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Italian production duo natural/electronic.system. is back on their homebase Tikita Recordings. With four immersive deep techno cuts they continue the journey they've started when debuting on the label back in 2016. Now they could be seen as one of the key figures on the Moroccan based imprint with 'Mediterranea' being their third full EP on the label.

'Scirocco' starts in a deep mood, on low pace and mesmerizing percussion improvisations. 'Grecale' is the most swinging cut of all four with its tribal drum flow rambling on a playful up-tempo groove. Flipping to the b-side 'Libeccio' comes in at a lower bpm but still an unavoidable catchy and danceable motive where 'Maestrale' ends this playful EP with a lush and dreamy electro jam in deep blue space atmospheres.

After taking time out to search for the right blend of carefully curated tracks, Bristol-based dancefloor futurists Innate return with a third multi-artist EP - shot through with melody, warmth and soul.

A quartet of timeless-sounding tracks full of stargazing sounds, undulating acid lines, far-sighted electronics and crackling beats, the A side kicks off with Perseus Traxx's "Drifting In Space": a loose-limbed exercise in analogue house deepness that wraps slowly shifting pads, meandering melodies and pulsating TB-303 motifs around broken house drums.

Welcoming Australian scene stalwart Ewan Jansen to the fray with "Sinders", he effortlessly blurs the boundaries between far-sighted, Motor City style techno and the kind of head-in-the-clouds analogue sounds that have always been his forte.

On the flip, Reedale Rise adds his touch with "Coral". In keeping with the brilliance of his 2018 debut album "Luminous Air", he drops a colourful, picturesque voyage into deep electro territory rich in ear-catching melodies, engaging chord sequences and crunchy machine percussion. To round, label co-founder Owain K returns with "Teifi", another ultra-deep treat: an enveloping, dancefloor excursion rich in fluttering lead lines, slowly expanding chords, vintage bass and punchy drums. A fitting conclusion to Innate's latest immaculate, eyes-closed voyage."

The Planet X invasion continues ... The third release is the most-awaited EP this year featuring the Matrixxman himself. According to the Alien Council, it is his best EP so far. It contains four tracks of serious icebreaking soundscapes, running trough the listener's veins by freezing the complete solar system with a coolness.

Starting the process is A1 with the fall-out Syren track called ‘Hong Kong Day’ played exclusively in the Matrixxman Dekmantel Boiler Room set last year, now finally being released for the hungry trainspotters who have been waiting for quite some time.
Next up A2, the second installment of the Hong Kong- the Night version- the most spooky-sounding spirit-catching meltdown of a track. It is reminiscent of a lethal death scene in a brutal manga cartoon, where the Iron eagle flies over the lands looking for prey.

On the other side- B1 starts with the track ‘Power Drain’ featuring his label mate-Exos- definitely the festival track of the release which then takes the listener to the breakbeat part of town in the final track called ‘Tango Down’ on B2.

This is where the real Matrixxman signature strikes with raw, dirty rave bass turning it back and forth, finishing the EP with some analog screams. The Planet X continues tearing through the galaxy.

“The third part of our "Ode To The Soundsystem" is here and the abstract sound of the last Ossia album is no longer evident. The influence of the early Disciples 12"s shows up for the first time, with a Drexciyan connection happening on the b-side, creating one of the most lethal and militant 12"s that we have ever released. Ossia is back on Berceuse Heroique and we are very happy about it.”

... After his first appearance on Subaltern’s 'Kaleidoscope Vol.1’ with the scorching ‘Alter’, far-east sonic assassin and Back To Chill member Helktram makes his comeback on Subaltern Records with a heavy-as-stone three tracker. Each of the cuts is a dance-floor weapon which shows a different side of the Japanese mastermind’s razor-sharp production.

- Recoil: Opening with a crunchy guitar melody, ‘Recoil’ sets the pace
of the EP: a catchy and relentless bass-line takes us on a march
through forests and mountains, as distant pads and SFXs remind us
to stay alert. After the first round the guitar comes back, warning us
we’re not done yet. A straight hitter which will keep playing in your
head long after the night is over.

- Mineral: The aptly titled ‘Mineral' is hard as diamond and rough as
coal. This triplet juggernaut tramples systems all over the world
leaving its mark on any raver who encounters it. A sinister
thereminesque melody paves the way to a stripped-down beat with a
militant bass riff. Skilfully executed distortion engulfs the low-end
turning it into a powerful growly wobble.

- Beware: A threatening melody paints the post-apocalyptic landscape
of the EP’s third cut in what is Helktram’s trademark style. In this
track distortion is the name of the game: an unforgiving lead
matched by grimy and glitchy stabs evolves into an uninterrupted riff
which carries the rhythm leaving space for the bass melody. As the
title suggests, extreme caution is required when handling this
blaster.

The On Board Music imprint returns with its third release this October, a five- track various artist package featuring material from Lanoche, Yugen, Serena Butler, Estrato Aurora and Vera Logdanidi.

Laura BCR’s On Board Music delivers its third release here, following two mini LP projects from Healing Force Project and Mesak. The ‘Point A’ project marks the beginning of a series of VA’s coming on the imprint focusing on both established and up and coming talents from different origins, stylistically ranging from ambient to techno and all meeting together on the dance floor. French painter Natacha Mankowski provided the artwork once again, and mastering was taken care of by Carsten Dämbkes.

Taking the lead is Lanoche’s ‘Love Fall’, an ethereal opener fuelled by hypnotic pads, wandering bass tones and heavily reverberated, shuffled percussion before Yugen’s ‘Phantom’ lays focus on pulsating arpeggios, choppy bass stabs and swirling atmospherics. Serena Butler’s ‘Fertile Fancy’ follows next, a cinematic four minute ambient cut employing subtly nuanced pads and bright voice like tones throughout.

Estrato Aurora’s ‘Icnita’ opens the flips side with murky, oscillating bass tones, gritty, off-kilter drums and an ever-present underlying tension before Vera Logdanini’s ‘VPlanet’ rounds out the package perfectly, delivering a reduced Techno cut fuelled by cavernous atmospherics, arpeggio bleeps and swirling low-end pulses.

Ellen Allien Keeps It Raw with the Third Release from Her UFO Label Ellen Allien returns with the third release from her label UFO. Focused on a raw aesthetic, UFO serves as a space for artists to explore the dark, rugged side of the music. On this third installment from the label we get three deliciously dark productions... First out of the block is 'La Musica Es Dios' (Music Is God), which comes in two mixes. The first works from the deep tremor of its juddering bassline, subtle beats tease this cut along with a contagious rhythm. As a master of vocal hooks, Ellen skillfully introduces a distorted clip that repeats over and over as the drama unfolds. Wistful pads and a sombre riff keep it melancholy. On the second mix the mood is a little more upbeat with brighter frequencies and skipping beats. Though, once the main body of the track comes in, a menacing swathe of analogue growls and snarls at you with aplomb. A breakdown tinged with 8-bit leads us into a rousing section of the track before another slight break ushers in more menace in the low end. Finally, 'Junge' penetrates our minds with its punchy drums and snares. The pace is quicker and more energi- sed with a pervading sense of dread emanating from the background. This cut is downright nasty, with a snee- ring riff and shadowy atmospherics. Rough, rugged and raw analogue technoid funk from an unknown future.

With their third album ‘Fluid Motion’, Melbourne’s 30/70 are set to soar into higher territory as the face of Australia’s newest wave of soul-influenced brilliance.

From the swirling opening pads of “Brunswick Hustle” all the way through to the sax-laden shimmer of “Flowers” at its close, ‘Fluid Motion’ is an instant classic, effortlessly shifting between neo-soul and languid, Dilla-esque tendencies, astral-facing jazz textures and authentic vignettes of UK club music history.

It’s a formula that those already caught in 30/70’s celestial web are fully aware of; first defined on the local heat of their 2015 debut ‘Cold Radish Coma’ and majestically expanded upon with their critically acclaimed 2017 release ‘Elevate’ on Bradley Zero’s Rhythm Section INTL (mixed by Hiatus Kaiyote’s Paul Bender). ‘Elevate’ did exactly that - elevating both the scope of the band’s sound as well as their standing in the local and international community.

Since the last record was released, the music has brought the band on world tours and to the attention of the wider public and key tastemakers alike. Strongly supported by the likes of Gilles Peterson, Tom Ravenscroft, Jamie Cullum, Matthew Halsall and Bradley Zero, the UK has become something of a second home for 30/70.

London in particular has openly embraced the soulful sounds of Melbourne, as evidenced by Gilles’ latest Brownswood compilation ‘Sunny Side Up’ which features three tracks from 30/70 members: Ziggy Zeitgeist, Horatio Luna and Allysha Joy. The record is a follow up to his era-defining survey of the UK Jazz scene ‘We Out Here’, the compilation that kickstarted a whole generation of London’s under-the-radar Jazz kids to global headlining heights. It would appear we’re about to witness this same effect take place for the Melbourne contingent, of which 30/70 lead the charge. The city’s invasion is well and truly upon us.

While London is undoubtedly in love with what’s happening in Melbourne right now, this is no one way love affair. The 30/70 collective have had their ears to the ground and plugged into the sound of the UK underground. This new album takes inspiration from the syncopation of Broken-Beat, the immediacy of Grime’s and Dub’s sonic aesthetic to create something that is a truly global amalgamation of local sounds, finessed by Allysha Joy’s instantly recognisable vocals; the rawest and realest of voices.

In a turn of events, Startree finds itself wading into the slower, more sensual side of things for its third release, courtesy of relative newcomer and super-talent Nelson Bishop. “Alice et les Aloes“ is a heart-rending, melancholic-yet-propulsive piece which impels the dancer in lovely and unforseen directions. The bass guitar holds the bottom down with a easy-yet-mighty, low-slung sleaze, and the ascending electric piano and keyboard figures joyfully take it to the stars. Soulful with modern-rock edges, this is music which endears itself to the listener on more than one level and for longer than one season.

“Still Life Noix de Coco” is rooted in a stomping Linndrum pattern, vaguely post-punk chorus-y bass and wistful, descending organ timbres. Driving and somewhat mysterious, you would do well to time the release of fog onto your dancefloor to coincide with the airing of this jam. Shoring up the other side is Darshan Jesrani’s take on “Alice et les Aloes.” In this version, Darshan takes the track around the corner, through the unmarked door, past the video arcade and straight to the ideal dancefloor, heaving and smiling, warm with bodies emoting to each instrument as it is given space, by the arrangement, to shine. Startree is proud to present this release as a continuing statement of its musical intentions and its simple desire to inspire and have a good time.

The two collaborators, known separately for contemporary electronic music & free clarinet experimentations team up to create the delirious trip, Footfalls.

Two scenes are presented here, seemingly taken from different sides of the same desolated seaside setting, loosly inspired by poet and novalist T.S Elliot and Samuel Becket. In Towards the Door, Gareth Davis´ bass clarinet breathes slow, wave-like tones that merge with the oft-rythmic electronic textures from his counterpart. A third of the way in, Robin Rimbaud´s synth erupts into a Blade Runner-esque epic harmonic section that disappears as suddenly as it arrives - leaving ripples of oscillation in its wake, slowly unfolding into the sound of waves, as it arrives back where it begun : as a full circle, drawn in echo´s of sound.

Smokefall begins with the words „Invisible choirs“, subtly spoken by a woman’s voice among a blurred distant conversation, as textural sound effects creep forwards to the point where a slow progressing but steady LFO rhythm enters. Water, metal & smoke are absorbed into a creeping tribal passage, acompanied by long clarinet tones. The piece expands further and further into a state of ecstatic harmonic noise that fulfills all parts of your body – if played loud. Both artists from here on move into full on crushing electronics, all while Rimbaud´s Kilpatrick Phenol synth drives the background with its pulses and repetative bassline. The piece has an ellipse like rotation that makes one feel a sort of blissful vertigo that reverberates in your mind after the piece has ended.

Footfalls is an euphoric trip from two artists that – although prolific - manages to arrive at the perfect meeting point to deliver two hard to shake pieces of dizzying electro-acoustic perfection.

The third Sunday Breakfast Records release sees a debut from a SB resident. Barcelona based and Bern native James Mc Hale, arrives with two original tracks for his "Insomnia EP", which is accompanied by a stellar remix from scene regular Ion Ludwig.

"Aspect" is the first song from James, a light flowing minimal groover, held together by a subtle melody that teeters on the edge playfully, the second song titled "Somnia" keeps the easy, subtle vibes coming although it adds a moodier theme with an occasional punch tech lead that cuts through it for those after hour sessions.

On the flip side we then have the Ion Ludwig remix of "Aspect", the energy is amped up on this version, going for more intensity yet still keeping the subtle details to the original. This is the business side, direct and straight for those peak set moments.

15 years ago in a basement in the Bronx, I attended a bunch of sessions with my long time collaborator and friend, Ray West. Ray is a lifelong DJ and home producer, and only in 2012 did he begin to release music via his well-respected underground label, Red Apples 45. He had a main studio but also this much smaller room in the back which I dubbed “Studio B” in the tradition of any multi-room recording facility who would have a second “B” or third “C” room, and the name stuck. Despite the much lower-level quality equipment in that room, like a Yamaha MiniDisc board burning mixes realtime to CD-R, there was a certain vibe to it that inspired creativity, and a simplicity that encouraged faster working methods. One of the groups that worked there was called Results. Their philosophy was whatever happened in the moment was meant to be on tape and they didn’t spend hours perfecting it. This is rather opposite to how I work in the studio and especially on my own material, of which I can be thorough to the point of finishing less than I’d like. Through working there I realized the potential of having a smaller, simpler second setup, one that was not related to my work as an engineer, or my artist career as a performing electronic musician and techno producer.


Fast forward to 2016 and I would have both a professional studio outside of the home and enough spare gear to make a smaller studio based around a 4-track cassette recorder in my living room. This was a place where I could make whatever I wanted, whenever I wanted, without the disturbances of clients, the chaos of 30th St., or any genre restrictions that I might place on myself in the big studio. I spent some time tracking down a functioning Akai MG614, the holy grail of 4-track recorders. It’s a large machine, making even the MPC3000 look small on the table next to it. With no computer, things were focused. I went through a couple of variations of the setup in my living room beginning with an MPC1000, DSI Evolver, Sonic Potions LXR, Bastl Microgranny, and a variety of classic effects that I didn’t keep in the rack at Butcha Sound like the Yamaha SPX90 and Ensoniq DP-4, plus a bunch of pedals and eventually a Korg Karma keyboard. Then I had the good sense to bring home the Emu SP1200 I was borrowing from The Martinez Brothers. Eventually I brought home the MPC3000 as well. Another thing I kept connected was a Zoom field recorder that captured sirens, street noises, and me playing the upright piano in my apartment live to tape. Results. These recordings were made in Hell’s Kitchen from July 2016 - May 2017 with the window open and the sounds of my Manhattan block inspiring the takes. — Phil Moffa 2019

DEAIK is SJ Tequilla’s third record on his own imprint Shot Of T.
A solo affair, where the Berlin based Japanese artist keeps on exploring a variation of different sounds on his new 12″. Thumping Acid, moody ambient, Acid house for a club night, and some more familiar mellow drum machine and melodic pieces.
SJ Tequilla’s most varied record to date. Also with an interesting approach to tempo, where each side shifts between 33-45 by preference of the listener. Essential Shot Of T!

SNK and Brave Wave Productions are proud to reveal their third collaboration : Generation Series 09 - PULSTAR for CD and vinyl.

Originally released for NEO GEO in 1995, 2D shooter PULSTAR became a cult classic among SNK fans, featuring fast-paced gameplay, graphics and music. The soundtrack is composed by ex-SNK composer Harumi Fujita.

PULSTAR The Definitive Soundtrack features the entirety of the original music remastered and restored to the highest possible quality, in collaboration and consultation with SNK and original composer Harumi Fujita. This re-release features both the Neo Geo AES and Neo Geo CD versions of the PULSTAR soundtrack, giving fans a choice of which arrangements to listen to.

PULSTAR The Definitive Soundtrack on CD and vinyl will feature a booklet containing artwork from the SNK archives, in addition to in-depth track-by-track liner notes written by composer Fujita herself. Fujita recalls her feelings on each song, detailing the methodology in which they were created and what inspired their direction, which includes historical events that occurred in Japan during the mid-1990s.

PULSTAR The Definitive Soundtrack features an exclusive cover drawn during the game’s development but has never been publicly revealed until now. Fans of the original package design will find it reproduced faithfully in the center gatefold.

The vinyl release will come on 2 LPs, with Disc 1 (Sides A and B) dedicated to the Neo Geo AES version and Disc 2 (Sides C and D) dedicated to the Neo Geo CD version.

©SNK CORPORATION. All rights reserved. Licensed for use by BRAVE WAVE PRODUCTIONS.

the third release of german house duo frankey&sandrino on mule musiq. the title track on a side is their trade mark hypnotic deep house tune for big room. b side is much deeper and nice dj tool for dark underground club.

Raised in the multicultural and mind-broadening London borough of Enfield, Loraine James grew up hearing everything from steel pan music to Metallica, from jazz and electronica to drill and grime, and the results of this exposure can be heard on ‘For You And I’. In part the album explores the complexities of being in a queer relationship in London - “I’m in love and wanted to share that in some way … to make songs that reflect layers of my relationship.” – and as a whole ‘For You and I’ is rhythmically free flowing and sprawling, with melodies that evolve into rippling keys, feeling like a live jam session with a jazz mentality, contrasting the delicate and abrasive. Opener ‘Glitch Bitch’ is a warm ear-worm, brandishing swirling textures with undulating keys and compressed percussion, with an introspective theme revisited soon after on third track ‘So Scared’, whose glitched percussion and syncopated dub bassline build to a frantic meltdown melody. On ‘London Ting // Dark As Fuck’, inspired by Dizzee Rascals's ‘Boy In Da Corner', James explores the darker side of her production with her frequent collaborator Le3 BLACK laying verses over the skeletal track. ‘Hand Drops’ is an instrumental, about public displays of affection in a queer relationship. ‘Sensual’ reflects on intimacy with vocals by UK singer Theo, who's lyrics capture love and gentleness over a soft, minimal production of ethereal keys and scattered glitches. The albums’ title track is also the most colourful, it’s ecstatic and effusive chaos driven by fervent synths expressing elation and the joyful side of her relationship, while ‘My Future’ is a more reflective moment, where warping synths wash in and out with compressed kicks, as the artist considers the dangers that may come with her relationship : “I wanna tie the knot / But the rope is dangerous”. ‘For You And I’ is a deeply intimate and personal offering, expressing happiness, anxiety, joy, sensuality and fear through a vivid sound palette and an experimental sense of rhythm.

For its 50th release, Black Truffle presents the 9th album from one of the label’s core ensembles, the power trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi. Drawn from a November 2015 performance at Tokyo’s now-defunct SuperDeluxe, the record’s opening piece drops us immediately into the maelstrom, abruptly cutting into an extended episode of Ambarchi’s pummelling drums, O’Rourke’s fuzzed-out 6 string bass and Haino’s roaring guitar and electronics. Eventually settling into a hypnotic bass and drum groove over which Haino unleashes some almost Ray Russell-eque skittering atonal screech, these opening 13 minutes act as a potent reminder of the trio’s power. Alongside showcasing the steady development of a unique language for the guitar-bass-drums power trio, the group’s succession of releases over the last decade has demonstrated a constant experimentation with new instruments, which continues here with O’Rourke use of Hammond organ (played at the same time as his roaming, sometimes knotty basslines). On the album’s second piece, the organ plays a key role, furnishing a harmonically rich shimmer over O’Rourke’s angular 6 string bass chords, Haino’s distant, chirping electronics and Ambarchi’s crisp cymbal work; arriving somewhere halfway between Albert Marcoeur and Terje Rypdal, this piece is undoubtedly a highlight in the trio’s catalogue so far. Sides two and three are given over to slow-burning, multi-part epics that range from spacious reflection to furious tumult. Where the trio’s previous 2LP set (This Dazzling, Genuine “Difference” Now Where Shall It Go?, 2017) was primarily instrumental in focus, here we find Haino’s voice taking the spotlight on the expansive third side, intoning, wailing and exhorting in Japanese and English over a backdrop that moves from hushed bass and organ atmospherics to rolling toms and cymbal crashes before arriving at an ecstatic finale of searing guitar, tumbling drums and reverb-saturated bass. The fourth side returns to the hypnotic grooves of the opening piece, fixing on an relentless riff and riding it into oblivion under Haino’s roaming psychedelic soloing and jagged chordal slashes.

180g Gatefold Double Vinyl with poster, sticker & badge

It was at the tale end of what would later be loosely termed ‘The Seventies’, in Lincoln, Merry England, that three teenagers formed, the consequencies of ther actions are captured here.
“You Were So Young” consists of everything that The Cigarettes ever recorded in what was their two year life span. From the very beginnings in the rehearsal room through to tracks recorded for an unreleased third single. It includes the two singles and their ip sides, some tracks that were included on a local compilation album, and their solitary John Peel session along with a handful that never found their way onto a record.
Their debut single ‘They’re Back Again, Here They Come’ , exchanges hands from upwards of £100 and ‘You Were So Young’ has been viewed on Youtube over 1.3m times.
The CD booklet and vinyl inner sleeves include an in depth interview with Rob and Steve, answering pretty much all there is to know about The Cigarettes
Over the years The Cigarettes have gained a wealth of interest, leaving many to scratch their heads and wonder how they slipped under the radar for so long.

incl. Priku & Franco Cinelli RMXS

A never-ending groove and perfectly programmed synth stabs are coming out hot from Stephan Bazbaz & Assael Weiss who happen to be in the rooster of Audionik’s latest instalment.

The label’s third release strays away from conventionalisms the A-side includes a hypnotic yet groovy remix from mastermind Franco Cinelli. Perfectly low ends and a poly-rhythmic groove make this a unique piece of music The B-Side comes from the hands of Priku. The remix is borderline minimalistic, freaky elements and glitchy effects pair with convoluted reverb sounds that come and go entering new grounds in texture and sound. Don’t miss to have this one in your record case, it will come very handy.

“Assembly Sequence” is a split EP featuring two of the four founders of Kajunga: Berndt and Cloudy Kid. Having taken root in Minneapolis and frequenting cities like Detroit and Chicago, the EP has an inherent Midwest feel. This marks Cloudy Kid’s third release with Kajunga and Berndt’s second. Berndt has also released with sister labels Clave House, and Corndogs out of Detroit.

Assembly Sequence is controlled by the mechanical nature of its creators. Berndt and Cloudy Kid split the arrangement down the middle to manufacture a sonic signature they believe can be used to drive the biomechanical functions of life-space.

Side A begins by fusing ethereal groove polymers with stabilizing oscillations from Berndt’s precision pump rhythms; On side B, Cloudy Kid neuro-casts an injection chassis turbine on the entire structure, constraining the rhythmic patterns to rip deeper into the corrosive noise planes of the collective Darkmind.