Also featured as a remix artist is Federico Sánchez aka Axkan originally from Mexico, now calls California his home. His dark, experimental and edgy sounds have landed his tracks on the likes of Morgan Tomas' Reloading Records to Israel Toledo's Assassin Soldier and many more.

First on the EP is the title track 'Workhorse,' which true to its name is steady and relentless. A kick drum that stamps like heavy hooves on concrete gives it a powerful sound. The fast flowing percussion is brought to life with startling rips and synth stabs that grunt with determination and grit. This industrial workhorse delivers the goods every time with expert precision and perfect timing.

The second track is titled 'Mr. Ed' shows Jay Zoney's acid roots. Industrial like the first track, it's hard hitting with a rolling acid line that wriggles and twists as the track progresses. It has an intensely powerful clap with sharp hi-hats and a shuddering bass sound that when combined give it an infectious throwback groove.

Third on the release is the Audio Injection remix of Workhorse, and although dark like the original, it's less industrial overall. Opting for his own spacey percussion and bassline David (Audio Injection) creates a rolling groove packed with forward momentum. With the addition of a half bar synth hook and rising pad sound, this remix is powered by a prominent off beat hi-hat which makes it both hypnotic, euphoric and menacing.

Finishing off the release is a rework of Workhorse by Axkan whose rippling remix is both eerie and mysterious. Loaded by a grinding synth sound which echoes round the mix to create the feeling of open space, his remix starts off four to the floor, but with an unexpected shift morphs into a more broken rhythm. Building in intensity, this pulsating masterpiece has mechanical qualities and a truly individual sound.

Our little Dirt Crew sub label Spiel started out in late 2013 with three excellent releases, the first two by "Clancy" featuring remixes by "Urulu" and "Prins Thomas" followed by a stellar EP from "Mercury". After a hiatus SPIEL
is back for 2016. Renewed and inspired we have a bunch of both fresh faced and established artists on board packing quality releases for the year. With sounds spanning from Indie Dance and Electronica to Disco and spaced out Balearic jams, we're proud to present you the first of our outings for 2016.

First up is close friend and rock solid producer "Good Guy Mikesh". Out of Leipzig, Germany, he's the guy with the Perfect pitch, forward thinking ideas, an impressive discography of 12"s to his name, and a huge range of influences from funk and soul, to 80's new wave electro and back again. He's come to the table with four tracks we've been busting to share with you.

'Whim' is the steady builder. Spacious and very much alive with sliding leads and layers of analogue synths that sparkle, it's melancholic bliss, it's a deep breath inducing, dance floor lifting, thought provoking piece of beauty. 'Why Not' is something deeper, the bass slips and slides dancing with the top line, while a palette of plucked strings, tuned percussion and Mikesh's signature synth soundscapes reach into the distance as the track continues to roll.

On the B side, 'Cookie' is joyful, its playful keys and poolside energies toast to warm weather and good times. Bouncing arpeggios lead the charge in the break, rising before giving way to euphoric synthetic strings which lead us back into the elated refrain. 'Corone' hints towards Mikesh's disco history, boasting a burly bass and a funk all of its own, this indie dance shaker's got a solid groove and vibe to spare.

A listening pleasure and a dance floor treat, Mikesh's far reaching and assured musical vision is inescapable on this record. The perfect welcome back for SPIEL.

Sheffield DJ/Producer Louis 'Taiko' Robson has consistently agitated the boundaries of dubstep music, manipulating eclectic influences in to his productions with bold, original arrangements, intricate percussion, experimental instrumentation and unforgettable subs, and he's not held back with ALBION002.

Title track Splinted dons the A Side of the release and sets the standard high with its heavy sub, percussive melody, and string lead. Robson has taken inspiration from contemporary orchestral composers such as Terry Riley and Steve Reich initiating the creation of the drums and percussion, which add a rich analogue sound to the track, and with that an almighty atmosphere. Folk-like scratchy strings take the lead which is a theme set for the EP and highlights Taiko's tenacity for sound design and disregard for convention. Each eclectic element of the track compliments the next resulting in a guttural, energetic dance floor cut, with dark undertones making the listener feel agitated or anxious. A pulse raiser strictly for sound system use.

Over on the flip side, starting with the outer, Taiko offers a much warmer vibe throughout Fractal, flexing another experimental set of instrumentation, this time round building rhythm with an accordion sample. An enormous rolling sub bass instantly becomes dominant after the short intro and meticulous percussion exaggerates the astounding impact from the drums. In the break expect a much murkier tone with a grimey string sample leading to the second drop. Robson achieves a certain level of feel-good whilst maintaining a dark and aggressive tone in his unmistakably raw track.

Nickel takes the inner side on the flip, following form to the prior with its accordion sample adding a distorted guitar drone for the melodic intro. The acoustic instrumentation couples up with irregular drum work solidifying the EP's 'live' aesthetic, whilst maintaining a dance floor orientation. Tonnes of energy meets masses of bass, Nickel is a recommended set opener and a great close to the EP.

'Sidetracking - Part 1: Prologue' is the first vinyl taste of Jona's de- but album project for Alex Niggemann's forward-thinking AEON la-bel. The musical puzzle will be completed in February 2016 with the release of a second vinyl instalment, featuring 6 more original tracks, and the full 10-track album on CD format. Created over the course of two highly creative years, the concept for 'Sidetracking' was for Jona to invite some of his musician and producer friends to collaborate with him in the studio and compli- ment his album's solo productions. This impressive coming together (to be fully revealed over the coming months) features Varoslav (Rue de Plaisance, Paris), Usio (Studio Barnhus), David K (Cocoon), Bo- livian percussionist Daniel Aguilar, Italian pianist Giovanni Verga, and Edinburgh-based producer The Reverse Engineer. Driven by his desire to explore new sound perspectives and ideas, Jona has carefully forged his career path by consistently creating exciting and forward-thinking music. His previous label outings: 'Traffic' on 'Lost Tapes Volume 1' (AEON010) and 'Gemini EP' (AE- ON016) have seen him fine-tune his own unique sound. By incor- porating a wide range of styles into his tracks, Jona strives to break down unnecessary boundaries and explores new ideas and ways to ignite that hallowed dancefloor flame. It is therefore no wonder that his collaborative creations for 'Sidetracking' have yielded such stimulating aural delights. Fittingly, the album prologue opens with a track whose style is heav- ily influenced by the jazz music that Jona was so in love with dur- ing his formative years. Calling on the somewhat mysterious Usio (whose 'Kuwa Huru' LP on Studio Barnhus should be checked by everyone) to join him in a studio jam, has resulted in 'The Chase', an utterly compelling afro-beat influenced percussive groove, topped with swirling funk-fuelled stabs and strings, mesmerising chiming piano, and a large helping of pure, hip-swinging goodness. Taking 'The Chase' on an entirely different and yet perfectly com- plimentary twisted trip, AEON family members Simone Sinatti and Marco Paladin (aka Speaking Minds) conjure up a futuristic technoid disco demon that is all about throbbing energy, sweat, darkness and hissing smoke machines - perfect ingredients for an unforget- table strobelight serenade. Changing the mood entirely and cutting the tempo to a dublicious skank, 'Transmission Breakdown' sees Jona's experimental creative juices in full flow, as he teams up with Edinburgh-based digital com- poser and sound artist Dave House (aka The Reverse Engineer) for a delightfully hazy downtempo jam. Both as an artist and a DJ, Manchester's Marcus Intalex has been at the forefront of soulful, musical drum & bass for what seems like forever. A passion for techno has always run deeply through his music and under his Trevino moniker he is also a powerful creative force (check his recent 'Front' album to get the full picture). Here, he takes 'Transmission Breakdown' on a magical excursion, filled with subtle, hypnotic, evolving energy, anchored with an irresistible pul- sating bassline throb - a perfectly synergetic interpretation to round off Jona's 'Sidetracking' album prologue in style.

Awaking from the dreamstate of Gryningen's hazy library inspired 10", we find Aficionado's expert selectors well rested and in the mood for a dance.
Utilising their extensive network of global connections, Moonboots and Boardman enlist Hungarian producer San Laurentino to raise spirits and pulses with a deep and diverse collection of body movers.

Perfectly conjuring the nostalgic melancholy its title suggests, opening track 'First Love' takes us by the hand for one last dance under the stars.
Cinematic pads sweep around a snapping drum pattern as a signorina from Rimini embraces a Basildon boy, seeing out the summer season to the hair raising chords and spine tingling sequences of a San Laurentino's masterpiece.

While that holiday romance might have come to an end, 'Back To The Stars' leads you off in search of new experiences. Emotive pads, undulating bass sounds and celestial keys vie for attention while the solid kick, intricate percussion and lively hats play out a swaying rhythm. Then all of a sudden the track changes tack completely, tripping out to a modular melody and sinuous techno bassline before reaching a soul soothing conclusion.

On the B-side 'Long Way Home' lulls us into a false sense of security via a gentle drumbox bossa, before thick bass stabs and a tough new beat rhythm take control of our bodies. Once again San Laurentino packs the track with atmospheric chords but this time adds delicate guitars and subtle piano, balancing the steely rhythm section with deep emotional resonance.

Closing the EP with unrivalled sophistication, 'Amici' sees San Laurentino drop the tempo and concoct an irresistible low slung groove before expanding our minds with wavering pads, hypnotic chimes and misty synth vox.
The perfect finale to an EP certain to leave you misty eyed on the dancefloor. Officially Aficionado

For the second installment in their 12' series Music From Memory present two deeply forward thinking electronic tracks from British musician Michal Turtle made between 1983-4.
The first track 'Are you Psychic' is taken from Turtle's obscure 'Music From The Living Room' album which Michal recorded literally in the living room of his family's South London house at the young age of 22.

Over-running his parents' front room with various synthesizers, amps and instruments, and setting up a portable four track studio the 'Music From The Living Room' tracks were built around live jams that took place alone or sometimes with musicians he would invite to play alongside him. Whilst seemingly sample based the instruments were played live and any voices or sound effects were actually recorded directly to tape, or put onto tiny 2.5 second cassette loops.

'Astral Decoy' was made in the year following the release of his only solo LP and forms part of a series of unreleased tracks that reflect a growing interest in combining electronics with more analogue elements such as Xylophone and live percussion. At the same timce this track draws inspiration from the sound of electro and boogie which Michal had become greatly interested in at the time, and in particular the work of musicians such as Grandmaster Flash.

With access to the archives of the many recordings made at his family home, this 12' serves as an introduction to a wider compilation of Michal Turtles works which is to follow on Music From Memory.

Rating 4/5 "Independent UK"
This solo debut by Air’s Nicolas Godin explores various elements of Bach, but without slavishly transposing his music to modern instruments in the manner of Wendy Carlos.

Instead, Godin uses themes and fragments from Bach as the jumping-off point for diverse musical explorations. In “Club Nine”, he borrows the “Take Five” rhythm, brushed out behind a cyclical piano figure, stained with resonant Bach chords on vibes and keyboard; and for “Clara”, the husky Latin croon of Brazilian singer Marcelo Camelo swoons over a stately dub arrangement of strings and woodwind.

The seven-minute “Bach Off” is the most dramatic piece, a suite shifting between interlocking Latin percussion, African highlife sax, stalking piano and harpsichord/woodwind interplay; while the blend of music-box, cellos, French horn, pizzicato and vocal pad makes “Elfe Man” sound like an outtake from Pet Sounds. A rich, rewarding indulgence.

Following almost two years of driving bass music promotion, in the form of compilation albums, free download round-ups, reviews, guest mixes & mix series CDs, the time has come to transcend from what first began as an online blog into our very own music label. After working with renowned artists such as El-B, Quest, BunZer0 and Phaeleh, as well as fellow promotional platforms FatKidOnFire & Deeper Vibrations - the Albion community has developed and grown to become recognised across the board of the bass music spectrum. This extension of our brand will help in pushing this music even more, enabling us to curate a fundamentally diverse sound beside the culture that we so passionately enjoy.The launch of Albion Collective Recordings is to be set in motion with In Pieces, a collaborative down-tempo effort conceived between Vaun and Jafu which is radiant in textural soundscapes. This particular piece has been doing the rounds as a clip on Deeper Vibrations' YouTube channel since 2013, inducing longing excitement for the song to finally surface.
Bristol based Daniel Brown, aka Vaun, has prospered into one of the scene's most prolific producers, covering multiple styles and turning out numerous releases for MindStep Music, Redshift-One and Soulstep Records. After recently hinting at the imminent release of an album, Brown can also reap in the keepsake of ALBION001 alongside Canadian artist James Fuller, aka Jafu, who likewise has blossomed astutely alongside his soulful Chord Marauders collective.In Pieces falls somewhere amongst immersive trip-hop and jazzy 2-step, an affectional arrangement that makes wonderful use of Marvin Gaye's a cappella in his classic Sexual Healing. The composition will certainly induce healing of the cerebral kind, with its stripped and delicate percussion work, dubbed out horns and soothing string sections. Encapsulated within Vaun & Jafu's musical offering is our label's statement of intent. That is, to champion unique music that emanates elegance such as this collaboration - and such as J.Sparrow's remix treatment. Ryan Wild aka Jack Sparrow, a Deep Medi Musik signee and one half of dubstep extraordinaire duo Author, has granted the scene with his tenacity to build profoundly stunning electronic music. Wild has the tempo notched up for his In Pieces edit but remains true to Vaun and Jafu's approach in the sense of its lavish spatial touch. The atmospherics breeze over with a soft vibrancy, as the electronic guitar solo recording from the original plays over the initial main section charmingly. This is all resulting in a simply sumptuous mix which goes right up there with his top drawer remix work for Annie Drury and De Niro & Y. To compliment J.Sparrow's sublime contribution and to also complete the package, the Black Butter Records assosciated and Bristol-based outfit Sly-One have whipped up an outright banger of a remix. Joe Cannon, Dave Constant and Oliver Read can already boast an admirable set of releases in the four years since they've joined forces, featuring on Shifting Peaks, Lost In Translation and 877 Records. Add that to a rude collaboration with fellow Bristol head & rasta emcee Buggsy and a remix for Bad Mojo on Meanbucket, Sly-One had clearly meant business from the offset - and have shown absolutely no let up for us at Albion Collective. Served with a side order of the trio's classic subtle cowbell hits, their 2-step/bassline fusion works wonders with the vamped-up vocal sample and is ready and waiting to rumble clubs & festivals for this summer and beyond. Early DJ support for the release has been noted from artists including Phaeleh, Quantum Soul, Thelem, J. Robinson, Walsh, K-Man, Nanobyte, Syte, Trashbat, Majora and D-Operation Drop & Foster. Radio airings to date stand at Sub FM on the BunZer0's legendary FOB Show, BBC Introducing showcased the release and Monki played the Sly One Remix on BBC Radio 1 Extra. The almighty
Dubstep duo Truth added the J.Sparrow Remix to their recent 'Chronicles' mixtape on Soundcloud, which was posted to their 75,000 plus following, Biscuit Factory Records owner and dubstep legend Walsh opened the edit on his latest podcast and J.Sparrow is set to showcase the version in a mix for the iconic Deep Medi label. Support is confirmed from digital publications such as FatKidOnFire,
GetDarker, Trusik and MTV Wrap up, which will involve a number of featuresm reviews, track premieres and artist spotlights. A review will also be printed in November's edition of Mixmag on Tomas Fraser's Grime/Dubstep page

Trabet Records is proud to presents his first release on vinyl and digital: 'FIBRA 01 EP'. In this release we can find 4 track of pure techno.
The first track is 'Enter' by Elektrabel (Czech Republic): a hypnotic track with extensive development of sequences and patterns.
The second track is 'Interferencial 2P' by Josh Larue (Spain): strong techno track with a surround sound full of nuances.
Luis Ruiz ( Argentina ) signs the third track named 'Tetramorph' A solid track with classical percussion together with an organic transition.
The last track is 'Cities Of Tomorrow' by Migueru Anheru (Spain): In this track we can find a sound that is rooted in the American techno

Blossom Kollektiv returns to vinyl once again after the success of Jepe's 'Spring Shadow,' this time around inviting House and Techno veteran Matthias Vogt to the label. The two-track EP of finely crafted melodic and emotive Techno features remixes from Oliver Gehrmann and Jepe and is sure to find its way into DJ bags world wide.

Starting the EP off on a strong note with Solace, Matthias Vogt takes us on a magical journey like we're floating in the clouds with a driving kick and lush melodies that keep us soaring through the sky into a land of beautiful and lovely emotions. Then just when we feel like we're about to fall the track uplifts us once again into a place of cosmic bliss with rich piano notes full of substance.

Playing with the rich piano notes of the original Oliver Gehrmann creates his own vision of Solace bringing a deeper and more after hours feel. The track takes us through the elements of the original but reworking it ever so slightly while never losing the strong emotional sense of the original.

Next we come back to Matthias with Fluorescence where we once again are whisked of to a fascinating place full of melody and care free attitudes. However don't let this allure fool you, powered by a heavy kick drum and tight percussion this track will work wonders on any peak hour dance floor bringing a sense of euphoria to the crowd.

After returning from our blissful land Jepe brings us right to the floor with his straightforward house version of Fluorescence. Putting his stamp all over his version using classic piano stabs and funky percussion to make the track uplifting in a rhythmic way, then subtle synths from the original peek their heads out to create a little drama and suspense until the slamming kick drum kicks back in making the crowd move.

BACK IN!! THEO PARRISH and an all-star cast featuring Warren harris, Marcellus Pittman, Bill Beaver, Jerrald james and Mellissa Botts take you on a deep excursion to the roots of afro-american music with this free-spirited live jam. after setting the mood with live percussion and a thick live bass, a bluesy guitar, cosmic keys with a Sun Ra vibe, wailing soul vocals, Theo's instantly recognizable beat and later a bitter-sweet violin solo all join in and create an unique atmosphere that is totally mesmerizing. the 'Reprise' on the flip continues in a more stripped down, piano led way. two shining example of sheer musical genius!

Cadenza Records displays a deft touch in showcasing new talent, just as much as it leans on its core of established producers. The 'Split' EP shines a bright light on the musical endeavors of Enrico Gasperini AKA gAs, and fellow Italian, Lino Pugliese. One side of vinyl each, and gAs opens up Side A with 'Rack Attack', its woody hits and scattering hi-hats holding a solid groove whilst gentle keys entwine a melodic touch with a stuttering synth riff that's designed to circulate around the brain. Splashes of cymbals and white noise provide the all important drama as the track rises to a crescendo. Enrico's second contribution, 'Agogo', keeps up the ante with another slice of exquisite house grooves. The inner-city street ambience opening gives way to an undeniably funky rhythm track, incessant spongy stabs and frenzied percussion that makes this one a sure fire winner. Over on Side B, Lino Pugliese gets to flex his sonic palette after recent releases on Cadenza Lab and Memento. 'Banging On Your Door' takes its time to unfurl; a percussive swing not too dissimilar to the Stones' 'Sympathy For The Devil' sets the tone magnificently, as low frequency synth sweeps and distant vocal effects build, the kick drum jolting the track into life with bursts of furry snares and handclaps. More ambient soaked business on 'Aniwama' as Lino forges melodious piano and clanging ride cymbals with low end sonics as the track deconstructs as quickly as it builds, tearing up the arrangement rule books to create a unique cut that can perform as a mood-setting piece just as well as a peak time genre-shifter.

Tough, to the point, no-nonsense machine music is a longstanding Midwestern tradition.
Drawing a line all the way back to the old guard, The Bunker New York's latest EP is Walk The Distance, courtesy of Mark Verbos, a techno veteran and New Yorker by way of Milwaukee who put together four pieces of heavyweight dancefloor artillery, informed by an intimate, inside-out knowledge of the machinery used in the production of these tracks.

"I've been doing this for a long time. In the beginning, there was only hardware, and it feels better to make music with physical objects. Plus, I make hardware, too," says Verbos, recounting his production processes. Verbos not only produces music, he also produces the hardware he uses to make music—his company, Verbos Electronics, manufactures Eurorack synthesizer modules with a vintage sensibility. When he's making music, Verbos says, "I try to get to know the devices I use well enough that whatever I imagine can come from them. Techno is machine music. When I'm recording, it's just me and the machines."

The music, however, speaks for itself. No punches are pulled here—the record starts in top gear with "Start Up Drive," a devastating techno bomb centered around a throbbing, repeating bassline and a meaty kick drum that builds to a massive climax in the span of five minutes. "In The Back Room" kicks the tempo up a notch, featuring spaced-out atmospheric synth leads floating atop syncopated percussion. "Just A Little Late" is funkier than the other two, built around a rubbery, insistent synthesizer groove that worms its way deep into your head and doesn't let go.

The aforementioned three tracks alone would comprise a solid techno EP suitable for any number of dancefloors. But the last track on the record—its namesake—shifts gears entirely. "Walk The Distance" is a moody, pulsing slow burner, introspective and emotional. It's a haunting listen that adds remarkable depth and complexity to the record. "Walk The Distance, the track, is a reference to the fact that music is not a career. Any advice you could offer someone on how to have a successful career doesn't really apply to a career in music. By that I mean to say, process is everything, and the results don't really matter."

Sage advice indeed, but judging by Walk The Distance, Mark Verbos has figured out how to produce results that matter.

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the
label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels.First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth
it, as Diego takes the crazy afro-stylings of Afrobotics and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians,
Cole M.G.N. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on Shockers is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind.
Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of Underdogs, Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in
modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr
Ruscha.

Iggor Cavalera is best known for his part as the drummer of Brazilian super-group Sepultura. Having toured heavily around the globe, winning several 'Best Drummer' accolades and sold over 10 million records, Iggor's incredible ability to project emotion and evoke thought through his percussive talents is being given an outlet in the form of his exciting collaboration with his DJane wife Laima Leyton, MIXHELL.
Iggor and Laima took MixHell from the studio to the stage, adding uplifting elements of rock into electronica and giving it all an organic, intuitive and complimentary touch. Armed with an MPC Sampler, turntables, CDJ's, mixer, a full drum-setup and miscellaneous percussions their eclectic and energizing live stage performances are pure eye-candy with music created on the fly. MixHell do things in a big way and in doing so, are delivering a show that fully explores their vast background of musical influences.
The exercise of performing live tracks that were made to DJ comes to life even more on this acid house release with the collaboration of acclaimed producer GUI BORATTO.
When rock turned into bubble gum' music, when EDM sounded too shallow, Mixhell continued their research - reviving and recreating what they loved in each style. Let there be house, let there be techno, let there be rock, in the end what really matters is the MUSIC.

Emotional Response starts 2015 with a 4 part split (Schleissen) series aimed at highlighting artists pushing the sonic boundaries of electronic experimentalism. Starting with ErB001, featuring Abul Mogard and Harmonious Thelonious.
Emotional Response is pleased to announce a special 4 part, split series of LPs that explores the further reaches of ambient, drone and rhythmic percussion, known here as Schleissen. To start the series is 2 artists long admired by the label. The music of Abul Mogard has stayed pretty much under the radar. Hailing from Belgrade, Serbia, retired factory worker turned drone specialist, Abul has released 2 solo and 1 joint cassette-only albums on Steve Moore and Anthony Paterra's (Zombi) VCO label. A big favourite of the label, Dizziness That Shakes Rivers And Mountains is near 19 minutes of pure, modular beauty. Play loud for full o.o.b.e effect. On the flp, a more well known name in Stefan Schwander's percussion based project, Harmonious Thelonious. First catching the label's attention with a series of drum heavy EPs before moving more towards the dance flor on his most recent releases. On a visit to play the infamous Salon Des Amatuers for the Musiccargo album launch in late 2013, Stefan kindly passed on a CDR of "more experimental pieces" and on hearing these, the idea of Schleissen was first born. 2 pieces of Steve Reich inspired minimalist explorations weld to become an incessant psychoacoustic cycle, melodically deconstructing and reconstructing to create a continuous harmonic movement. A series then created for the more discerning ear, so empty your mind and (un)listen.

FINA Records presents 'Tyranny of Fun', the debut EP from Slow Learner. The coining of the new alias 'Slow Learner', marks a new chapter and musical direction for an already established artist who is by no means new to the game. Preferring to start afresh and steer clear from associations, the somewhat reclusive figure from the South Coast is now focused instead on allowing his new output to speak solely for itself. And his debut release under his new pseudonym achieves just that. 'Tyranny of Fun' is an accomplished sonic offering that reveals a versatile sound characterized by original combinations of samples, depth and range. The EPs opener, 'The Skin Horse' is surely one for the after afters - a dark and off kilter growler of a track whose prevailing bassline and waltz time beat provide a brooding backdrop and relentless rolling nod to its intricate fusion of dissident chords, dusty synths and jazz stabs. On the flip side, an unpredictable 'Cupboard Love' starts muted and deep but soon surprises, opening out into a warm and progressive feel-good groove. Mixing things up again, Slow Learner impulsively cuts up the flow 4 minutes in with a funk-filled refrain, leaving the track dancing in and around dirtier disco territories. Last up, a made for vinyl 'Honey' goes deeper still; a delectably crafted down tempo offering whose syrupy vocals stir and evocative cross-rhythm synths, coupled with the vintage analogue percussion, ooze an unmistakable old 90's deep house sound.

Rich NxT helms the next release on the Fuse London label, with his 'What's In The Box' EP, the 3rd solo EP from one of the parties chief residents. This release brings yet more variety to the NxT stall with a classic feel on the A1 track, 'Defy' where he kicks things off with his trademark, crisp beats and razor sharp percussion riding over the dubby low end, then opening out into lush pads and a vocal that never fail to raise the atmosphere, proving popular with people everywhere.

'Mylove' is the release's vinyl only track and is an understated anthem, once again delving deep with brooding bass, paired with drum snatches echoing that of his early jungle days. When the tripped out male vocal and percussion builds into the drop and counter melody, all the elements align in that unique NxT fashion. Over on the flip, 'Twang' has become another firm favourite with audiences, calling again on memories of old school rave combined with a rolling, edgy groove, whilst 'Cannonball' finishes the EP off in fine style with a slab of atmospheric wonder perfect for those early morning sunlit sessions.

Circle 3 is the 9th vinyl release on Blank Code Records and is the 3rd release in the Circle series produced by Detroit native Mutate (Len Bartush), with remixes by Luis Flores, Mike Parker, and Project 313.

Circle 3 exemplifies the spirit of Detroit Techno. A deep, rich kick with a nice snappiness keeps the beat driving as heavily filtered synths reverberate through time, reminiscent of Detroit's classic M­Series records. Tight, delicate percussion plays with some aggressive claps creating the dynamic of a true modern classic.

Luis Flores delivers a solid remix that completely deconstructs the original track while keeping it's most bold elements. The kick is booming, the bass is tight, and there's a mean hook that loops it's way around the percussion, really drawing you inside the track's world.

Mike Parker dispatches an up­front rework, shrinking the original elements of the track into a veracious hook, supported by clock­like kicks and hats..

Project 313 deliver a stand­out remix that really highlights the atmosphere of the original track. The echo of the crunchy stabs dissolve into an endless feedback loop, as clicky hats and a solid downbeat pull everything together.

Exclusive to the digital version is another Mutate original, Recursive. This down­tempo track dives deep into dub, with sparse chord stabs that let their echoes form the dominant rhythm. A wicked groove is formed by the broken kick and finely chopped percussion that glitches on beat.

This release blows the trio's instrumental palette wide open for a single continuous piece.
Begun as a one-off collaboration in 2009, the trio of Keiji Haino, Jim O'Rourke and Oren Ambarchi has now become a solid working group, refining its craft through a series of annual concerts at Tokyo's legendary SuperDeluxe.  Much of their recorded work has focused on their intense, ritualistic take on the rock power trio of electric guitar, bass and drums, with last year's 'now while it's still warm let us pour in all the mystery' (BT09) containing a series of instant compositions of stunning power and concision that demonstrated how familiar and attuned to one another the three have become.

Presenting the entire first set of the trio's March 2013 concert at SuperDeluxe (the second set will follow on Black Truffle later this year), 'only   wanting to melt   beautifully away is it a lack   of contentment  that stirs affection   for those   things  said to be as of yet unseen', their fifth release,  blows the instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion. Featuring one of Haino's most delicate and moving recorded vocal performances, the opening section of the record takes the form of a spare duet between O'Rourke's 12-string acoustic guitar and Haino's kantele (a Finnish variant of the dulcimer), behind which Ambarchi provides a hovering backdrop of wine glass tones. While on previous releases the listener has often sensed that Haino was firmly in the driver's seat, here O'Rourke takes centre stage with an acoustic guitar performance that takes the lyricism of John Abercrombie or Ralph Towner and refracts it through the free improvisation tradition of his mentors Derek Bailey and Henry Kaiser. The atmosphere of meditative, abstracted song is reminiscent of some of Haino's greatest recordings, such as the legendary 'Live In The First Year Of The Heisei' volumes recorded with Kan Mikami.

Mark Henning returns to Soma with yet more jacked up machine funk in Titan. Mark has firmly established him self within the Soma mainstays and continues to further his sound on the label. This latest EP sees him take to the street with two energetic drum workouts laden with his unique flavour.

Title track Titan is very typical Henning, keeping the ingredients simple yet effect and created live. A solid groove from his trusty 909 that just oozes dance floor compatibility hooked up with a quirky synth stab, weird vocals and a eerie organ-like riff all rounded off with a fantastic arrangement makes for one seriously infectious track

Roots gives of a real ghetto-tech feel, as once again a 909 groove is enough to get things going while squelchy synth hits bounce of rimshots working up to a subtle rolling bass line. Mark's skill in the arrangement process take hold as he allows the tracks to develop into a full drum workout with mutes here and there and the simple addition of more stuttering percussion help to pick up the pace.

Henning as the enviable talent of being able to create dance floor burners with the simplest of elements, a task he delivers of with blinding result on this EP.

After great success of 2 previous releases, 'Sound Of Vast ' is now about to hit 3rd release. The producer of this deep monster is one of the most respectful Japanese artist, and Womb's resident Dj 'The People In Fog (aka DJ Sodeyama).'
Even though DJ Sodeyama is more known as techno producer, The reason that Sodeyama used the other nickname was, As you could guess from poetic sentence, to express his music in more deeper and emotional ways, he even choose EP name as 'Deep', also, all the track's titles contains the word 'Deep', funny but straight forward way of thinking, if you want to deliver right moods on the dance
floor, by not only sold beat but also unusual emotions that come from organic percussion, this whole EP will give you the answer.
As usual of SOV policy, this EP contain one each of exclusive digital, and vinyl only tracks, this time, 'Deep
Woods Remix' chosen as vinyl only exclusive, the remixer 'Elbee Bad' is the legend of US House, as known as 'The Prince Of Dance Music', if you are fan of Rush Hour Records you should be heard about his name, as he is one of the be loved, and featured artist from the label. His remix of 'Deep Wood' is indeed funky and sexy, one more reason to have this vinyl in your collection.
Lastly, this EP will pressed 500 copies only with out repressing, quicker people will have a benefit as usual.

Scuba Death is Ricardo Donoso's alter ego. With more of a focus on analog sound, percussion, sampling, and location recordings, there is an organic undercurrent on Scuba Death recordings that isn't as prevalent in his solo work. This music is rich in atmosphere while still tethered to the deeper ideas that Donoso often explores in his work. Treatises on fear and death­anxiety, the underlining thematic framework for the project, run rampant throughout these claustrophobic electronic passages, and teeter on the edge of being oppressive. Nitrogen Narcosis marks the first full length and strongest statement in the Scuba Death repertoire after the privately issued, ruthless 'Demon Seed' twelve inch back in 2011. The album alternates between surprising lethargic dance inflections all nestled between 75 & 100 bpm, the normal resting heart rate for adults, and the more conceptual, numbness­inducing pieces like '50­-70 Meters' and 'Nociception.' Sequencing plays an integral role on Nitrogen Narcosis as the listener is suddenly thrust into the darkest reaches of the ocean after dark alley grooves are sucked into an aquatic abyss. For a project named after Donoso's near­drowning experience in the South Atlantic when he was younger, there's an impressive amount of reflection & vulnerability present - the field recordings that permeate throughout the album were captured at the same location the undertow caught hold of him that bright Summer day 20 years prior. An inner battle between paranoia and euphoria is played out in well­conceived, precision sonics on Nitrogen Narcosis as Donoso reminds us to look back, break through the surface and go deeper.

Ladies and gentleman, we would like to introduce to you; Nachtbraker (Dutch for Night Hawk). This energetic dude from our hometown might not be a familiar name to you, but don't let that put you off. If you're into the darker shades of deephouse with a serious chunk of funk, have a listen to this. Gute Laune is the track that really captures Nachtbraker's style in all its facets. It starts of modest with basic percussion and a nice bended pad, but when the bassline comes in, every element in the track makes your head bop, ass shake en smile grow. The real kicker is the changeover where the long pads makes way for a set of filtered stabs that give the whole track the energetic vibe it deserves, without going overboard. The whole track just exudes the detailed way Nachtbraker produces his tracks, and we love him for it. Bluebottle is a wholly different animal. This track keeps a lower pace with a crunchy pad and mysterious synth setting the tone. With a lovely ever-changing bassline, a couple of changeovers in the percussion and a clever gate-effect on the pad, don't be surprised if you find yourself humming this tune several hours after the first listen. Last but not least, there's Xantippe. Xantippe is hard to classify because of it's two-faced character. What starts of as an atmospheric broken beat dreamy tune, jumps into a raw burner after the break with a haunting buzzy loop. Bassface-WTF-material for the after hours. Nachtbraker delivers a quality EP that is definitely one for the heads, more than for those in search of peaktime bangers. We're excited to share this solid slice of deephouse that represents everything we started the label for: Great music, no matter where it's from or who made it. Sincerely yours, Lars & Maarten

TERRANOVA returns to the fore with the HEADACHE EP, another impressive assortment of floor-ready house weaponry - after the sublime sophistication of the PAINKILLER EP (KOMPAKT 262) and its accompanying remixes (FM X/PAIN 001), the new material shoves the pendulum back into more rugged club territory, showcasing the sort of sonic urgency and rawness the legendary project has become known for in the first place.

As missing links between the dystopian pop of TERRANOVA's turn-of-the-century work and the slick kinetic drama of their current incarnation on Kompakt, the three cuts of the HEADACHE EP congenially continue the multi-layered, nifty thrust of 2012's house nouveau epic HOTEL AMOUR (KOMPAKT 248 CD 95), but also manage to evoke the wonderstruck immediacy of an act burning through its first speakers. This becomes particularly manifest with the deployment of CATH COFFEY as vocalist for title track HEADACHE (also a primer for TERRANOVA's upcoming full-length). A member of iconic British rap outfit Stereo MCs in the early 90s and collaborator of Tricky, the singer was featured on TERRANOVA's initial outings and is a well-established presence in their early work. On the new 12", she reintroduces her unique brand of battle-hardened, deadpan soulfulness to the searing funk of the reinvigorated project.

HEADACHE, a cover of a song from Birmingham's iconic and controversial postpunk outfit The Au Pairs, as well as its instrumental sequel HEADLOCK are both fuelled by the propulsive beats and upscale hooks we've grown to expect from TERRANOVA, but there seems to be something else at work, too - a somewhat darker undercurrent that may or may not be part of the actual arrangement. In any case, this adds much-needed depth to today's dance floors, providing them with a riveting soundtrack for the most intense of prime times. There's no need for EP closer TOURETTE to hide behind its compatriots, either: it's a full-blown thrill ride in its own right, brimming with jittery sampling, arresting percussion and some pretty rad bassline abrasiveness thrown in for good measure. A well-placed shot at the dancer's solar plexus, this wraps up the HEADACHE EP nicely, giving players and punters another perfectly valid reason for post-apocalyptic celebration.

Blank Code start 2014 off strong with their latest EP Rituals of Submission, produced by Luis Flores, with remixes by Black Asteroid and DJ Hyperactive. The opening track Discipline starts off with a nice creepy atmosphere supported by a solid kick and just the right amount of percussion to hook you into the tracks core rhythm, which stays consistent while the supporting percussion keeps the intensity of the track in constant motion. Black Asteroid's Discipline remix gives the track a whole new perspective, while staying true to the original's excellent use of classic elements. The straightforward kick and up­beats work perfect with this track's industrial bassline, while cleverly programmed analog synths carry the track with slow triplet rhythms, and quirky stabs that drift off to space.

Luis Flores' second original composition, The Word, follows the same philosophy as Discipline, with many elements coming together to form one solid rhythm. This is a huge sounding track with intricate metal percussion and pitch modulated stabs that form a dark and inciting hook which is overtaken by filtered claps as the track progresses. DJ Hyperactive gets down to business with his remix of The Word and lets his Chicago roots shine through as hats on all fours and hard hitting claps are used to raise the energy sparked by the deep kick and well processed stab.

A1 - Aldo Cadiz & Oscar Barila - Sofia Nights : I get long awaited moment , the debut of two international artists working together , Aldo Cadiz & Oscar Barila , as family members Original label , and of course, do it with three large Vilino courteous.The track that gives name to the album , and the A1 side of it is this , Sofia nights , bordering on the line we have this great deep house track , consisting of a solid base , tribal , percussive , very grooving and envelope accompanied by deep house melodies and vocals that bring to mind the fashioned Chicago House ., Track dancefloor and very danceable, with a remarkable elegance to highlight ., , B1 - Aldo Cadiz & Oscar Barila - Flex Pen: This such a distinguished track encompasses sounds like we had never before seen , is based on a broken and very atmospheric percussion , combined to perfection by this pair of great artists and old school Syntes voices blend very harmoniously . Topic has a great evolution without losing the line a...

Traversing with an understated technical assuredness, the ambitious shapes of Steely Dan, the popping lounge funk of McDonald era Doobie Brothers, the sweet mourning of the Stylistics and Delfonics, and the exquisite song-craft and flawless harmonising of CSNY, Daniel Collas (The Phenomenal Handclap Band), Bart Davenport and Quinn Luke aka Bing Ji Ling have recorded an absolute darling of an album under the name Incarnations. They are three friends with enough musical guises, side-projects, collaborations and production jobs to fill the annual itinerary of your average musician twice over. When three CVs like these get together on a regular basis, it's only logical they speculate and hypothecate on the possibility of an album together. But, how to make those congested diaries synchronise? Bart lives in Oakland and Quinn and Daniel are in New York, all three of them are on tour for the better part of the year. One sunny day in Madrid, Spain, a plan was hatched and a proposal was made. Lovemonk, a small, eclectic and affable Spanish label, dangled the carrot that clinched the deal; 'find two weeks between gigs/productions/recordings and head down to this little place we know in Tarifa, Southern Spain'. A family-run studio, in a house 5 minutes from a wild beach and a short ferry ride from the coast of Africa; the perfect ambience for the fleeting melody and sultry grooves of the Incarnations debut album, "With All Due Respect". Arriving with bits and bobs of half-songs, grooves and melodies, Daniel, Quinn and Bart, sketched and improvised their way to the most intensely evocative songs you'll hear this year. Punctuated by a day trip across the water to Tangiers, all 9 songs were written and recorded inside a fortnight in October 2009 and laid to rest while our protagonists jetted off to their respective diary appointments. Whether it was the beach, the soft weather, the fact that you can smell Africa from the studio, the home cooked Spanish food or the relaxed environment of the recording room, when the band returned to the songs at a New York studio earlier this year, they found an album as fresh and resonant as the moment it came into being. Quickly mixed down with no over-dubs or re-records, "With All Due Respect" captures the combined gifts of Tarifa and the three very talented friends that paid a visit. Incarnations are: Daniel Collas: DJ, drummer, organist, and one half of production team Embassy Sound Productions, the minds behind The Phenomenal Handclap Band. Plays - drums, percussion, organ and synthesizers. Bart Davenport: Collaborator with Greyboy, General Elektriks and The Phenomenal Handclap Band; Singer-songwriter with The Loved Ones, The Kinetics and Honeycut, and most recently a touring member of the Kings Of Convenience. Plays - guitar, bass and vocals. Quinn Luke a.ka. Bing Ji Ling: Part of The Phenomenal Handclap Band, one half of DFA recording artists Q&A and long time member of Tommy Guerrero's band; Solo artist on labels Ubiquity and Lovemonk among others. Plays - guitars, keyboards, vocals The band are named after Encarnacion "Nini" Sagrista, owner of the recording studio in Tarifa, who housed and fed them during their stay.

Idiot Savant Masterpieces is the 3rd release and the first full solo EP by Amir Alexander on the Vanguard Sound record label. On display is Amir's somewhat off kilter take on U.S. dance music. An approach so different that one critic described the work of Amir and his crew as Idiot Savant Masterpieces. All bases are covered, acid, deep, big room, and banging techno with a little hip house thrown in for good measure. Vanguard Sound is quickly establishing itself as a label to watch so serious collectors should buy this one on sight!


The Realest of the Real! - An acid/ hip house hybrid banger that draws influence from the classic acid and hip house vibes. With vocals written and performed by Amir himself, this track combines 303 808 and 909 sounds with Amir's "street chants" to create a vibe that looks back to classic Chicago while pushing it forward and into the future.



Sonic Weaponry! - An insidious techno groove that grabs you by the neck on the first note, and never lets go. Tough banging drums combine with a staccato analog synth passage that charges like an advancing army. The rubbery bass line joins the fray to incite utter madness as this deceptively minimalistic track whips the floor into a mad frenzy.



Rebel Music (Version One)! - A big room Banger lead by a phrenetic sine wave bass line that never lets up. Deliberate, yet, stuttering percussion anchors the track. The accompanying synth ostinato continuously shifts as huge lush chords blow through like gale force winds. Black Panther's H. Rap Brown and Stokely Carmichael drop science about the nature of rebellion in the U.S.



Who are You - The "Deepest" track of the four opens with a beautiful ascending/ descending flute like synth passage that instantly sets the soul adrift. The hard and jumpy kicks interplay with a throbbing rhythmic bass that bubbles like a boiling cauldron. About halfway in a driving synth ostinato comes in to push the track forward. In the middle there is a dreamy

Back in stock!

Some friends think that Shihab the man owes the balance of his soul to his beautiful Danish wife. They may be right; for Eros is the very essence of what Shihab plays.Yet Eros is a god with many a face. A tale of tender mournings Shihab's flute is telling in MAUVE - a piece that translates its title into delicately changing colors of sound. In UMA FITA DE TRES CORES he has his instrument wooing with the proud self-reliance of Latin grandezza. Calmly, softly, almost blandishly Shihab blows the solo flute in the Jimmy Woode composition MY KINDA WORLD. Serene and somewhat playful his own title ANOTHER SAMBA comes along - a most uncommon composition by the way: lasting for sixty bars as if growing independent out of itself, with solos that appear to be additional spinnings rather than improvised choruses; and yet; a perfect, self sustaining melody no element of which is superfluous. In the last of the pieces for flute, in Klook Clarke's THE WILD MAN, which is based on a flourish of trumpets, Shihab for the first time reminds of the sombre, the demon-like face of God Eros. He contrasts flawlessly intoned passages with challenging phrases, phrases raucously sung into the flute - really, he is a 'wild man' who is playing like that. This raucous challenging sound prevails throughout the four baritone-titles ('Shihab never withholds long to caress', Campi says). Shihab blows the instrument the same way he speaks: without any delay, directly coming to the point. And he treats it like a voice, not aiming at an artificially homogeneous sound in all the registers, but at their different modes of expression. In the high pitches the horn gains a brilliant tenor-like quality - for instance in PETER'S WALTZ, dedicated to Shihab's son Peter, and in Kenny Clarke's simple drum fills comprising theme JAY-JAY. In the deep register Shihab produces snotty sounds filling lady's ears with horrors like Pan - thus in JAY-JAY and in the boppy blues SET UP . Shihab's sense of a scurrilous humor breaks through in SEEDS (which reminds of the West-African heritage of jazz with its multiple rhythms and its renunciation of harmonious development - only the eight bars of the bridge base on a progression of chords): not only does he omit the notorious bombastic chord by the ensemble after his own final cadenza, he even ends with a minor second above the keynote. Seems as if Shihab now unrestrictedly conveys to his music all the experiences and emotions he formerly did not deal with in a musical way. Shihab the man need not be disturbed so that Shihab the musician may improvise passionate choruses. It would be unjust, however, to forget the choruses of the four other musicians for those by the 'born leader'. Francy Boland, taciturn and always introverted: he plays an extrovert, a masculine piano. Even with spare single note lines he produces a piercing and ringing sound that hitherto nobody except him has discovered, a bluesy sound bespeaking the very element of frustration that lies within the title of the trio number WHO'LL BUY MY DREAM. The unfailing feeling for rhythm the musicians of the CBBB praise with the arranger Boland, becomes manifest in the piano solo on SET UP. Francy's improvisation is rhythmically styled in a Monk-like manner, and yet no accent could be set differently. Maybe this is the secret of the Shihab-Combo. 'Rhythm is our business', this credo of Jimmy Lunceford could be the one of the five musicians as well. Sadi hits his vibes as dryly as if wanting to bring its ancestors to memory, the wooden chimes of West Africa's coastal tribes. To reach the fullest poignancy possible, he intentionally calms down even the resonance in MY KINDA WORLD. In UMA FITA DE TRES CORES Jimmy Woode bears out the crispy jazz beat against Sadi's Bongos and Klook's Latin-American percussion all by himself. Moreover - and that, too, is connected with the school of the Duke who was the first in the history of jazz to discover the instrument's potential as a melody instrument - Woode rips a marvelous counterpoint to the inventions of the other melody instruments, take for example PETER'S WALTZ. And then there is Kenny Clarke. Klook. On the entire record he only uses his brushes. Means by which different drummers only know to bring forward impressionistically blending noises: He drums a vigorous beat with them, fanciful fills, a solo, melodious and at once skillfully playing with cross rhythms in JAY-JAY. The 'born leader', the 'outstanding baritone saxophonist of modern jazz' (Joachim-Ernst Berendt), he could not wish himself different sidemen for this record overdue since some years.

PianoBatacaZoo provides us his most powerful set up ever: vibrations and Deep- House oriented strokes charged with baroque sensuality, decorating and presenting himself extra sensitive through solid percussion lines that come from UK-Funky, counteracting with elegant shines of real instruments. MNGC, a more minimal cut built from an explicit mutant bass line that works as the spine that receives new tools through the playing of the tune: dry falterings, bipolar personality that makes his own the mysticism of the original Dubstep or the synth motifs connected with the intensity of the Deep Techno. Jimmy Edgar adds a virtuous, erotic and visceral layers of manicure to PianoBatacaZoo, charging the record with positive electrons and amplifying his prole of inuential collage.

Ein sommerlicher Klanghappen für Groove-Gourmets, eine augenzwinkernde Provokation für Schubladendenker: Rene Bourgeois breitet zum Tanz einen elektronischen Rhythmusteppich von minimaler, jedoch kurzweiliger Eleganz aus. Was darauf geschieht, gleicht aber eher einem klassischen Song. Elke Brauweiler verzaubert den Zuhörer nämlich mit ihrem lieblich- verträumten Gesang, der die Stimmung von "Je Danse" prägt. Nicht zu vergessen die unverkrampfte Heiterkeit der irgendwo zwischen Fahrstuhl- und Filmmusik klimpernden Melodie. Mollono.Bass trommelt seine organischen Percussion-Samples zusammen und treibt den Akzent des Originals subtil in Richtung Rhythmusanimation. Und der "Deep in the Club Mix" von Dan Caster und Rene Bourgeois erfüllt schließlich alle Erwartungen, die man an einen Titel mit solch einem Namen hat: Zwingender Groove, hypnotische Atmosphäre und dramatischer Aufbau.