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The turning point between Pumpin tribe and « back to techno »... X-tech have always been a bit electro and on this EP he defently goes for it... This is the successfull turning point for his artistic choice. Even if you can still feel the acid, and the pumpin and the breakbeat of a classic tribe tune, there is here already the elcrto (this is a Marseille thing), the down pitch to more reasonable speeds, and aslo the variety of style into a single, witch was kind of a revolution and will always be ! A breilliant record that deserved a descent repress ! Was mastered and cut at DK Mastering, near toolbox. Brightening old this old DAT before it's too late !

David Mayer's career and background is marked by a desire to keep moving and experiencing new perspectives. Having finally settled in Berlin, the German DJ and producer has built up an enviously diverse back catalogue on labels such as Connected Frontline, Objektivity, Gruuv, Audiomatique and Keinemusik. With his first release on Acid Pauli and Nico Stojan's Ouie label, Mayer brings his trademark groove to the fore once more.

'The Call' is a mid tempo chugger built around a kick, clap and 808 blip, before a more organic groove develops. The slowed down chants and wigged out synth line take the vibe into afro cosmic territory, without losing the original energy.

'Sooner' is a little more urgent - a crisp, forward leaning rhythm and a deep, subby bass lead the way, before another frazzled synthesiser takes us on a melodic walkabout.

Parallel Berlin head Daniela La Luz returns to her home away from home, HOUSEWAX with a few friends to rework her modern classic, "Did You Ever".

Originally released in 2014 "Did You Ever" was an instant classic amongst decerning house heads, but it was when Detroit legend, Moodymann dropped it as closing track on his DJ Kicks compilation the year later. The light well and truly spun onto La Luz and her sublime approach of house and techno.

Now to kick off 2018 Housewax have invited Virgo 4, Dah Ruh and Cinthie to offer their spin on "Did You Ever". Together they each offer 3 unique takes from house to deep techno, yet managing to stay true to the soulful flavor of the original.

Ahead of the release of his new album Book Of Life, Erased Tapes will re-issue Stories, the first in a trilogy of vibraphone solo albums by Berlin-based composer Masayoshi Fujita. This quietly exquisite album is like a book of illustrations, evoking scenes of natural beauty and poetic poignancy that combines climactic crescendos laced with electronic detail and luxurious melody. Stories is the beginning of Masayoshi's mission in bringing the vibraphone — a relatively new invention in the history of instruments often kept in the background in orchestras and jazz outfits — into the spotlight. Having trained as a drummer, Masayoshi began experimenting with the vibraphone, preparing its bars with kitchen foil or beads, playing it with the cello bow or using the other end of the mallets to create a more ambient texture of sound. Focussing on the vibraphone in this way sets Masayoshi apart, dedicating his artistic life to celebrating this fascinating and often under appreciated instrument and making his take on ambient and modern compositional styles a unique one.

Sweltering, humid emotion permeates the gauzy atmosphere and rolling basslines on Neotnas' latest. The tracks here combine the artists' loves of junglism, 'ardcore, stoned ambience, and classic house.
Taken together, it's a batch of instantly nostalgic grooves and future / past chillout rave reimaginings.

The long awaited answer from the notorious southern-hemispherian sound system, Subtle Sound System. This debut release from their record label aptly named Subtle Recordings is bringing some heavy weight straight out of Christchurch, New Zealand, first up with local legend Headland. Exquisitely imprinted 'no holds bar' by the masterful Optimal Media in a full art sleeve, this 180 gram, vinyl only, no-repress recording superbly ushers in a new beginning for the sound system and is another pillar of foundation to the future sound of bass music.

Headland, with his atmospheric soundscapes, sparatic drums, jarring percussion and punishing basslines, has been taking his unique sound to the world for the past few years and has sequentially been picked up by some of the most forward thinking labels in the bass music scene. From notoriety like Innamind Recordings and Zam Zam Sounds, Headland is one of the most noteworthy artists on the scene today and is a staple in sets from artists including, Samba, Mala, VIVEK, Commodo, Sleeper, just to name a few. Headland's infamy continues on Subtle Recordings debut release with the two outstanding tracks, Quiver and Deathbed.

From a spacious beginning, Quiver quickly builds pressure, manifesting into a track that by the end of, you'll have to regroup your crew as all would have been taken on their own solo journey. Navigate through high level percussion, sonic stabs, sub-temperate basslines and menacing vocals, all encompassed within a 130 bpm landscape where the richters leave you feeling vulnerable and insignificant. Quiver is a force of nature not to be taken lightly. After setting the stage, this behemoth pushes to another level, with erratic note changes and misplaced beats, before opening up to a plateau of relative safety within rolling basslines and familiar haunts. Recollecting yourself, you are once again thrust into unknown territory. A barrage of death blows commences until eventually you find yourself on the other side, disorientated, demoralised, but thankfully unharmed. With support from dons like Gantz, Boofy, J Kenzo, Mr K, Quiver has begun to leave its mark through the next frontier of bass music.

A usually silent, still and chilly affair, Deathbed is anything but, with its uplifting groove, conscious beat scape and warm bassline. But don't get too cosy, cause this assortment of frequencies is cold. Foreboding basslines. Wholesome mids. Trademark Headland accents. Deathbed builds in monumental 140 bpm splendure, in a simplistic formation, that will have you calling home to tell Mum of your triumphant return. Bask in all the glory as the track sheds back into its essential ingredients before collapsing into a well rewarded breakdown. Another confident drop will re-immerse you within the ride, reminiscent of what has been conquered and celebrated in the dystopian sound Headland has crafted in this atmospheric masterpiece. Banging dancefloors worldwide by artists like, Commodo, VIVEK. Deathbed produces the goods for an old fashioned shelling.

The Moment We've Been Waiting For. Youngsta's Sentry Records Continues To Set The Pace And Raise The Standard With One Of The Most Sought-after Artists In The Current Dub And Dubstep Scene. After Releases On Institutions Such As Deep Medi, System And Zamzam Sounds - Egoless Is Back For Another 12' Shell. Revealing The Next Masterpiece Of The Croatian Heavyweight, The Prolific Imprint Welcomes Its Next Family Member And Two Mammoth Tracks. From Vintage Fx To On-the-fly Arrangements And Live Instruments - Egoless' Production Style Encapsulates The Jamaican Roots, Transferring Its Spirit Into The Modern Era.

Heading Straight Into The Abyss Of 'decolonize', We're Being Greeted With Tastefully Overdriven Tape Hiss, Obscured By Reverb. Oriental, Sitar-esque String Plucks Take Form, Wielding An Increasingly Inquisitive Nature. Alongside The Organic, Percussive Swing The String Plucks Cease For A Moment - A Fierce Vocal Statement Excites The Air As The Full Intensity Of This Sonic Weapon Hits The Speakers And Every Last Fibre In Your Body. The Superbly Orchestrated Arrangement Flows In A Continuous Groove, Led Onward By Haunting Surges And Psychedelic Flute Arpeggios. On Top Of The Stomping Foundation, Longing Spheres Conclude The Anthem And Leave Us Crave For A Rewind.

Turning To 'global' - The Alarm Bells Of An Apocalyptic Future Reverberate Into To Your Ears. Gargantuan Drone Pulses Lead The Way For Tribal, Acoustic Drums To Stir The Dance. A Daunting Swing Hurls Its Monumental Weight. Deeply Imbued With Rhythm - The Meticulously Crafted Sound Design Leaves Us Dancing In Awe. Life-like, Vibrant Flute Performances Form A Harmonic Composition Of Exceeding Quality, Sure To Fire Up Any Dance. Polished By Creative Vocal Sampling And Egoless' Fine-tuned Sense Of Controlling Tension & Release - These Tracks Will Stand The Test Of Time - For This Year And Beyond.

Deadbeat graced ZamZam with a release in our very first year of operation. Lending his name & gravitas to our young effort with ZamZam06 meant a lot to us at the time, and is something we never forgot, so we couldn't be happier to have him back for a second outing. Canadian by birth, now residing in Berlin, Scott Monteith is known the world over as one of the most adventurous and reliable producers in the areas of techno and dub-inflected electronic music. Extremely tight quality control over multiple full length albums and countless singles on seminal labels including ~scape, Echochord, and his own flawless BLKRTZ have made him a household name in dub techno and beyond.

Deadbeat's second ZamZam sets aside obvious techno constraints for a mid-tempo reggae scorcher that sounds like it was beamed straight from the humid & heady glory days of the Black Ark studio. Anchored by a tar-thick bassline recalling Lee Perry's 'Dub Organizer,' 'Wail Ball and Cry' leans hard into its rockstone drum kit, with whip-sharp turnarounds, clattering Binghi drums, melodica stabs and restrained yet ever-present flange and reverb keeping the atmosphere swampy and sparkling. A sweet falsetto intones on the loneliness and alienation we all navigate in these times of political debasement and (social) media spectacle.

'Dub Ball and Flange' mutes the vocal for a traditional version focused on nuance rather than over-the-top effects; high hats take the spotlight through expert filter & phaser work, as the heat inches up in the room with a stew of bubbling reverb & delicate echo trails adding to the already simmering & shimmering vibe.

Mastered by Sam at Precise

In 1963, John Coltrane recorded a studio album that has Remained unknown and unheard until now. The album was recorded at Van Gelder Studios, the 'Abbey Road' of Jazz, with Coltrane's Classic Quartet and at the height of his career. The music on this album represents one of the most influential groups in music history performing in a musical style it had perfected and reaching in new, exploratory directions that would affect the trajectory of jazz from then on. In short, this is the holy grail of jazz.

Meet Me On The Corner is taken from the band's sophomore album, Orange Whip, which itself was BBC 6Music's Album of The Day on its release. It follows previous singles Whatever You Do and Sinner, which garnered support from Craig Charles, Tom Ravenscroft and Huey Morgan. The song showcases Honeyfeet at their funkiest and chunkiest. A pounding beat beefed up by bass, guitar and brass propels forward while Rioghnach Connolly sings lyrics that could be straight out of the playground, but suggest something deeper, possibly mystical even, in its demands for a dalliance on the street.

Remixes on this more foot friendly single come courtesy of homegrown legends of funky house music, Crazy P who come through with both a vocal and dub version. Honeyfeet's latest opus is turned into a straight up soulful disco monster by the boys from Nottingham, with Rioghnach's rasping vocals playfully meandering over Hot Toddy and Ron Basejam's crisp beats and trademark live bass. Elsewhere, much hyped Russian production don, I Gemin, delivers his take - still aimed at the dance floor of course, but a slightly deeper house affair based around jazzy keys and chopped up vocals that take the song into more sonorous territories.

As a bonus, the 12" package also features the acclaimed remix of previous single, Sinner, courtesy of erstwhile Polish Innocent Sorceror, Envee - his shuffling, moody take only previously being available on vinyl via a super limited (and now impossible to find) 7-inch release late last year. For the last couple of years Honeyfeet (whose name comes from a line in the Blues Brothers film) have been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. This genre-defying band incorporate styles including jazz, folk and hip hop into their music.

The band are fronted by Rioghnach Connolly - also known for her work with Real World artists Afro Celt Sound System and The Breath - "A remarkable singer and flutist who...can ease from Irish traditional influences to soul" (The Guardian). The line-up is completed by Rik Warren (vocals/harmonica), Gus Fairbairn (tenor sax), Biff Roxby (trombone/vocals), Ellis Davies (guitar), Lorien Edwards (bass guitar), John Ellis (keyboards) and David Schlechtriemen (drums).

Since their self-released debut album, 2013's It's a Good Job I Love You, keyboardist John Ellis jumped on board as full-time member, bringing his unique musical presence. This enabled the development of a more texturally adventurous style, as witnessed with the dual atonal solo between himself and guitarist Ellis Davies on Sinner. Similarly, for their current LP, Orange Whip, engineer, bassist and spiritual guide Lorien Edwards makes his Honeyfeet recording debut, so completing the 'kitchen' of this very special band.

- The album, Orange Whip, is out now.

The 2nd Release On 823, A Creative Project Founded By Ta-ku, Is Featuring The Label Debut Of Portland Wunderkind Quickly, Quickly.

823 Is Also The Numerical Representation Of The Phrase 'thinking Of You'. It Represents The Appreciation For The People/ideas/places That Inspire Us And Push Us Forward. As A Label We Are Proud To Present A Series Of Musical Releases That Showcase The Artists Musical & Visual Endeavors. The Artwork Is Shot By The Artist Themselves & Each Release Has An Accompanying Photo Zine That Acts As A Visual Story That Compliments The Music They Wrote At That Time.

There's A Maturity To The Sound Of Portland, Oregon-based Producer Quickly, Quickly That Makes It Difficult To Believe He's Just 17 Years Old. Using Elements Of Jazz, Hip Hop, And R&b, Quickly, Quickly Weaves A Tapestry Of Wispy Productions That Feel Equally Inspired By The Dusty Drums Of Early '90s Boom Bap As They Do By The Whimsical Electronics Of Head-turning Contemporaries Like Tennyson. Taking Over On Vocals, Bass, Drums, And Piano, He Offers Insight Into A Greater Understanding Of Musicality, There's Time Devoted To Each Audible Layer And It Shows.

Ta-ku:
graham First Caught My Eye With His Film Photography - It Was Only Co-incidental That He Also Made World Class Sounds & Made Me Ever So Jealous With His Musical Talent At Such A Young Age. Graham Is One Of Those Wunderkinds That Have Managed To Create Such A Strong Musical Identity For Himself And Makes It Look So Effortless. Graham Is The Reason Why I Started 823. He Is The Epitome Of Someone Who Embodies That Free Flowing Creative Energy That Needs To Be Showcased To The World!

Music Has Always Been A Part Of Quickly, Quickly's Life, As He Started Playing Piano When He Was Two Years Old. This Love Of Music Shaped His Young Life And Created A Solid Musical Foundation For Future Efforts. In 5th Grade Quickly, Quickly Found Hip-hop, Citing Common Market, J Dilla, Blue Scholars, And The Pharcyde As Early Influences. With His Love Of Hip-hop And Early Musical Background, It Seemed Only Right That Quickly Would Begin To Produce His Own Music.
Having Now Made Beats For Around Six Years, Quickly, Quickly Is Producing At The Top Of His Game. The Production On His Debut Ep over Skies' Is As Easy-going As It Is Complex, And The Fact That There Are No Samples On The Ep Makes It All The More Impressive. Inspired Heavily By The Sky And The Many Forms It Takes, This Ep Blends Genres And Crosses Musical Borders With Ease.

Bristol's finest DJ team - The Allergies are back at it again with the a new single taken from their album 'Steal The Show'... And they've refined their sound even further on the record with more live instrumentation than ever before as they evolve their funky orchestrations to exciting new territories.

Their M.O hasn't changed as they continue to ply their signature playful style that reshapes vintage sounds for the modern dancefloor, with two more red hot tracks guaranteed to get the party started.

Part 2 of Rommek's 'Set in Stone Trilogy' for Blueprint which takes things deeper than the previous 'Igneous', although still offering plenty of atmosphere and intensity. Industrial soundscapes, evolving menacing bass tones while the tension of strings captures and keeps a grip on the listeners attention throughout this 2nd series of the trilogy.

Stockholm's Linn & Freddie debut excursion with Dinked Records sees two wonderful summery tunes, taken from their their long-awaited second album Right Here in the Middle, pressed up on 7 vinyl for the first time. The aptly named Sunshine is the perfect head nodder for those summer BBQs and Festivals. Flipped with a reggae/ska-fused version of the William DeVaughn classic, Be Thankful For What You Got this essential for your crates. Limited pressing of 500 copies don't sleep!!

Rare Australian funk/jazz/blues LP from 1977. Limited edition of 500 copies.....
Until recently Leong Lau's records of the 1970s were well kept secrets of only the most avid Australian record collectors. Left Ear Records, along with the help of Leong, are proud to give collectors a chance to add That Rongeng Sound to their collection. Leong's unique Malay-jazz-meets-Aus-funk identity, takes listeners on a journey through funky beats and flowing melodies and is the reason the album is arguably one of the most innovative and exciting Australian funk/jazz albums. This reissue of the original 1977 LP is limited to just 500 copies and comes in a high quality tip on gatefold featuring original artwork and a brief biography on the enigma himself - Leong Lau.

Dusty archives, the backrooms of record stores, private reel to reel stashes, master tapes - these are the environs of the Dynamic Range experience.Dynamic Range is a new label focused on unearthing deep Soul, Funk and Disco jams that continue to resonate with todays dancers and DJ's. Time spent scouring the bowels of the majors and independents has unsurprisingly resulted in numerous gems being added to the DR wants list. High quality, fully licensed reissues are the order of the day, always taken from the correct master source and re-presented to hungry record heads the world over. To repeat, this is a fully legit operation - Avoid the sharks at all costs!
The debut release on the label is a real doozy - New Birth, the mighty Detroit Funk outfit who operated from 1970 onwards are first up to bat. Their late 70's rarity 'Deeper' is a real monster lifted from their killer 'Behold The Mighty Army' LP. Produced by legendary Motown stalwart Frank Wilson this is some straight-up Disco-fied Funk for sure! One of those solid, mid-tempo groovers that just ignites a dance-floor at any time, any place. Side-A is the glorious full-side Disco mix and we're treated to the full instrumental version on the flip. No lazy edits here, just the full Funk and nothing but the Funk, just as the group intended! This is one of many soulful treats that Dynamic Range will be presenting in the coming months, stay tuned for more - 'Ain't It Something'. All music selected by the Dynamic Range team / Licensed and reissued by Above Board distribution in conjunction with Warner Music.
Remastered with love by Optimum Mastering, Bristol UK. Artwork and design by Atelier Superplus. 2018.

After A 20-year Hiatus, Respected 90's D&b Imprint Odysee Recordings Launches Its Return With A Digital Re-master And Remix Of Bewildered. Originally Released In 1995 (ody04), This Track Featured On The First E.p. Under The 'mirage' Moniker, A Collaboration Between Jim Baker (source Direct) And Odysee's Founder Tilla Kemal (t-mirage).

The Original Is A Classic Example Of Mid-90's 'intelligent' Drum & Bass, From Its Warm Bed Of Strings And Sweet Vocal Ad-libs, To Its Crisp And Curling Drum Programming And Deep Subs. This Track Clearly Demonstrates An Exquisite Blend Of Jim's Celebrated Production Style With Tilla's Keen Instinct For Placement Of Abstract Soundscapes, Which Was Instrumental In The Development Of The Source Direct Sound.

On The Other Side Is A Modern D&b Take Engineered By Andy Odysee. This Remix Manages To Successfully Tread That Fine Line Between Faithfully Preserving The Vibe And Flavour Of The Original, Whilst Simultaneously Lifting The Tempo And The Potency Of Both The Drum Programming And Bass-line Work In Line With The Modern D&b Sound. Andy References Much Of The Original Break Work, Sample Selection And Arrangement, But The Undulating Sub Punctuated By Torn Synth Falls, And The Punchy Kick & Snare Give The Track Its Modern Twist.

A long time ago, in a Norway far far away in time, keyboardist Bugge Wesseltoft introduced his New Conception of Jazz to the world. We're talking about the late 90s, when Bugge's cosmopolitan blend of jazz, hiphop and techno beats was pretty much the coolest music coming out of Norway at that moment. That was a golden time for Norwegian music, in fact, when the rest of the world began to sit up and take notice that something was stirring up north, and realised the music was more than just glacial tones hurtled from icy mountaintops and frozen lakes. This was the sound of urban Scandinavia.

A few years later came the electronic dance genre 'space disco'. Along with Todd Terje, Bjørn Torske and Lindstrøm, Prins Thomas was at the epicentre of this next big wave to surge out of Norway. Now, the two generations have come together in this exclusive collaboration between Bugge and Prins Thomas on the Smalltown Supersound label. Jazz and electronics combine for that energising vitamin D shot of Nordic sunshine.

The Rainbow Studio in Oslo is a familiar name to anyone who follows the ECM label - many of its classic 1970s jazz albums were recorded there under the eye of resident producer Jan Erik Kongshaug. Bugge and Thomas booked a couple of sessions at the legendary space with Kongshaug at the controls, and improvised some tunes in the style and spirit of some of their favourite ECM moments, like the fresh, open sounds of Codona, Egberto Gismonti, Oregon and Kenny Wheeler. Bugge had previously done a remix of Thomas's 'Bobletekno' in 2015 but this is the first time they have worked together as active musicians. The results - also partly taped at Thomas's home studio - fuse programmed rhythms, live synths and percussion, all captured in a sumptuously spacious acoustic.

For an even more authentic touch they called up one of their all time local heroes and one of Norway's most famous jazz drummers, Jon Christensen, who's been the go-to guy for Jan Garbarek, Terje Rypdal, Keith Jarrett and many more. At 75 years he's still pretty spry behind the kit, as you'll hear on several tracks here.

Make no mistake, though, this is not retro pastiche but contemporary music, coasting on gently insistent programmed grooves and bubbling basslines. The whole thing feels not so much like a consciously hip fusion of DJ and jazz musician, more like two great musicians totally enjoying themselves. Which is exactly what it is.

Key facts:
Bugge Wesseltoft is one of Norway's leading jazz figures. He set up Jazzland Recordings in 1996. His solo Christmas LP It's Snowing On My Piano remains Norway's best selling jazz album!

Prins Thomas's real name is Thomas Hermansen. His label, Full Pupp, means 'full breast'. He's released several albums under his own name, as well as collaborations with Bjørn Torske and Lindström. Check out his amazing Paradise Goulash mixtapes.

New album from Anthony Ferraro aka Astronauts, etc, who for most of his music career, served as Toro y Moi's keyboardist, with this album 'Living In Symbol' being his debut solo record.

Sonically, the album weaves its influences into an alien drapery. 'The Border' introduces Latin psychedelia to a groove à la David Axelrod, setting the stage for a vocal performance that manages to be equal parts Lee Hazlewood and HAL 9000. On 'The Room', a Borgesian story gets dressed up in an eerily graceful string arrangement reminiscent of Les Baxter. And 'Who I Talk To' nods to George Harrison in a soft rocking arrangement that supports Ferraro's ghostly croon.
Living In Symbol Is An Ode To Ambiguity, The Future, And Saying 'so Long' To The Known. A Member Of The Last Generation To Experience Life Before Total Interconnectedness, Anthony Ferraro (digitally Known As Tony Peppers) Aims To Be A Bridge Between Two Very Different Realities.

The Spirit Of Change Is Especially Pronounced In California's Bay Area, Where Technologies Dawn And Disruption Is The Noblest Goal. Critics And Advocates Of All Stripes Write Columns And Fill Talk Radio Hours With Their Analyses Of The Times. Ferraro Is A Funny Case: A Sometimes Luddite With A Romantic Streak, He Would Probably Be A Doomsayer If It Weren't For His Being Situated In The Middle Of It All. As It Happens, He Ended Up Writing A Generative Music Algorithm That Sold On Auction At The Smithsonian For $5,000.

His Take On Tomorrow Is Nonjudgmental, Meditative, Imaginative. It Keeps Away From Unqualified Hope Or Outright Alarmism, Choosing Instead To Embrace The Indeterminacy As Food For Dreaming.

Ferraro's Friendship With Chaz Bear, Who Co-produced The Album, Began Modestly Enough: Bear Walked Into The Coffee Shop Where Ferraro Worked While Attending Uc Berkeley. The Two Became Friends, And When Ferraro Graduated The Following Summer, He Signed On As Touring Keyboardist For Toro Y Moi. Musical Bonds Were Forged Over The Next Few Years, And The Pair Began Collaborating On What Would Become Living In Symbol.

Living In Symbol Is A Series Of Rooms, A Choose-your-own-tomorrow Story. Step In And Peer Through Its Open Doors.

Opening track 'In The B' kicks off proceedings in no uncertain fashion. It's 100% wall shaker material, the type of techno music best paired with strobe lights and towering speaker stacks. It mesmerises with its low-slung undulating bassline and Detroit rhythms before giving way to some riotous old school Essex stabs and sharp claps. No messing, this is a certified 3 AM red light burner! Track 2 'Chocolate Biscuit' accelerates proceedings! Beginning with unfussy drums and a robotic, bleep-heavy melody driving it off into a wonderfully off-kilter direction. Its arpreggio'd rhythms may be brutish and wrestle a growling sense of menace out of the track, but the overall feel, however, suggests considerable care and attention has been paid to make it sound this way. There's clearly an uncommon musicality at play here to make something this complex feel so simple.
The BPM drops next on 'Jenny's Hall' but from the offset, there's enough funk and thrust in the motorised synth line to get bodies gently grooving without the beauty getting lost in the slower loop. This is blissed out, psychotropic techno - the kind of track where it feels like you're floating and falling at the same time, but all the while making sure you still remain fit for purpose on the dancefloor. Ian Blevins takes on remix duties this time and the Berlin-based DJ/producer offers up a sleek peak-time banger that fizzes, bubbles and percolates. He gives the rhythm on 'Jenny's Hall' less space to swing and ties it to a tight motorik beat turning it into a slice of shiny, modern techno but with extra shoulder-checking force. Its vibe drawing from a sense of outsider-party fun with a wry smile, and a knowing wink running throughout before bringing the package to a suitably left of field crescendo.

Last spotted tomfooling as Tryck & Ton with Edvin Edvinsson, and prior to that as Tiedye on Mike Simonetti's Italians Do It Better imprint, subversive Swede Anton Klint makes his debut on Simonetti's latest label 2MR with two more vitally trippy, heavily dub-informed originals.
'Mun' chugs at a stately 107. Rippling in places, squiggling in others, there's an unabashed FX weirdness bubbling and popping over the insistent shimmering dubwise groove. Tweaking, freaking but running at such a smooth temper there's space between the chaos, Anton is balancing some heavily hypnotic alchemy here.
'Strupe' takes things even lower and slower. A dusty bluesy chugger, unhurried-yet-relentlessly building with a great sense of cosmic drama, listen and marvel as more elements are precision introduced throughout the seven minute trip. A masterclass in modern day honkytonk.
Remix-wise we're thrusted into the later hours with a technoid twist from Andre Laos. Maintaining Anton's original's trippy charm and measured pace but re-amping it with grittier foundation, teasing risers and an insurgent synth strike, it's the perfect complement to one of 2MR's most singular releases to date. Open wide.

South London producer Ben Hauke takes a sonic excursion to South America via Lewisham for a new seven track release for Far Out Recordings. While littered with Afro-Latin percussion, and samples of obscure Brazilian, Cuban and Colombian records, Only Old stays true to Ben's distinctly London identity, with a record that fluctuates between house, broken beat and instrumental hip-hop.Having collaborated with the likes of Nubya Garcia and Joe Armon Jones, Ben Hauke stands at the electronic end of London's new jazz movement. Currently working on new releases with more of a focus on live instrumentation, Ben titled the release 'Only Old' as it leans more heavily on his foundational approach to music making: an idiosyncratic, almost brazen sampling style in productions bursting with personality.Always full of character and style, Hauke's productions have seen him likened to Theo Parrish and Madlib, with an altogether physical approach to sound. Title track 'Only Old' is moody broken beat with eerie sampled vocals and piano. 'Get Up To Get Down' is a light n' breezy summer house stepper, while Brazil-inspired 'Runners' sounds as if it was made for MF Doom. Only Old will be released on 180g Vinyl on 20th July. Sleeve design by fellow South London based artist Samuel Lloyd.

Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.

Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.

Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.

Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.

It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.

Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.

After their psychedelic tour to Alice's Wonderland on their adventurous second album, CRuNCH 22, the Tel Aviv based Rhodes, turntables & drums power-trio, is back with "LUSH FLUSH", a fiercer than ever EP of raw, in-your-face grooves.

Opening track "Cairo" places a persistent Egyptian orchestra sample on top of a Led Zepplin-styled heavy beat; "Osaka" sounds like an early 2000s indie-pop with vocals sampled from a japanese folk song; "Baba" fuses Middle Eastern leads with broken beats; "Minderbinder" is a quirky afrobeat and "Young & Happy" is an odd metered pseudo-house track. While this list might seem as eclectic as you can get, the band's unique instrumentation and live playing style manages to make it sound completely coherent.

On the flip side of this 12" vinyl are three remixes by some of Israel's finest producers: Markey Funk's space-rock version of Cairo; Mule Driver's techno edit of Baba; and Obas Nenor's house remix of Young & Happy take these tunes deep into the dancefloor, making the "LUSH FLUSH" EP an important tool in any DJ's arsenal.

To Follow A Long Awaited Single From The Legendary D'arcangelo Brothers, Happy Skull Has Turned To A Friend Of The Family And Former Bristol Scene Stalwart, Bass Clef.

The Long-serving Producer First Rose To Prominence Via A Series Of Inspired, Genre-mangling Albums And Singles On Blank Tapes, He Has Since Gone On To Deliver Hard-to-pigeonhole Material On Fellow Bristol Labels Punch Drunk And Idle Hands, As Well As Pan And The Trilogy Tapes Amongst Others.

Those Versed In His Bulging Back Catalogue Will Notice Familiar Stylistic Traits Throughout - Think An Endearing Looseness Built On Hardware Manipulation And A Playfulness Rarely Seen In Modern Dance Music. For His Happy Skull Debut He Takes On Acid House, To Great Effect. This Is Most Evident On Flipside "acid Hearse", A Constantly-rising Roller Built Around A Nagging, Tb-303 Style Riff And A Swinging, Off-kilter Drum Machine Rhythm.

Echoes Of Acid Can Also Be Heard In The Sparser A-side, "charnel House", Where Sharp, Psychedelic Lead Lines And Mind-bending Electronic Motifs Weave In An Out Of A Crunchy Rhythm Track To Create A Track That Is As Fun As It Is Weighty.

GMT (Phil Moffa, Guy Gerber and Seth Troxler) heads of the A side with a bang. The haunting strings of the original wind their way through drums reminiscent of jacking 90's house before the
drop of the classic Decompression bassline, chopped and spliced sure to make your mid section feel nice.
Mike Shannon touches down with a modular synth rework that takes the original and twists it into a modern acid trip and groove signature of his programming style. Like surfing a spaceship through a technicolor wormhole to planet funk.
Deadbeat shows his strength with a spaced out dub version. A master of his craft he delivers a reverb drenched, morphing grove that will transport your head to an indica haze.
Natalia Escobar stretches the pulls the track into an intense ambient time machine. This escape into the 5th dimension will induce shivers down your spine and make your 3rd eye burst into flames.
We hope you enjoy the work of these talented navigators! Safe travels :
Volume 3 is still to come and will feature DJ Rush, DJ Sodeyama, Quenum and S Katz (a.k.a.Katsuhiko).

"Naura Records is proud to be back to present another strong release This time some lost archive material that goes back to the very beginning of his productions. Bleak delivers 3 cuts of his custom recipe but somehow adds new unexpected flavours throughout this Ep even though staying on his formal path. Starting with the A side, Dust (Mix1) takes off with an introspective journey with detroit and classic techno. A real head turner with a classy ride and functional feeling Dust (Mix2) more for the deeper realm, accompanied with enchanted melodies as a twist. Finally on the flip, "Element" samples the heartbeat of a even deeper state, where one is allowed to lose yourself. Get a hold of something solid, for this is a tune that communicates a lot of subtle changes and honesty."

Here it is !

The long-awaited new LP from former Dubtribe Soundsystem shaman Sunshine Jones

Far from basking in Bay Area bliss, Sunshine has been busy redefining his organic approach to music making and sound synthesis into a rich and textured fresh take on the House blueprint - best realised in his elaborate & ever-evolving live shows.

Assembling these improvised pieces into a cohesive whole, that might well just be the best vinyl based representation off a full night out you're likely to hear this year.
From the emotive opener to last year's anthemic 'Fall In Love, Not In Line' closer, Home represents the fluid but refined garden of sound that's grown from Dubtribe's rich 90's foundation.

The artwork on this splendidly presented gatefold LP is a photograph of Sunshine performing live at the Garden Party in San Francisco by The Holy Mountain, the collage is done by Sunshine and the design is by Fernando_Graphicos. Accompanied by detailed track notes, with all equipment used to make the record alongside sonic schematic. Man and machine aligned for total transcendence !


SINGLE GATEFOLD LP

Echocord's Colour sub-label returns early June with a four- track EP from Eindhoven's Albert Van Abbe in the shape of 'Klangbilder'. Dutch Techno artist Albert Van Abbe has nearly two decades of experience under his belt in various forms of musical and visual expression, releasing on his own Vanabbe imprint, Figure Jams, Semantica and No Comment, as well as playing live and DJing at hot spots across the globe such as Berghain, Tresor, DGTL and Awakenings festival. 'Klangbilder 1' leads with a robust rhythmic drive, employing bumpy toms, shuffled hats and lumpy kicks at its core as vacillating synths, tension building drones and menacing pizzicato strings develop throughout. 'Klangbilder 2' takes things deeper next, retaining the dusty drums sound of the previous cut whilst stirring in airy ethereal pads and choppy, resonant stab sequences. 'Klangbilder 3' kicks off the B-Side with modulating synth whirrs, emotive organ tones and a muted drum tones throughout before 'Klangbilder 4' closes the package, taking things beatless and cinematic via emotive synth leads, droning subs and expansive echoes.

Crew member DJ Format has joined forces with MC Andy Cooper to produce a special little number for 45 Live Records. 'Get On
That', taken from Andy's most recent LP has been completely re-worked into a brand new track with Matt Format adding his
superb production skills. It's classic Format material, super funky, deftly arranged and aimed squarely at the dancefloor. Throw this
donut on and watch the floor ignite!
This 45 comes complete with an instrumental on the flip, ready to get busy in the mix if you're grabbing doubles.

Nemoy And Djemeia Met At Some Sort Of Band/singer Contest In Zurich. He Was In The Jury - No One
Knows Why - And Djemeia Ended Up Winning That Thing. After That, Nemoy Just Didn't Stop Bothering
Her With Soulful, Lo-fi House Tracks, Until Eventually She Gave Up And Recorded These Magical Vocals
Over Some Of His Tracks. A Perfect Fit, Right Away. Alexander "lay-far"s Fantastic Remix Work Takes That
To A Whole New Level. Buy This Record.

Den Hague's Dazion (who previously released a 12" on MFM's Second Circle imprint), with a 2 tracker for Safe Trip.
.
Label say:

''URGENT: THE SAFE TRIP ORGANISATION HAS TAKEN TO THE WATER IN A BID TO SPREAD THEIR CODED MUSICAL MESSAGES FAR AND WIDE. THEY HAVE RECRUITED A YOING OPERATIVE KNOWN AS DAZION, A KEEN WINDSURFER, TO DEVELOP A METHOD OF BROADCASTING THEIR ADDICTIVE AND MIND-ALTERING MUSICAL MISSIVES WHEREVER THERE IS A SUITABLE BODY OF WATER.

OUR OPERATIVES TRACKED DAZION TO A REMOTE SPOT ON THE DUTCH COAST, WHERE HE WAS SPOTTED TRIALLING THIS NEW TECHNOLOGY WITH HIS FAVOURED F2 DRAGON BOARD. AS HE RODE THE CHOPPY WAVES, WE WERE ABLE RECORD THE RHYTHMICAL ELECTRONIC MUSIC BROADCASTING FROM WITHIN THE BROAD. THIS MUSIC FEATURED THE KIND OF TRIBALISTIC, DELAY-LADEN DRUMS, SWELLING ELECTRONICS AND EXOTIC MELODIC REFRAINS THAT ARE KNOWN TO INSPIRE FRENZIED DANCING IN MEMBERS OF THE PUBLIC. WE HAVE CHRISTENED THE RECORDING DRAGON WAVE'.

WE LATER TRACKED DAZION TO A LIGHT INDUSTRIAL UNIT ON THE OUTSKIRTS OF AMSTERDAM. THERE HE CONTINUED TO TINKER WITH THE TECHNOLOGY, TESTING IT OUT BY BROADCASTING ANOTHER MUSICAL COMPOSITION. THIS WAS MORE POIGNANT AND MELANCHOLIC IN TONE, UTILISING SPAACEY ELECTRONIC MELODIES, GENTLY BOBBING CHORDS, HEART-ACHING GUITAR FLOURISHES AND A TOUGH BUT BROKEN RHYTHM TRACK. THE RECORDING - CODE NAME VX LTD' - HAD A HUGE IMPACT ON US EMOTIONALLY AND EVEN REDUCED ONE OPERATIVE TO TEARS.''

* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch

* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.

* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.

* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.

* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.

* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.

* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.

* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.

* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.

* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.

* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.

* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.

Salvador Font studied violin, clarinet, composition and harmony at the Conservatori Municipal de Barcelona, but very soon started to gain notoriety as a saxophonist in the rich jazz scene of 1940s Barcelona. Font would soon be playing tenor sax and clarinet in the Orquesta Gran Casino. He was in his early twenties and his hot swing technique was already praised through the citiy's scene, he would grow to be considered the best saxophonist in Spain by playing in many orchestras and combos, among them: José Puertas', Antonio Vilá's Virgina, Bonet de San Pedro's band, Pierre Michel, El Lirio Campestre, Los Marios, Luis Rovira y su orquesta, Orquesta brasileña Fon-Fon, Jaime Camino, Los Embajadores, Italo Leone's... With these and others, Font toured constantly, visiting many countries and even staying on some for long seasons: Mexico, Morocco, Switzerland, Egypt... Hungarian violinst of Turkish ancestry Kurt Dogan gave him the "Mantequilla" surname - he felt "Mantequilla" (which means "butter") fit Font's mellow yet swinging improvisation style.

Mantequilla y su conjunto

In the early sixties, "Mantequilla" had the chance to lead his own combo, Mantequilla y su conjunto, with which he was to record the three splendid EPs that are compiled on the present album. All these 7" have become elusive collector pieces in the record market, with sellers demanding from 200 to as much as 950 euros per copy.

In 1961 "Mantequilla" was at his best moment, his gigs at the Jamboree Jazz Cava had brought him back to the first line of Barcelona's jazzmen after he had been working abroad for a long time, and was approached by the Belter label to record an EP. On the sessions he was accompanied by Manolo Mercedes on trumpet, Pedro Ferré on piano, Rafael Lizandra on double bass and Rafael Verdura on Drums. The material chosen for the disc were four original compositions by Salvador Font which had a high West Coast flavour all over: "La Tuna Club", "Whisky Jazz" and "Jamboree" named after famous jazz clubs and "Azul Trompeta", dedicated to Manolo Mercedes.

In late 1962, after spending some time in Madrid working as members of the Italo Leone combo, "Mantequilla" and pianist Manuel Gas came back to Barcelona for the recording of the second "Mantequilla" EP, also on Belter. We find again Manolo Mercedes on trumpet, Pedro Ferré on piano and Rafael Lizandra on double bass, the drummer this time was José Farreras. Another news is that Manuel Gas also sat on piano and vibraphone. The songs chosen for the occasion were two tunes from the Art Blakey Jazz Messengers repertoire: Bobby Timmons' classic "Moanin'" and the Jacques Marray track "No Problem" from the soundtrack of the Les liaisons dangereuses film (mispelled "Not Problem" on the sleeve and label), plus the Salvador Font penned "Blue Note" and "Full de ases" - on "Full de ases" "Mantequilla" trades his sax for the violin, which he also mastered under high influence from Stephane Grapelli. The record was released on Belter in early 1963 and showed "Mantequilla" adding a certain aggressivity to his sound, in a soloist style which has been compared to that of tenor saxophonists Barney Wilen or Benny Golson.

1965 was the year of release of Mantequilla y su conjunto's third EP, now on the Discophon label. Mercedes and Farreras are again present in the recording sessions, joined by Ricardo Miralles on piano and Enrique Ponsa on double bass. Four original Font compositions make up the fantastic EP: "Blues 3/4", "Atmósfera", "Vat 69" and "Balada".

There would be a further EP on Belter, released in 1971 as Mantequilla Group it was a cash-in operation to take some redits of the ye-yé discothèque phenomenon, it gets quite afar in style from the jazz works of Mantequilla y su conjunto, so we just left it aside for the present edition.

"Mantequilla"'s career would continue, in 1968 he would settle in Majorca and form a swing band with Bonet de San Pedro and Manuel Bolao. He played in local orquestras and also with first class world acts like Gerry Mulligan, Tete Montoliu, Errol Gardner, a.o. He was even approached by Henry Mancini to play sax on The Pink Panther Theme in a gig Mancini did with his orchestra in Palma de Mallorca in 1975, He also joined his son Salvador Font (a demanded drummer himself who has played with Máquina!, Orquestra Mirasol, Música Urbana, Gary Burton Quartet, Georgie Fame, and many others) and his peers Carles Benavent, Emili Baleriola, Josep Mas 'Kitflus' and Jordi Bonell with whom he recorded his acclaimed "Mantequilla" album in 1987.

Now, for the first time ever, the legendary three ultra rare and imposible to find EPs by Mantequilla y su conjunto are compiled in a lavish vinyl LP with remastered sound, featuring liner notes and photos and a fantastic period inspired, three backflaped, front laminated sleeve. It is a stricly limited edition of only 500 copies and they are expected to sell out very soon, do not miss your chance of getting yours - it may be the last chance of chasing the Mantequilla sound on vinyl at a reasonable price!














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As The Title Suggests, Joakim Recorded This New Album Last Year At Studio Venezia, The Installation/sculptural Ensemble/recording Studio Created By Xavier Veilhan For The Prestigious 2017 Venice Art Biennale. Built Inside The French Pavilion & Inspired By The Grotto-like Merzbau By Kurt Schwitters, Studio Venezia Had Dozens Of Artists Create And Record There Over The 6 Months Of The Biennale (from Chassol To Brian Eno, From Joakim To Sebastien Tellier), Invited By Xavier Veilhan Himself With The Help Of Co-curator Christian Marclay.

With An Impressive Collection Of Rare Instruments From Medieval Horns To Rare Modular Synths (baschet Crystals And Percussions, A Buchla, A Clavinet...), Studio Venezia Was An Amazing Creative Playground For The Adventurous Musician. Those Instruments Were Captured By A Team Of Sound Engineers In The Best Possible Way Thanks To Nigel Godrich's (beck, Radiohead...) Mobile Studio Loaded With State Of The Art Vintage Recording Gear.

Before Going There In May 2017, Joakim Examined The Instrument List And The Specific Context Of A Studio Open To The Public Within An International Contemporary Art Exhibition To Anticipate His Creative Process. Instead Of Drafting Compositions And Demos Ahead Of The Recording Session, He Decided To Have An in-situ' Approach By Creating A System Involving The Visitors Of The Studio In The Composition Phase. Joakim Asked Random Visitors Of The Pavilion To Pick A Word, A Letter (between A And G), Tap A Tempo And Sometimes Choose The Instruments That He Would Play For Each Piece. The Word Was Translated Into A Chord Using A Transcription Table Joakim Invented. Hence The Song Titles Made Of The Given Word Plus The Name And Origin Of The Contributor. The Music Was Then Mostly Improvised, Based On Those Chords, Scales And Tempi. The Recordings Were Then Taken Back To New York Where Joakim Made Some Light Editing And Mixed The Pieces.

In Terms Of Influences, Joakim Tried To Channel The Spirit Of Proto-ambient German Heroes Cluster, 60s And 70s Modal Jazz, Japanese Evocative Minimalism And Drone Composers' Hypnotic Transcendence.

One Can Hear The Studio Through These Recordings, Which Was The Point, To Use The Studio As An Instrument, Like The Kraut Rock Pioneers Did. You May Hear The Floor Cracking, People Talking Or Coughing, And The Peculiar Quality Of Music Recorded In A Large Space With Its Acoustic Properties, A Rare Occurrence When Everyone Is Now Working From Small Home Studios And Major Large Studios Are Closing Down. This Album Also Marks A Return For Joakim To His Musical Education As A Classically Trained Pianist As You Can Hear Him Improvise On The Piano ( arms', air', dream'), Fender Rhodes ( trust') Or Harpsichord ( absense').

Following The Release Of The Studio Venezia Sessions, Joakim Will Create A Live Performance Based On His Experience In Venice. The Premiere Of This New Solo Performance Is Commissioned By The Villa Medicis In Rome For Their Villa Aperta Festival Early June. More Shows Will Follow.

In 2017, Benedikt Frey released his breathtaking debut album with the ESP Institute, Artificial, and now as we finally come up for air, we're more than proud to offer an eclectic collection of remixes that's nothing short of essential. Side A leads with H For Hysteria remixed by a beloved hero, Nicolas Chaix a.k.a. I:Cube, one of the most prolific and respected electronic artists Paris has to offer. His touch is considered and elegant, imbuing the track with a tasteful 303+808 backbone to support an array of patiently floating melodies and angelic vocal samples. Following this, Tolouse Low Trax of Du¨sseldorf's infamous Salon Des Amateurs remixes the same track, stripping instrumentation down to a skeletal palette of bass guitar and stabbing percussive punctuations, chopped up inna minimalist stylee that has become his beat-making signature. Side B leads with a remix by another Du¨sseldorfer, DJ Normal 4, whose re-imagination of Private Crimes takes us for an even more menacing ride, half-timing the tempo and skillfully rolling out a barrage of jungle snares from rave days of yore. Closing the release is the most aggressive remix of them all, a bonafide techno beatdown of the same track by DALO, the co-producing artist to whose haunting vocals lace the original version. Her dark vision opens with sparse industrial drums that blossom into a driving assault of raw machinery, definitely not for the faint-of-heart. An all-around solid release here, fun for all the family... more than just the tip!

The Splinta Experience was made entirely by hand. And a foot. The record is the result of Splinta's turntable tricks and layering. It's simply drumming and scratching arranged on the fly with a loop pedal, with added effects from a basic, pocket-size bass module. Low in fidelity and high in humming, buzzing and hissing. No SP-404 effects needed.

This is scratch music that takes us to the Electric ScratchHappyLand. It might as well be a tribute record celebrating 50 years of Jimmy Hendrix Experience's last album. And 22 years of Kid Koala's greatest mix-tape of all time.

Splinta's a Slovenian. He's been deejaying & juggling for more than a while. This is his debut on plastic.

Sleeve illustration, design and print all also hand-made by Splinta. Really wholesome hiphop shit.

Following the release of his Projector EP earlier this month, Daniel Avery has enlisted revered London producer Four Tet aka Kieran Hebden for a remix of 'Quick Eternity', taken from the former's long-awaited second album Song For Alpha.

Hebden flips the warm, undulating synths and crystalline percussion of Avery's original in his own inimitable style, building shimmering, skittering flourishes before a pneumatic final half.

Pietro 'Bingo' De Lisi and Alex Carpentieri aka Italian duo System of Survival, have long been renowned for their raucous live cuts, the likes of which have firmly established their name amongst fans of discerning house and techno. Regulars at Ibiza institution, Circoloco at DC10, the boys knack for a tune has also brought them to the attention of respected label outlets such as Bpitch Control, Freak n'Chic, Moodmusic, Rawax and Get Physical. However, their latest release - released here via the emerging Deset Music - might just be their best yet. The label's inaugural release sees the boys perk up with two stunning originals and are back by remixes from none other than two Chi-town legends, Boo Williams and Ricardo Miranda.
Opening up the sounds of the release is 'Nu Soul Era'. A raucous, deep cut that displays all that's excellent about System of Survival, this one goes firmly down the rabbit hole in search of kicks. Characterised by its quite brilliant and catchy baseline, the action is dark and trippy throughout, with a firm emphasis placed on a groove that never lets its guard down throughout. A majestic start to the EP, it gets us underway with some distinction.
System of Survival's other original is 'Funky Left Funky Right'. Again, the duo expertly showcase their penchant for melodic structures, this time via a bleepy baseline that's perfectly suited to peak-time floors. Ricardo Miranda's interpretation goes deep and off-kilter, but remains true to the original's full-on characteristics. A stunning indication of the producer's eclecticism and studio mastery, it's an intoxicating take on a track that's never lacking in suspense.

Seeing us out the door is Boo Williams' remix of 'Nu Soul Era'. The 'Mortal Trance' producer can always be relied on to bring the heat in his own inimitable way, and he does so here with the sort of panache for which he's best renowned. Injecting the original with every more bounce, he wastes no time in getting down to business, setting his stall out via an acid-led, 909-flavoured remix that offers up a tantalising version of what's arrived before. An all-round stunning EP of various shapes and sizes, there's plenty here for fans of discerning house and techno to get stuck into on this one.

When Michaela Meise performed at WestGermany at Kottbusser Tor in Berlin-Kreuzberg on March 20, 2015, accompanying herself on the accordion, I was perplexed. I knew her first album from 2010, which was about hymns (»Preis dem Todesüberwinder«, originally released on Clouds Hill, available as a download and stream through my label from July 2018 on), but what she was playing weren't spiritual songs! I wanted to put this music out on my label: the songs sounded sad, aloof and wistful but also proud, determined and unerring.

The album title »I am Greek« is a tribute to Melina Mercouri's album »Je Suis Grecque!«, which was released in 1971 when Mercouri was deprived of citizenship by the Greek military junta. Mercouri lived - like Mikis Theodorakis and many other cultural workers - in exile. Meise's album is dedicated to the chanson scene of post-war Europe, whose songs were popularly folksy, but also political. Some talk about the experience of war, the Shoah and labor migration. Michaela Meise has translated the Greek, French and Romanian songs into German (with the help of Aliki Marini and Carmen Gheorghe) so that the lyrics are understandable to a German audience, a gesture that was also common in the European chanson scene. More than half of the songs are by Mikis Theodorakis. He knows the translations and new recordings, gave his blessing and just noted a wrong tone ... The other pieces on the album are by the French artists Barbara and George Moustaki and the German musician Alexandra. There is also a Romanian folk song.

The album was recorded by Michaela Meise together with members of the group Isolation Berlin as well as the guest singers Carmen Gheorge and Dirk von Lowtzow (Tocotronic). The producer was David Specht (Isolation Berlin).

Michaela Meise and me both have intimate relations with Greece - Michaela has innumerable holiday memories with parents and brother, I have a friend who lives in Athens and whom I have been visiting regularly for about ten years now. This friend, the graphic designer Vasilis Marmatakis, styled Meise's album using an impressive, scary photograph taken in May 1985 during the occupation of Polytechnio Athens. Together, we opted for an elaborate packaging made by a bookbinder, a so-called Japanese tip-on-gatefold cover. The packaging reminds us of the records that were made in Greece for export and taken by German tourists as a souvenir back home.

Peter Croce takes the baton back from Blair French for Rocksteady Disco's 9th release entitled Agape. It's vision is similar to Standing Still Is An Illusion, with Peter's unique take on this Afro-Brazilian deep house three-tracker. The a-side holds "Agape (Love Wins)", a deep and emotive house cut, with driving drums and lush strings that tease until they climax. Kicking off the b-side is "Maracatu Detroit", an upbeat love letter to Peter's home city produced through a bouncy Brazilian-funk lens, a track that is sure to bring a smile to the dancers. "Bufe Bufe" closes the release, featuring Peter on live electric bass/guitar and afro-stomp drum execution, brought to a peak with Yoruban talking drum + vox. Mr. PC roots the growing effervescent world beat sound with an explicitly Detroit and Chicago voice.

Little Boots' latest all female powered EP 'Burn' was released on 6 April 2018 and reached Number 1 in the UK, US and Canada in the iTunes Electronic charts within its first few days of release. Just in time for warmer weather, Little Boots has teamed up with a variety of artists to remix her 'Burn' EP, with Metronomy's Anna Prior's remix of 'Eros' the lead single from the remix EP. Anna takes Little Boots' new wave of electro pop and disco rhythms and punts them in a more house direction, with beautiful string underlay. Eros (Anna Prior Remix) is released on a bright orange cassette, and limited to only 300 copies. Period.

Another much welcomed reissue of the late 70's funk laden, disco two tracker from Splendor. The A side 'Take Me To Your Disco' is emblematic of disco records from that golden era where big bands and big budgets were rife. Yet there's an interplanetary twist to this one, with the mysterious, eerie, spacecraft sounding intro paving the way for a tale of extraterrestrials wanting to get down at one of planet earths discos. You can tell this came from an era were disco really was taking over Flip it over and you've got the mighty Special Lady. With Philip Bailey, of Earth, Wind and Fire fame, on production his style comes through strong in the vocal arrangement with the level of feeling and power he squeezes out of each voice. A chance to add these two anthems to the collection!

Quarion is back on Drumpoet with an enchanting new EP that leaves nothing to be desired. Cobblestone takes the dancer on a deep sensual journey, builds up continuously and subtly into a truly emotive peak. Sunday Night Pt. 2 tops it by captivating with rhythmic chords, which remind of the early 90ies. Jamaican Morse is a driven drum track, spiced with dubby sounds and a higly addictive beat. Once again, Quarion proves his outstanding quality.

Laura Jones returns for another EP outing on her label. Despite weighing in with an incendiary first release that found Mandar's SAM remixing Infuse's Karousel and a follow up from Jones that included one of the sadly departed Trevino's final remixes, the label took a backseat to the birth of her daugter in 2017. A year on however and the pace has picked up with an EP from renowned modular wizzard Kamran Sadeghi at the start of the year and this latest EP from the label boss. The two originals are a snapshot of her evolving style. Pathway places skippy beats and sub heavy kicks under a soaring chord sequence, abstract vocal samples and ethereal pad riff. Tough Crowd takes a moodier approach with a menacing sub bass and drum arrangement, bubbling filters building to a hook that unfolds halfway through to create a moment of formidable intensity. Lee Renacre's recent revival of his 100 Hz alias courtesy of well received outings on Slow Life and Bosconi among others, has found the producer on career-best form and he turns in a sublime remix that makes deft use of delicate top lines and bubbling oscillators to create a powerfully heady atmosphere.

"Things take a psychedelic turn for SchleiBen 7 with a welcome to the label of arch exponents of mind expansion in NYC's Georgia and the unlikely but no less diverse inclusion of Balearic stalwarts A Man Called Adam. Having Georgia in the series might not now be a surprise, however discussions with this open, genuine duo started during a visit to New York over 3 years ago and so here, finally realised in this fluid journey of confident pace and harmony, is the best of their freeform evocations. A duo in the everyday sense, Brian Close and Justin Tripp are video / music production teamsters of unnatural talent. Having gained a status of their own that has seen them release for the likes of Palto Flats and FTD, the five pieces that form their contribution drip with psychedelic intent. Culled from archives, the interest is how the tracks - made over different years, locations and situations in life - meld in to something poetic simply by being placed within a specific format. Avant-chimes ebb to rhythmic pulses and erudite teachings before dark percussion and Eastern melodies reach a clattering, but gentle finale. With an upcoming collaborative album with Secret Circuit due on the label later in 2018, as well as recent works with RVNG Intl's Matt Werth and recordings for Sacred Summits' brethren Firecracker Recordings, it's a warm, effusive glow of a welcome. In contrast, the inclusion of A Man Called Adam in the series may indeed surprise but is a false comprehension. The "Sketches" included here show AMCA away from their Balearic pop incarnation of the last thirty years and towards the academia that both members Sally Rodgers and Steve Jones have pursued in the last decade. With both completing PHDs, Sally ('The Diachronic Impact of Technology-Led Abstraction in Oral, Written and Music-based Poetries') is a senior lecturer at Leeds College Of Music, while Steve ('Mobilise: The Carry Principle, Sound and Mobile Media') is based out of de Montfort University, now is the perfect time to highlight the diverse sound environments they have been working in. The music that makes up these recordings are drawn from sound works and audio experiments completed in recent years. From sound toys and apps to home made glass organs and electro-acoustic sound, custom patches to spoken word manipulations, the sketches are excerpts - some evolved from commissions for the National Science Museum, BBC Radio 4 and live performances with the world renowned video artist Milosh JL - fused especially for this release. Bringing these generated pieces in to an audible "mix" creates a discourse of their work in performance, interactions and visual media. An intellectualised album therefore, but still in the premise of the series to allow artists to present something new, unique, discrete, hidden even, all with the aim of giving the recipient the chance to sit back and (un)listen. "

Newly signed to Rhythm Rollers, Mr. Wonderful & Technical J introduce The Boss, a 7' vinyl scratched masterpiece with outstanding production and a compilation of diverse and unique scratch samples to DJ/Producer to utilize.
This unique piece of vinyl has a 'Skip Proof' scratch side dedicated for the DJ/Producer with over 4.30min of vocals, drums, synths, bleeps and basses that can make any DJ/Producer standout from the rest.
The Boss is a live Studio scratch track that will have any crowd rocking.  Super low sub frequencies, punchy drums and ear pricking scratches that only Wonderful and J could produce.
Samples
Choosing the right samples for our record was the major focus for this release. We wanted DJ's to standout from the crowd, so spent considerable time getting vocalists and secessionist in the studio to record some very individual samples for DJ's to use.
Skip Proof Technology
'Skip proof' technology - is a way of recording scratch records so that they do not skip from one sample to another. This is achieved by first calculating the time it takes for one revolution of the record (1.8sec). Once you have this information you can then customise your DAW to that specific measure (133.3333bpm). Then layout your samples so they repeat at the start of each bar.
Extra Deep Grooves
The record plant cut extra deep grooves perfect for the more aggressive style of scratching we all love (these will not jump). Making sure the weight of the vinyl was correct giving that nice feel and long lasting audio sound.

At a time when on every street corner, adolescent wannabe gangstas believed they had to tell everyone and their dog about their greatness and the inferiority of all others, there was a cadre of Munich-based Hip-Hop artists producing incredibly fresh and imaginative music, inspired, of course, by the golden era of the 90s. They played gigs in small clubs in front of some dozens of people, spread mixtapes and Eps and were celebrated by their friends and the rest of the scene. The world took no notice - until now ! Tramp Records, specializing in unearthing forgotten pearls of musical art, documents with "Golden Hits", an era of Munich underground Hip Hop which flew completely under the radar, spanning ten years from 2005 to 2015. The musical bandwidth and quality of the tracks is astonishing, but so much more could have been possible. Much of this music remained fragmented or unreleased for a host of reasons, families, stressful jobs, musical reorientation, and even lost hard disks... but one story has a happy ending! When Masta Ace had a live show at the legendary Atomic Cafe, Primatune's Fid Rizz was able to hand over a CD with demo beats. Unfortunately the CD was blank by mistake! But the curiosity of Masta Ace had been piqued, and he got back to him, the rest is history. Features of other stateside rap heroes like Wordsworth or Declaime followed.

The very best of this era, including tracks never before heard and ideas remaining fragmented, has now been compiled by Tramp Records to take you for a fascinating listening journey.

Hip Hop, as it was since it's inception in the Bronx, fresh and real, and made with passion by neighborhood kids spitting truth about life and the struggle!

Key selling points:

- including many unreleased songs
- the vinyl LP comes with a full album download code

As naturally as X-Altera came to be, the music itself is a unique refraction of styles and bold, contradictory approaches. But it all blends together uncannily well—maybe because of the decades of production experience that went into it, or the holistic mindset Mullinix took from the beginning. The name itself reflects as much. "X-Altera references two things. It comes from Latin—ex altera—which means 'from or of the other side.' Which could be a metaphysical thing, or you could say it's jungle ethics brought into the techno world. And I spelled it this way as a reference to X-101 and X-102, the Underground Resistance project of Je- Mills, Mike Banks, and Robert Hood." Detroit meets London, deep techno meets drum & bass, old meets new—X-Altera unites these threads in order to take them in unknown directions.A fresh debut from one of the most vital electronic producers of the last 20 years, Tadd Mullinix (Dabrye, JTC, Charles Manier), who looks to the past of techno and jungle to find a new ways forward.

HESITATION is the culmination of a slow-burning penpal friendship between Reckno founder Chris Catlin (aka Yaaard), and Kit Records honcho Richard Greenan (sometimes Devon Loch). Meeting in London in 2016, the pair recorded a woozy slab of improvs, using a battered organ, guitars, a saxophone and whatever else came to hand. These takes were then stitched together into a seven track LP over the following two years.

Veering from shoegaze to crystal clear electronics and fuzzed out jazz, the results pull two ways: slow and fast, meditative and exuberant. Here is a place where time bends and bubbles, drunk synthetic choirs follow an endless skywards pulse, and plaited melodies hover in warm air like motes of dust.

Recommended if you like the heart-on-sleeve whistle alongs of Tenniscoats, Zappa's foggier guitar serpents or the creeping black magic of early Sebadoh. HESITATION is a joint release between Kit Records, Reckno and videogamemusic.

Super Trio From New York, Los Angeles & Charleroi! Single Taken From Their Long-awaited Second Album To Be Released In May 2018 On Badasonic Records!

Remastered for 2025

Drumcode has become a label synonymous with some of the most-cutting edge and forward-thinking techno over the last 20 years. Their artists include both emerging and established names, and one of those well recognised is Enrico Sangiuliano. Now announcing the very first concept album of his career.

iomorph is born. A very special concept album designed to take the listener on a journey of evolution. A musical adaptation describing how biological and technological advances over numerous generations of time have all started from the same first step in our own biological journey.

Divided into 4 parts, Organisms opens with atmospheric tones, gradually blending complex textures and timbres to begin the evolutional process. The beginning of this section combines full sounding arrangements before stripping it all back to basics. From here it dissolves into the atmosphere. Organisms then progresses into a break-beat influenced, down tempo track using synths to add complexity to the straight, broken rhythms.

Galactic, futuristic elements are found in both tracks in Cosmic Forces. Upbeat, groovy, electronic synths resonate, before 'Hidden T' brings the tension to get things pumped up with stratospheric swirls and twirls to lay down one of the most mind meltingly deep drops.

Metamorphosis is mysterious, its opening beat is a deep and piercing tone that sends the listener into a sensory awareness of their surroundings before breaking into a fully charged, techno track, with Enrico's trademark sounds and textures.

All evolution has an ending.

Two Probabilities shows the positive, starting out evocative and emotional, with a gentle harmony, gazing towards a 'New Dawn'. On the other side of the spectrum lies the negative. This is influenced with a rhythm that articulates the beat of death, mathematical, cold and metallic in texture, it shows the unsustainability of its nature, with a hectic, anxious break beat influenced ending.

After three major releases by Tell, Nachtbraker and S3A, its time for debuting Italian artist Verner to close our beloved Trophy Quartet. This Milanese key virtuoso is ready to blow your mind with this eccentric yet humble ep, taking you on an emotional journey. Long stretched pads, playful chord progressions, organic percussion all produced with analogue 70's and 80's vintage synthesizers and drum computers in Verner's studio reminding us a bit of Harvey Sutherland and Nu Guinea's style. We're talking groove, funk, jazz but also house and soundtrack style compositions which together form a very complete record carefully A&R'd by Nachtbraker.

Drop the needle on the A side and you'll start off with L'inizio, a majestic piece of synthwork. Hurdling through different emotions and vibes, this could easily be the intro of one of your favourite 80's tv series. Upset takes you on a happy groovy tour whilst Crash of the Web Era and The Motion Pictures take us on a trippy and ambient voyage that is hard to wake up from. When flipping the record to the B side, Verner is stepping back into the groove and funk with Tecladista, arguably the dance floor hit of this debut EP. Starting of with again a majestic synth intro Area drops into a festive funk and jazz bomb with some intricate synth work treating us with some lovely solos. Closing this versatile EP is Late Night Job, a deep, deep tune with a thriving baseline and mesmerizing synths.

We suggest to don't sleep on this one and have a listen to this piece of art by the very talented Verner.

Scottish Producer, Stephen Lopkin Is Back On M>o>s Deep With A Great Double Pack Of That Gleaming Sound We Love Him For! Tip!
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Having Released Two Eps On The Label Since 2014, Stephen Lopkin Now Steps Up To Mos Deep With A 2x12" Release Entitled Clyde Built, Recorded In His Home Town Thornliebank. The Scottish Artist Has Been Making Prickly House And Techno For Almost A Decade. His Style Is Serene And Slick, And Across The 10 Tracks Here He Manages To Conjure Tracks That Work In The Club But That Come With Plenty Of Cerebral Qualities.

He Never Made A Secret He Takes A Lot Of Influence From Early Detroit Techno, Even Several Track Titles Pay Direct Homage To His Musical Heroes Like Derrick May, Kevin Saunderson, Carl Craig And Also The Track New Euro Politique Is Made In Memory Of The Late Uk Producer Matt Cogger Aka Neuropolitique.

'welcome To Nowhere' Kicks Thing Off With Languid House Grooves And Jittery Percussion, 'matrix' Is Awash With Swirling Pads And Astral Grooves And 'new Euro Politique' Is A Blizzard Of Kicks, Panning Percussion And Arpeggiated Synths That Glows Bright. There Are Darker, Driving Cuts Like 'fridays At Pure', Trippy Offerings Like The Title Track And More Thoughtful And Pensive Jams Such As 'qinosen'. The Final Three Tracks Are Busy, Electrifying Pieces That Fire Every Synapse With Their Sci-fi Fx, Crisp Drums And Cinematic Atmospheres.

The Whole Album Is Wrapped Up In Majestic Synth Work And Every Track Reveals More Layers With Each Listen. Offering A Sublimely Complex House And Techno Sound, These Tracks Look Back To Go Forwards And Do So With A Real Timelessness.

One of the world's most iconic drum & bass acts, Pendulum have announced their return for 2018 with a brand new album and brand new live shows. 'The Reworks' is a project unlike any
other released by the band before, and marks the end of their seven year hiatus, officially launching on 16th March.

To mark their return, the band have announced their first headline show since 2011 at London's unique new space, Printworks . The show sold out in under an hour and will be both an auditory and visual spectacle for fans.

Also announced is Pendulum's return to one of the UK's biggest events - Reading and Leeds Festival . Headlining the BBC Radio 1 stage - the same slot they graced the last time they played in 2010, the shows mark a welcome return for the band in the UK.

The news will undoubtedly be well received by Pendulum 's legions of fans, with the band having hinted at a comeback by returning to the live stage last year, headlining the UK's South
West Four and Nass Festival , and confirming for this years Snowbombing festival in Austria.
For 'The Reworks' , the internationally-renowned band have tapped some of the most innovative talents from over the past few years to deliver dynamic and refreshing interpretations of their
biggest hits and some of their personal favourites. Friends and collaborators Skrillex , Icarus ,Knife Party and Matrix & Futurebound take their turn on this who's who of electronic music
royalty, whilst Noisia 's explosive cut of the now-iconic track 'Hold Your Colour' will be available with the album preorder from the 16th March.

'The Reworks' album will be available in both CD and vinyl formats from the 29th June.

This exciting announcement marks the beginning of a new era for Pendulum , who have long been considered one of electronic music's most important and pioneering acts, famed for their
no-holds-barred live shows. With more huge festival dates TBA across the summer and new originals on the horizon, 2018 marks the an exciting chapter in Pendulum's already lengthy career.

Noisia' s remix of ' Hold your Colour' , the first single to be taken from Pendulum 's 'The Reworks' album, is set for release on 16th March alongside the preorder, with the full album set to drop on 29th June.

Artist and musician Alex Puddu, whom many already know for his "Danish Pornography" series and solo records, has written and produced the second album for his soulful band The Moonfires. A second coming that showcases strong R&B classic melodies, Afro vibes and tight funky grooves that take the listener up to a level of great bands like New Birth, Ohio Players, Mandrill, and Black Heat. This is Alex Puddu at his groovest!!!

Word Of Advice To Funk Lovers, There Is Not A Minute To Lose. Get On Board Of The Big Hustle's Spaceship. Before We Take Off, Let's Do A Little History. The Band Was Founded In 2014 By Bass Player And Composer Sébastien Levanneur And Its Aim Is To Bring Together 70's Old School Funk With The Hippest Actual Sound Laced With Influences Spanning From Steely Dan And Headhunters, To Snarky Puppy And Soulive. With Mighty Horn Players, A Rock And Funky Rhythm Section, The Big Hustle's Music Has A Very Large Variety Of Soundscapes.

The First Destination Takes Us To The Washington, D.c. Area With turn Up'. The Groove Is Clearly Go-go Music Flavored With The Trademark Sound Of Cowbells And Of Course It Reminds Us Of Zapp By The Use Of The Talk Box On Lead Vocals, Performed Here By Saad El Garrab. And Don't Miss Out Shaun Martin (snarky Puppy, Erykah Badu, Kirk Franklin Amongst Others) As A Very Special Guest Performing The Talk Box Solo! Second Stop Is a Curse, A Blessing'. It's An Instrumental Very Much In The Freddie Hubbard Vein During His Cti Years. The Last Leg Of The A Side Ends With An Instrumental Interlude Titled flying Donut'. Double Tribute To Jay Dee And Flying Lotus, The Music Is A Simple Hip Hop Loop Based On Samples.

The B Side Takes Us Back Into The Past With Two Brilliant Covers, Involving Rod Temperton The Late Great British Songwriter Who Scored Some Of Michael Jackson's Biggest Hits. Now The Idea For This B Side Is To Do The Opposite Approach From The A Side. Taking 70's And 80's Original Music And Make Them Travel Into Time To 2018. We First Land With A Heatwave Song Named the Star Of A Story' From Their 1976 Central Heating Album. Track 2 Is A Herbie Hancock Song Named gettin' To The Good Part' From His 1982 Lite Me Up Lp. This Time Traveler Ep Journey Ends With An Interlude. Called gimme Dat', The Song Deals With The Need Of New Music, New Sound.

Again, This Blend Of Deep Rooted Funk Laced With A Contemporary Edge Is To Be Consumed Without Moderation. And Do Not Forget That E.p. Also Stands For Extended Pleasure.

Tresor is glad to announce the release of Manni Dee's first album 'The Residue', on June 15th.

Based in London, Manni Dee is held in high esteem by many for his spotless production and relentless DJ sets. The gleaming rendition of Manni's creative vision stuns. He knows sounds inside-out, making his studio a favorite stop for many to receive Manni's expertise.

The production of 'The Residue' was inspired by the city of London and its general living conditions. More particularly, how social cleansing, inequality and the political situation generally - and on a holistic scale - informs internal and external locus of control.

'The Residue' is disconsolate, and with such heart-wrenching tracks as 'In Communal Solitude', 'Vicarious Living' or 'Submit. Breathe.' or the mutinous 'At Mercy of the Muse' and 'Paroxysm' Manni Dee clearly cuts out his insurgent statement.
In parallel to his regular DJ schedule, Manni Dee will also take his sonic proclamation in its live PA form out to the most advanced stages starting this summer.

Belgium's favourite underground house DJ Red D celebrates the 10 year anniversary of his We Play House Recordings label with 6 vinyl samplers containing new tracks and some very wanted gems from the catalogue. Artists featured are San Soda, Fabrice Lig, FCL (featuring Lady Linn), Kiani & His Legion, krewcial, Reggie Dokes, Raoul Lambert & Nacho Marco, Art Of Tones and many more. Voices Near The Hypocentre
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About We Play House Recordings

We Play House Recordings - WPH - is the work of Belgian DJ & producer Red D. Started 10 years ago to release the music of his friend san Soda, the label had (and has) the aim to release house music in all its shapes and forms. WPH's house ethics date back to the days where house was just a name for music that was played in clubs. There is no such thing as tech house, no such thing as deep house or minimal, there is simply (house) music, good or bad.

We Play House Recordings is lovingly led by Red D (real name Bart Van Neste), one of Belgium's leading underground music figures. Be it in his role as DJ, A&R, promoter, music panel host or general nitelife instigator, Red D does things with passion, humor and a healthy dose of keeping-both-feet-firmly-on-the-ground...with a twist...

WPH was started in 2007, so it takes no math genius to know that in 2017 the label is celebrating its 10 years anniversary. Running from the spring till winter 2017 this anniversary will be celebrated with special vinyl releases, a triple CD, a digital compilation, a Spotify playlist and a series of label nights all over Belgium and beyond. True to form the compilation will have WPH classics but also a BIG bunch of new material from core artists of the label like Locked Groove, San Soda, Kiani & His Legion, Fabrice Lig and many more.

Following the success of Joey Negro's 'Produced With Love' album, four of the album cuts get the remix treatment from an all-star cast of producers each with their own particular flavor.

Kicking it off Chicago legend Ron Trent takes the original funked out, Arthur Russell flavoured, 'Distorting Space Time' and turns it into a deep house groover complete with a strong walking bass alongside adding a soul & richness to the elements that only he knows how. Crackazat step up next to take on 'Lactican Boogie' crafting it into an uptempo piano driven, emotionally charged stomper sure to do some damage this summer.

Flip it over and Lay-Far delve into 'In Search of The Dream', adding squelchy synth stabs and a deep bass to give a more hard hitting edge to the track whilst retaining that disco flavor with Angela Johnson's emotive vocals.

Closing out the e.p. Fouk come full circle, bringing their hazy, jazz tinged style to 'Distorting Space Time' - building the remix around those warm Rhodes chords, shuffling rhythm and dynamic bassline.

Gold once again from the Z Records camp!

Longtime friends and production partners Ali Çakir and Soren Jahan launch their new label Hörru with a 4 track EP. Hörru will focus on releasing vinyl from Düve as well as personal projects from Soren, Ali and friends. Konsekvenser is a reduced house banger for the club, 808 live jam style. Nej takes things a step back and with a little more attitude, saying no to you in the crowd. Uzay Kök is a hard dripping trance exploration. Beluc closes the EP with a dialog between voice, flute and Eliot Bates on the oud.

In 1982, a group of friends deep into post-punk, jazz and dub got together in Mad Professor's studio and lay down their youthful interpretation of a NYC disco cut. Their unique take included trombone, vibraphone, piano, and an ital dose of tape delay. They called the song Trouble and released two versions (vocal and dub) on their friend Tony McDermott's !Drum! label with artwork inspired by Russian Constructivism. TIP!
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The group, comprised of Justin Langlands, Chrysta Jones, John Schofield, Tom Dixon, and Dave Killen, decided to call themselves A-Team, having no idea that Mr.T and Co. would make them almost totally ungoogle-able 30 years later. The result of their adolescent studio idealism sounds akin to otherdisco misfits like Arthur Russell, Maximum Joy, Talking Drums and wouldn't sound out of place on legendary NYC label 99 Records. Remastered with an extended Club Dub formaximum dance-floor action.

"it Sounded All Right Through Two Walls, So What's The Problem" The Final Words Of 'two Walls', The Fast And Very Catchy Leading Track Of Dj Marcelle's New Record, Sum Up An Aesthetic Almost Lost In Today's Musical Climate, Where Often A Pleasing Attitude And Overproduced Music Sadly Rule, Even In So-called 'alternative' Circles.The Quote Comes From The Late Mark E. Smith (1957 - 2018), Legendary Frontman Of The Fall, And Is Taken From Some Of The Conversations Marcelle Had With Smith Over The Years. Smith Is Referring To A Recording Process But For Marcelle His Words Stand For Something Bigger.Although The Fall Have Been With Marcelle During Her Whole Musical Life (which More Or Less Started In 1977 During The Punk Wars) And She Has A Deep Love For Their Music, It Was Especially Smith's Attitude That Inspired Marcelle.Smith Was An Iconoclast, A Surrealist Dadaist Breaker Of Conventions In Music And Art More Generally. A Magically Creative Individual, A Brain-twisting Wordsmith. An Attacker Of The Pretentious And Dishonest Elements In Society And Music Scenes. An Autodidact Whose Singular Vision, Fired By Both Humour And Sharp Observation, Found A Voice In A Body Of Work Unlike Anything Else.The Day After Marcelle Heard Of Smith's Passing She Created A New Track, Lauding Smith, Whose Name Was An Institution In Itself: Mark E. Smith! Therefore, The Repetitious Use Of A John Peel Sample Pronouncing Smith's Name Celebrates The Life Of This Totally Unique Artist.This Track Opens With Another Smith Quote: "you're Probably Right, Marcelle". And Indeed, The Dutch Producer / Dj Shares Many Of Smith's Attitudes In That She Tries To Stay True To Herself, Doesn't Think Too Much About Audience Expectations And Always Tries To Stay Ahead Of The Public. 'punky' Energy Combined With The Avant-garde And Always Going Forward With Fresh Productions And Dj Sets. To Make And Play Music Which Reflects The Present And Doesn't Rest In The Comfort Zone Of One Dimensional Party Music.There Are Five More Versions Of 'two Walls' On This Ep, But They Differ So Much From The Original That You Can Count Them As Different Tracks. 'dubai Muezzin Dub' Was Partly Recorded In The United Emirates When Marcelle Played There Earlier In 2018. 'problematic Dub' Is Pure Industrial Techno Torn Apart By The Wildest Dub Effects, Its Coming And Going Of Sounds Equals A Ride In A Calypso. 'studio Door Dub' Celebrates The Repetition Of The Fall And The 'emerson, Lake & Palmer Symphony Dub' Is Both Pure Avant-garde And Hilarious Fun. And Belp, Who Owns The Jahmoni Label, Comes With A Wicked Abstract Noise Remix. The 'for' Ep Is The Fourth (get It) Vinyl Release Of Marcelle On The Munich Label Jahmoni Since 2016. As Always, Sleeve And Label Are Very Colourful. Both Labels Show Special Photos: On One Side We See An Old Picture Of Smith Embracing Marcelle, The Other Side Depicts The Label Of A 1985 The Fall Test Pressing That Once Belonged To John Peel But Which Was Stolen Out Of His Car In Amsterdam. Later Marcelle Found The Record On A Flea Market, Recognising Peel's Handwriting. "when I'm Dead And Gone" Smith Sang In The 1979 Song 'psychik Dancehall', "my Vibrations Will Live On, In Vibes On Vinyl Through The Years. People Will Dance To My Waves."Now We Can Listen And Dance To A Vinyl 'for' The Incomparable Mes, Made With Total Commitment And Which - Like The Fall - Defies Comparison.

From the incredible Robb Scott album Siren' comes a new single Neptune Atmosphere (You Didn't Feel My Love)'. Robb Scott is a UK musician, singer, songwriter, composer and producer who on this single features Gina Foster on lead vocals. With the album version already established as a soul gem, this new single takes the song further into the dance sphere with new mixes by Phil Asher/Mighty Zaf and 2000 Black. Phil, from Restless Soul, is one of the most prolific DJ/remixers over the last 25 years, Mighty Zaf has become renowned for his DJ edits and take on Disco & Boogie as a DJ, remixer, compiler (Deep Disco & Boogie, Private Wax etc). The 2000 Black mix is by Dego who has been on the broken beat scene since the 90s with 4 Hero and continues to be one of the most exciting remixer/producers in that genre

Beautiful 1 LP Edition with 350g cardboard old Stoughton tip-on sleeve, Sticker - MKWAJU ensembleâs highly sought-after album reissued on vinyl for the first time since 1981. Also available on CD. - 33 rpm LP mastercut by Emil Berliner from original tapes! WRWTFWW Records is over the moon to announce the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takadaâs MKWAJU ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios and housed in 350g old Stoughton tip-on sleeve, and a digipak CD. A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takadaâs exploration of minimalism, African rhythmic tradition, and ambient music. The album takes its conceptual inspiration from the tamarind ( âmkwajuâ in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the regionâs culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambientâ¦the ideal companion to her majestic Through The Looking Glass opus!

Unnatural, uneasy, unexpected. 'The Great Filter' keeps you on your toes constantly, it makes your fingers tingle with anticipation and the hairs on your arms stand up from the tension. It is eerily calm and controlled, while it takes you to faraway places in the twilight, that don't actually exist. Subdued, bright yellow light with no sun in sight. Wide plains with an inherent structure that can only be illogical. Unorganic sounds, alien voices, excited synths and sobering organs. Reality is so mundane. The way we are now expecting it from Krink, he does what is unexpected and stretches conventions somewhere around techno and deep house. The music is driven by imagery rather than song structure. The EP puts cutting rhythms over comfort and sound over beauty. Like a focused dream, it is concrete and abstract. Let's get found in the universe. Vital Sales Points: DJ promo, German print & online, UK/international online

Mehmet Aslan returns to his own Fleeting Wax imprint, in order to deliver the first in a series of releases as part of a new project, ghost station, including a collaboration with fellow Turkish singer, songwriter and vocal producer, Idil Mese.


Efsun, translating to enchantment in Farsi, is the sound of Idil Mese transforming an understated, somewhat folksy instrumental of Aslan's into a bewitching and subtle musical spell. Initially tense,
Idil Mese's vocal spell wraps beautifully around a brittle guitar motif, inches above a sea of atmospheric ambience. In it's second half, synthesis and sitar unite, taking efsun into more revelatory territory, employing a playful melody and warm, cosmic textures.

Meanwhile, on 'ghost station', from which the project takes its name, layers of meaning and recording slowly unravel, revealing a compelling soundscape. Recorded in one take, and completed across one night, 'ghost station' began with Aslan and his sampler surfing the busy radio waves of Berlin, eventually settling on a beautiful score broadcast on one of the city's classical stations. Just as soon as Aslan had the frequency on lockdown, the signal disappeared unable to be retrieved quickly enough, if ever. Loosely inspired by the work of Swiss visual artist and musician Pipilotti Rist, the track instead unfolds woozily like a dream, undulating through offbeat bleeps, ghostly voices and improvised swells of noise, while still maintaining it's own quietly propulsive groove.

Sounding more like himself than ever on his own Fleeting Wax outlet and incorporating an impressive range of musical techniques over just two tracks, 'ghost station' further establishes Mehmet Aslan as a restlessly inventive musical talent. -Text by John Thorp

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

"Thoughts towards change, evolution, learning from mistakes. Take advantage of the time that we have ahead of us as an opportunity for development, to be who we want to be and not necessarily who we were yesterday. Having absolute control over our subconscious and unconscious mind will allow us to achieve success."

2x12"

The Gates of Charon, an original soundtrack, is the long-awaited result of two years of work by a multitude of outstanding producers from the bass music and drum 'n bass scenes. This deep, dark and weighty release comes at you with 26 tracks of professional soundscape production to tell a story of the fusion of the mystic and scientific to manipulate dark energy and explore the multiverse. This unique project will take listeners on an interplanetary journey of the highest order through sound and emotion. This is a limited edition release in a double gatefold full-art cover with 2 X 12" two-color 180g vinyl (limited to first 300 copies), with download codes (including bonus instrumental versions).

For its third release, Here To Hell welcomes Melbourne (via Adelaide) veteran, Rambl, and his incredible groover 'Doss'.

This third release on the label happened purely by surprise, and what a discovery! The track itself is no accident, but the signing took place after a chance encounter. Richard Campbell aka Rambl, who is one of Melbourne's best and most consistent DJs since the last two decades, had developed a small cult following of viewers via facebook, where he had been providing live video coverage of Australia's wild weather in a kind of comedy-weatherman format. Once these updates caught our attention, the magical facebook algorithm placed all of his content at the top of our feed.

One day his video moved away from the wild South Australian coast and into the studio. Rich - who we also know for his huge stature akin to an NBA basketballer, and his brain for Mathematics and Computational Biology - was bopping that giant brain up and down and making his 'bass face', with a mixing desk and some speakers (and some beers) in the background. The soundtrack to this video was completely mesmerising. We sent him a private message immediately: 'what the hell is THIS!!!'

His reply: 'This is one of mine, it's not finished yet but it feels good'. Our reply: 'It feels INCREDIBLE!!! Finish it and let's put it on wax!'

So today we bring you 'Doss' and we expect you'll love it.

On the flipside we've invited another Melbourne man, Sly Faux, to demonstrate why he's appearing in the playlists of Richie Hawtin and Maceo Plex, and why his EP on Nicole Moudaber's Mood was a bestseller. He's also just remixed The Presets and continues to impress with his tight productions. Sly Faux's remix takes the original Detroit-inspired techno-funk and twists it into a different kind of main room banger.

Monterrey's new kid on the block, Colossio, EP on Calypso is an inmerssion into this artist's world of influences. From kraut-rock to mexican folklore passing trough electronics, Colossio takes us on a journey inside his head and mind. "Moto" sets the stage with misterious guitars and trancey synths while "Fe" it's more of a robotic percussion trip. "Ansia" it's a more dance-floor oriented track while still mantaining the experimental spirit of the whole EP. On remix duties, Newcastle's latest global export, Man Power, channels the Stooges and the New York dolls for a sleazy Glam Rock version of the title track.

For the first release, Antares Label presents: 'Sunrise Under The Eyes EP', produced by Dubfound (Moldova), known for its subtle and refined productions. With this new album, he offers his best vision from after-club. In Side A we start with 'Sunrise Under The Eyes', it carries a very delicate feeling, accompanied by a French voice. Regarding Side B, we find the Remix by Dani Casarano, which takes you on a galactic journey, with soft sounds and analogical influences. Dubfound in turn closes Side B with Cruisin, with an elastic groove, with subtle sounds, perfecting a very elegant and classy set.

Monday Off is a vinyl only record label from Brooklyn, New York, founded by Mary Yuzovskaya. Its ethos is to showcase artists that explore techno's hypnotic side; specifically where trippy and dark music goes deep yet dynamic. For the third release, NYC/Berlin/Washington DC transplant Arthur Kimskii dives in with a heady trio of his productions. Title track 'Verbal Variance' slowly unfurls with a myriad of textures and sounds to both confuse and delight the senses, while 'Swan An Ocean For You' takes on similar terrain albeit kicked up a notch and warmer in tone. 'Basement Moves' is an emotive and partially beat-less affair steeped in layers of noise, and MOFF favorite Stephanie Sykes strips the A-side down for a sinister and chugging remix.

* With a number of high profile releases already behind him for labels including the legendary XL Recordings and Dusky's 17 Steps imprint, Hugo Massien has carved a sound for himself that sees him bring together elements from house, techno, dubstep and hardcore, all combining force to produce this killer 4-track EP, running at the techno-friendly tempos of around 128bpm.

* 'Advanced Aerial Threat' kicks things off with a fractured half-step rhythm that gives more than a nod to his formative years as a fan of the early UK dubstep movement. Stark, deadly and meticulously constructed, the rhythm taps a pace as wild bass stabs rip across a theatre of sound.

* Next up is the delightful melancholy of 'Ursa Minor' which takes a rolling breakbeat as its backbone before a Reese-like bassline emerges from beneath, rising and empowering. An intimate piano line comes in, providing an introspective element, balancing the otherwise rave-savvy ingredients in place.

* 'Candy Flip' takes things into a more electro direction, providing a reliable work out for the dance floor as the tightly tuned drums and bass hold down the spooky synth stabs.

* Last up, closing the EP is 'Divisions From The Start' where once again we see Hugo's intuitive sense of soundscape grandure, creating a kaleidoscope of moods all strung together with precision drum programming and heavyweight sub work.

* DJ Support from: Shed, Loefah, Pinch & many more.

The Patchouli Brothers strike back with a second edition of their edits for Basic Fingers.

On the A-side we get a big dancefloor bullet with piano luxury, euphoric vocals and 110% party vibes.
On the flip there's more of that uptempo feel-good business, just take your pick...

Ryan Parks is a mixed media artist, music producer/performer,
and CEO/founder of critically robust cassette tape label, HARSH
RIDDIMS. He was born in College Park, GA and grew up skating
all around Atlanta, soaking up the dense kaleidoscopic cultural
ooze found both in and outside the perimeter of Atlanta. Aside
from his visual practice, which usually takes shape as mixed
media (Jacob Lawrence/Matisse inspired in my opinion!) collage,
he has been releasing music as FIT OF BODY for seven years. Fit
of Body crafts soulful house ballads that draw on freestyle, Bell
Hooks, old school Detroit techno, jazz, and southern rap passed
through a No Wave paradigm. Fit of Body has previously released
work on CGI, DKA, Ransom Note, and his own label,
Harsh Riddims.

"The art of the future, therefore, will not be poorer, but infinitely richer in subject-matter. And the form of the art of the future will also not be inferior to the present forms of art, but infinitely superior to them. Superior, not in the sense of having a refined and complex technique, but in the sense of the capacity briefly, simply, and clearly to transmit, without any superfluities, the feeling which the artist has experienced and wishes to transmit." - Leo Tolstoy, "What is Art"

This statement can be made of Lucky Brown's attempt to "briefly, simply, and clearly" capture the feeling of the sound, soul, smoke and soil of the Texas Hill Country with his upcoming album "Mesquite Suite".

A little more than one year after the release of his firebrand "Mesquite Beat/Justice" single on imprint "Tramp Tapes" (TR-1040) Lucky Brown offers us here another glimpse into the sound and concept of the Mesquite Suite.

Saints & Beggars is a rustic pentatonic horn-led 6/8 anthem that builds upon a simple primitive melody assembled from two opposing figures set against two repeating figures. Brown conceived the motif while in meditation in a yoga-turned-composition studio in San Marcos, Texas. He later delicately draped the parts around it like woodsmoke. The overall effect of the composition is one of economy and restraint - nothing could be added or taken away. The horns, guitar and vintage electric combo organ begin in unison and then the figure brazenly explodes like a flock of white winged doves from a pecan tree in humid dusk. Here are featured extemporizations from Jason Cressey - trombone, Peter Daniel - saxophone, Colin Higgins - guitar, and drummer Ollie Klomp, with an exposition of open horns in the climax. The tune is drenched in shitty reverb which engenders a mysterious dimension begging the record diggers' favorite questions: "...when is this from", "...where is this from".

'Bout To Blow, remaining uncompiled in the upcoming "Mesquite Suite" (exclusively released on this single only), is a specimen of the generic Deep Funk on 45 that lit a fire in Lucky's heart more than 20 years ago. The use of the word generic here is not meant to be derogatory. Rather, it is to transmit the sense that this tune falls squarely within the confines of the so-called Deep Funk canon. 'Bout to Blow offers classic dancefloor essentials: driving bassline, hard drum beat, chanky guitar, and outrageously distorted horns fiercely executing a devastatingly primitive horn line. Also, for devout followers of Lucky Brown's recorded work, there is hidden in the bridge an easter egg in the form of a self-referential quote: the bridge of 'Bout To Blow is also the head of T.D. & The Jimmy James 3's "Jalapeño Pep" (TR-1025)!

It has been Lucky Brown's aim to paint for the world a picture of the vernacular jazz that America's neighborhoods once crafted as their own homegrown cultural heritage. Lucky Brown's music is a rejection of the elitism, classism, and status of the music industrial complex and is an antitoxin to it's resultant homogeneity. He wants with his heart and his art to transmit an everyday people's sound, made by everyday people, dedicated to the upliftment of all people. Could this be the "art of the future" that Tolstoy wrote of in 1904

Key-selling points:
- "Bout To Blow" is available on this 7" release only
- "Saints & Beggars" is taken from the forthcoming album "Mesquite Suite" (out september 2018)

Warm return once again... One of the most consistent and influential agencies to have operated in the 2000s, the collective continue to develop their original agency, events and record label, and things are heating up very nicely. Following soul-arresting releases from Elliot Lion and Face + Heel comes this four-track odyssey from Belfast's Lunar Orbit Rendezvous AKA LOR. Ready for take-off

Our mission is set with 'Mystery To The Viewer', but what is the main mystery Is it the gravity-defying thrust of our engines or the identity of the anonymous (yet well spoken) narrator Listen closely for clues amid the heavy pulsating chords as we break away from the earth orbit and plunge deeper into the stars.

'In This Detail' sees us hurtling further and further into the dark unknown. There's a deep chilling aesthetic at play here as LOR makes his 808s weep with the loneliness only a long-stay astronaut can sympathise with. In perfect contrast, the isolation is balanced by the direct and vital 'Oriole'. One of LOR's earliest projects, updated with all the skills and techniques he's learnt on labels such as Exit Strategy and Cin Cin, it's a vital composition that rises and rises as we engage hyperspeed through the cosmos. 

Finally we land back on our home planet to the marching momentum of 'White Light'. Almost stately in its pace and rhythmic stride, things suddenly take a turn for the intense as a warping bass siren triggers a much darker direction and a series of spasmodic kicks and heavily shelved filters. Welcome home...

Norm De Plume has been quietly making a name for himself the last eight years with remixes for Tornado Wallace and Ben La Desh and EP's for Kolour LTD and his own vinyl only imprint Plumage winning him a solid fol- lowing along the way. His passion for all things disco and deep, dubby, un- derground house inspired by his musical hero Ron Hardy feeds through into his production style as well as his recently formed Peaches & Prunes party which boasts an audiophile sound system and vinyl-only sets from the DJ's. So when the opportunity arose to do a full EP with Norm we jumped at it. Here we present you with the Castlecrag EP, a nod to the Londoner's new adoptive home of Sydney, Australia, and whilst his sound may be more akin to the recent musical movements of Melbourne, the laid-back sun-kissed melting pot of The Harbour City certainly shine through in the two originals and Folamour remix on offer here.
Title track Castlecrag leads the charge with a deep mood-setter driven by a cowbell riff and filtering pads. The spacious mix and less is more arrange- ment ensures that the drums and rolling bassline punch through making for a track that sounds both unique yet accessible and demonstrates Norm's sense of musicality as well as DJ instinct for setting the right mood on the dancefloor. Next up we have Whole In One which treads a similar path whilst dropping the BPM's a touch and building up layers of synth strings to create a subtle yet engaging track to immerse yourself in. Finally, man of the moment Folamour gets busy on the remix of Whole In One working his magic by upping the tempo and going heavy on the jazz- inspired drums. By laying down a driving groove and pushing the string stabs to the fore, the Lyonnais producer behind the wonderful Moonrise Hill Material label has delivered a fresh-sounding take that will work like magic on discerning dance floors out there.

Extremely hot on the heels of 'A Library Excursion', Earl Jeffers teams up again with Don Leisure, his partner-in-beats for another EP of Darkhouse Family goodness. Following on from their highly acclaimed debut album 'The Offering' from late last year on First Word, the Cardiff duo have hand selected a group of friends, dons and legends (including DJ Spinna & Kaidi Tatham) to serve us up 'An Extra Offering'. Five remixes curated by the crew.

For the refix of 'The Accession' (which originally featured Kamaal Williams, Dave Newington and Daf Davies from Boy Azooga), label-mate Kaidi Tatham kicks off with some down-low bottom-heavy boom bap, before switching up the tempo mid-way for a blast of his inimitable jazz-funk bruk boogie.

Next up we're honoured to have not one, but TWO tracks from the Brooklyn legend, DJ Spinna. His Galactic Soul rub of 'Another World' flips the original into a deep soulful 4/4 house cut, featuring the lush vocals of Esther (and one Charlotte Church on backing vocals, pop fact fans).

Then there's DJ Spinna's Galactic Funk take on 'Just So You Know' with the marvellous Vanity Jay on vocals. This one is on the same mid-tempo tip as the original, but with that unmistakable Polyrhythm Addict flavour of big kicks, crisp snares, hench bassline and sweet spacey synths.

For the 'GAEA' remix we keep it Cardiff and introduce the man like Alfie Swan. Doubling up the tempo of the original, this adds some seriously wavy sonics and flips the groove entirely, creating a seriously innovative cocktail of riddims. One for those not shy of some jazz ethics in the dance.

And to close out this offering, Andromeda Jones lays down a ridiculously delectable broken beat mix of 'Journey To Love', this one again featuring Vanity Jay. No messing with this one, this is straight dancefloor fire, transforming the hip hop soul track into a future boogie heater. One for the ravers.

This EP illustrates once again Darkhouse Family's wide range of influences and sounds, as selectors and as music makers themselves, and is no doubt one that will stay in your box for a very long time...n

Fresh off the back of the languorous poolside disco and tropical pop of their debut album 'Shapes On Shapes' released last November, LA based duo Wild & Free return with a collection of essential remixes from label mates and influences alike by revisiting the heady disco of recent single 'Ferns and Stuff'.
Both multi-instrumentalists, singers and producers in their own right, Wild & Free duo Drew Kramer and George Cochrane came together in 2015 and have spent the past 2 years crafting a series of acclaimed EPs and remixes (for the likes of Joe Goddard (Hot Chip), Panama, Gigamesh, RAC and Ben Browning of Cut/Copy) that saw them tipped by the likes of Spin, XLR8R, Indie Shuffle, Clash Magazine, Data Transmission and many more and take their live show on the road playing alongside the likes of Brooklyn's Body Language.After releasing a few solid ep's and two full lengths album's Xinobi has gained real recognition among established and well-known artists and opinion-makers, and his underground cult has amplified. What has followed is remixes, edits and reworks for artists such as Sbtrkt, The Avener, John Grant, Toro Y Moi, Nicolas Jaar, Agnes Obel, Kris Menace and Tensnake.Along with Moullinex and Mr. Mitsuhirato he gave birth to the still-growing-influent Discotexas who here lend their label mates their expert musical arrangement skills with 'Discotexas Club Mix' thrown in for good measure. And it doesn't stop there, with legendary New Yorker Justin Strauss, who has produced and mixed records and remixes for the likes of LCD Soundsystem, Beyonce, La Roux and Goldfrapp contributing a 'Whatever/Whatever' mix as part of the slick and hugely influential production duo he formed with Bryan Mette.
Already noticed for his remixes and array of collaborators and with several releases under his belt (including a track on the 'Bonjour Colette' compilation), Tokyo-based Yuki Abe AKA producer/DJ Boys Get Hurt gets his inspiration from the melancholic feelings the end of summer inevitably brings about, a personal and evocative sensibility in tune with the land of the rising sun's delicate culture. Yuki expertly crafts bouncy disco-house music with sprinklings of electronica, indie, ambient, hip-hop and R&B. Here he adds a mix with a loose and joyful feel that fits the sentiments of what Wild and Free represent perfectly.

British DJ/producer Bearface has been on a bit of a roll of later. Aside from releases on his own Beartone label, the London-based label owner has also found time to deliver outstanding cuts to the likes of Exploited Ghetto, which housed his last release, the wonderful 'Moon'. This time around, he comes correct on his own Beartone label with a record that's notable for its quirky demeanour and undoubted eclecticism.

Opening up the release is the sounds of 'Mumbai Nights'. Although it gets us underway in fairly innocuous fashion, it quickly finds its feet thanks to a brilliant, whaling Indian-Inspired vocal that weaves in and out throughout. A whimsical track of that sort that's sure to be a hit with more daring DJs, it's an auspicious start to a release that's never lacking in personality.

As is his forte, Bearface then goes much deeper in search of kicks on 'Data Storm', taking us taking us down the rabbit hole to a place that's full of enticing oddities throughout. After this, the frankly bonkers sound of the electro-leaning title track 'Sista' take centre stage. A thoroughly intense peak-time workout, it's full of attitude and an indication of the producer's more gnarly and abrasive approach. All things considered, it's sure to get the night moving in an altogether different direction wherever it's unleashed.

Closing out the EP is the drum heavy sounds of 'March'. A broody track that's tailor made for the night's more relentless moments, it's a a fitting way with which to sign off an eclectic and dizzying release. The latest chapter in the Beartone story is a captivating listen throughout.

Atangana Records's back with its second release, once again a long-awaited reissue, once again digging into the Caribbean music with a classic track from Les Maxel's (from Guadeloupe), Le Retour de Toto'. As usual, the remastered tune comes with a remix and a B2 just' coming with the remixer's add parts.

Originally out in 1976, Le Retour de Toto' on Disques Debs International is a brilliant dancefloor killer, magnifying the cross-world between zouk and latino music, biguine and calypso. You can hear from the prominent hi-hat all the energy of the dance moves you could improvise on that kind of joint. With a lot of break, wonderful horns and backing vocals, Le Retour de Toto' will enjoy all the summer dancefloor and airwaves for some time...

Deni Shain says : When we discovered this gem with my friend Likkle Ben, over a night of digging, it's mainly the keyboard break that drove us nuts! We were already hearing the edit that we'd make for our gigs... It didn't take long for me to contact the family of Henry Debs, introducing Atangana's project. They loved it, and at that time I went to studio with my friend Papastomp to start remixing it... I love how we added step by step the addparts, giving respect to the original tape...

FLIES 45-05

NICO FIDENCO Eternal Anguish / Come Back! Rhythm
taken from the movie Emanuelle - Perche´ violenza alle donne - The Degradation of Emanuelle (1977, Joe D'Amato)
7'' Limited Edition 400 copies

At last available on 7" two of the more danceable tracks of the wholeBlack Emanuellemusical canon, written by the celebrated dream team Nico Fidenco (composer) and Giacomo Dell'Orso (arranger and conductor) for legendary cult director Joe D'Amato.

Sensually haunting synths, hypnotic drums, and mellow and persuasive bass lines. A unique disco sound that will have DJs around the world rejoice!Funky Emanuelle for your pleasure!