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Erol Alkan welcomes Joshua James to Phantasy for his debut release 'Coarse' featuring The Bunker NY producer Justin Cudmore on remix duties.

A fixture of London's dedicated queer club scene, James maintains a trio of distinct residencies, including XOYO, the notorious 'Savage' parties, as well as fortnightly on Rinse FM. On this unapologetic and upfront track, the DJ-turned-producer instantaneously captures the raw energy and sexuality that underpin his life by night, backed by a remix from a key figure in the US underground, Justin Cudmore.

Designed with sweatboxes and serious sound-systems in mind, 'Coarse' wastes no time in establishing its rude intent; hammering jack-bass, orgasmic cut-up vocals and larger-than-life synthlines flirt expertly from the off, before the track descends into outright sleaze in the spirit the of gnarlier edge of acid-house. Only a series of breathless gasps indicate you've safely reached the other side... A personal weapon for James each week behind the decks, as well as for Phantasy founder, Erol Alkan, 'Coarse' is a powerful dancefloor paean with only one (well, maybe two) things on its mind.

Having turned heads with his own uncompromising acidic perspectives on labels such as The Bunker NY, Phonica White and Honey Soundsystem, New York-based DJ and producer Justin Cudmore unfurls 'Coarse' in a trippier, deeper direction, nonetheless still bumping in a style that subtly recalls the peak-time sound of classic 90s NYC clubs like The Tunnel.

The second album from SpaceArk. More brilliant self-released, private-press jazz/soul from 1976 Los Angeles.

'SpaceArk Is' came out on Color World records in 1976, on a limited run of about 5,000 copies. It followed their self-titled debut (also available now on Mr Bongo) on the same original label, the year before.

For a handful of years in the Seventies, SpaceArk was one of the most promising and electrifying bands in Southern California. Although their music was far greater than the sum of its parts, those parts made for a very original style. R&b, soul, rock, pop, jazz, classical ... it all came together in blissful stream of intricate compositions that swept up crowds from US military bases to Northern Soul clubs around the UK.

SpaceArk wrote and performed more than 100 songs during their time together. Most of them were not recorded and are now either lost or forgotten.

Official Mr Bongo reissue with liner notes by Amar Patel. Licensed direct from Peter Silberg.

Without a doubt this EP by Torolf Stendik is going to touch your senses. HEL-TXL includes four different tracks all aimed for the dance floor and the storyline is simple: Torolf Stendik is flying to Berlin for a weekend stopover.
Fresh off Tegel Airport, Torolf goes for a Mezeplate (A1) looking out on the street, thinking it's nice to be back. The mood is good. Into the night, Torolf is barhopping and then standing in the line for the club (A2). After that out for a Do¨ner (B1) and into to the next club. Memory blanks. Torolf wakes up on the gras in the park (B2), it's Sunday afternoon and the flight home is leaving soon.

A holy grail of European electronic dance music, and a classic at the Italian disco scene and Hamburg's Front club alike (you might have heard it on their recent Mastermix), is finally available again. Produced in 1984 by two mysterious friends during a hazy studio session in the small town of Aschaffenburg, Germany, it is best described by Discogs member goulashdj as 'a funny version of some Imam praying on top of an electronic Groove', .'Kairo' is all you want from an oddball record: fun and funky, weird and wonderful. Featuring original vocals by one of the two friends, it seems to be offensive to religious fanatics and devout Muslims (you better watch, where you play out the original). Therefore, a philosophical advisory or religious warning: 'No religion, god or believer was harmed during the creation of this record. We believe in the right to believe or disbelief in anything and everything that isn't inhuman.' For safety reasons, it includes a persecution-proof instrumental version by Boris Dlugosch as well as the original B-side and completely atheistic 'Kosak 2000'. And to close with Mark Twain: Man was made at the end of the week's work, when God was tired.

Lisbon pals Photonz and Shcuro are two of the city's most active DJs and music makers, sharing a penchant for a moody yet electrifying brand of dance sonics. They've created Shermanworx together in the studio, recording machines live using an ethos of improvisation while relying on their fine-tuned dancefloor intuition. The Sherman Filterbank was the go-to piece of equipment, appearing in every track and eventually naming the EP.
Tribal techno swirls menacingly backed by dark melodies in the opening track, a hypnotic yet vivid peak-time belter that could go on and on.
A synth so textured you can almost touch it is the centrepiece of Sherman2, another driving club beast complete with modulated arpeggios and industrial-tinged percussions.
The record comes to close with a dreamier exercise in Sherman3: a dubby electro beat conducts melodic mutant synth lines and pads to achieve a slow-burning, expansive euphoria.

Pete Cannons first EP on Kniteofrce did stunningly well. His old skool sound, created the originl way using an Amiga and Akai samplers, obviously hit the sweet spot to become one of Kniteforces fastest selling releases to date. His follow up EP will not disappoint. If anything, it takes the feel of his first N4 project and expands it to a whole other level, retaining his unique traditional sound, but upping the ante and bringing even more old skool energy to the mix.

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

DJ Overdose is back again on your favorite record label, Dalmata Daniel, this time sharing a record with an old-school legend from the land of Dalmatas and Daniels, Sematic4.

Both sides are full of great tunes of hard-hitting electro, but both are a bit different in mood and sounds.

The style and sound of DJ Overdose is so distinctive, you can spot it from miles away. The first track has a groovy title, with a car symbol and silly characters. Great music for driving your white convertible in the Detroit sunset, it's dark, repetitive, the usual genius with impressive drums. The title of Funky Mess is no lie, it's a funky song with a Japanese telecom sampler resembling the Detroit underground scene. The last track RZ-1-DMX is classic electro with some nice slow melodies, that you can nod to.

Sematic4 is operating with more classic electro elements on Dream Creator with some spacey tunes, while North Star '78 is a rather hard-hitting club music with a nice groove, interesting drums and some super melodies. One Nite In Heaven recalls the atmosphere and soundscape of the golden days of the Hague electro scene - a way of showing respect to the era.

Sematic4 is an oldschool dj and producer from Hungary, who started spinning records in the 90s, a well-made and active dj, who started buying his own gear and all kinds of gadgets, and producing music on his own. A real music geek, who lives for music with releases on Bass Agenda, Tropical Underground and legendary Dave Clarke plays his songs.

And you all know DJ Overdose.

Nachdem Fuzati Vom Französischen Klub Des Loosers Und Das Pariser Label Modulor Les Tres Jazz Club Mit Obskuren Japanischen Jazz Reissues Ins Leben Gerufen Hatten, Folgt Nun Mit Le Tres Groove Club Ein Neues Label Für Grooveorientierte Reissues. Auch Auf Der Zweiten Lp Honorieren Sie Jack Giordanos Arbeit, Der Sich Mit "boucles Rhytmiques" Unter Dem Pseudonym Jose Pharos Dem Disco Sound Mit Einem Melancholischen Lo-fi-touch Widmet.

European music culture has never been closed, on the contrary - it has always integrated influences from all other parts of the world. Two Tribes makes an effort to give insight in how musicians living in Europe today incorporate and transfer musical traditions particularly from the African continent into their own oeuvre.

Featured on Two Tribes are a broad range of constellations, ranging from musicians with roots in African countries who reside in Europe to collaborations between European and African artists. Musically our compilation tries to capture at least a part of the enormous diversity that contemporary music from Europe of this kind has to offer. The spectrum ranges from classical - songs' using traditional instruments from both continents to electronic productions that combine musical heritage with current club culture. Our selection can only be a musical snapshot since there is so much movement in this genre at the moment.

As you can hopefully see and hear, the leitmotif while compiling Two Tribes was to keep an eye on the ease of handling different cultural influences amongst the featured artists. It was important to us that the included music doesn´t just copy African music styles one to one but has an own handwriting and builds a bridge between the musical legacy of both continents. With all the track included, we have found a number of great examples and decided to showcase twelve of them on this first volume. The music included refers to the musical traditions of Senegal, Kenya, Nigeria, Ivory Coast, Ethiopia, Morocco, Zimbabwe and South Africa amongst others. The involved musicians are spread all over Europe, from Finland to Great Britain, Italy, England, France and Portugal to Germany.

Be it organic or electronic music, we think that all of the tracks really deserve your ear! Tobi Kirsch & Ubbo Gronewold, June 2018

Lowell Dunbar and Robert Shakespeare are the renowned Jamaican rhythm section that has worked with a range of international stars, including Bob Dylan, Mick Jagger, Joan Armatrading, Garland Jeffries and countless others. They first came to know each other in the early 1970s, when both were based in rival bands playing in clubs on Kingston's Red Hills Road and started working together at Channel One studio in the mid-1970s, when Sly was musical arranger for the Revolutionaries house band and Robbie the main bassist for Bunny Lee's Aggrovators. After a stint of international touring in Peter Tosh's Word, Sound and Power band, which exposed them to the tastes and markets of overseas audiences, the pair joined forces more concertedly with their Taxi label, producing hits with Gregory Isaacs, Dennis Brown, Sugar Minott and the Wailing Souls. At the same time, as the driving force behind the Compass Point All Stars, they brought Grace Jones to prominence worldwide and made Gwen Guthrie a star through reggaefied disco, and then brought Black Uhuru into the top spot in the wake of Bob Marley's passing. Then, when Jamaican music went digital with the 'Sleng Teng' craze of the mid-1980s, Sly and Robbie made the shift in that direction too, becoming among the most prominent producers as the 80s gave way to the 90s. Dubs For Tubs: A Tribute To King Tubby is a digital dub salute to the King issued shortly after his terrible murder; it is mostly comprised of synthesizer re-cuts of classic Jamaican rhythms, with 'Dub For Joy' being a tough re-working of the Heptones' 'Love Me Girl' and 'Dub To Make You Move And Groove' a take on their 'Party Time'; Dennis Brown's 'Here I Come' is here mutated to 'Dub For Roots People' and his 'Here I Come' anthem shifted into the spongy 'Dub For All Seasons.' An intriguing offshoot of 'Sleng Teng' is among the other highlights.

For the first release of 2019, the ever-consistent Play It Say It turns to an established producer who is launching an anonymous new alias. The music speaks of someone with a love of raw, analogue sounding house and techno with machine made soul.

First out of the blocks is the brilliant and adventuring 'Don't Believe The Hype'. Built around expertly programmed drums that remain restless throughout, it has dynamic synths and acid twitches, moments of serenity and chord-based optimism all stitched in along the way. It's the sort of expansive, cinematic track that envelops the whole club and oozes class and production know how.

On the flip, 'One Night Forever' is a totally different but equally unique proposition: it has fizzing synth lines bringing a dystopian feel to dark bass and razor sharp hi hats. Broken drums amp up the energy levels, and the warped synths pump the party. This is a busy, urgent cut of fantastically realised future music that brings plenty of freshness to the dance floor.

Whoever this artist is, they have a genuinely unique perspective and more than enough skills to realise their bold and brave new ideas.

Fresh off their latest VA, The Press Group hand the reins over to up-and-coming Ukrainian producer Sasha Zlykh, here delivering his debut 12" effort. Clocking in with a quartet of club-oriented weapons and off-road house-y pumpers that shall bring dancefloors to a slow but steady simmer, the Kyiv-based producer blends in an avalanche of breaks-strewn rhythms, bleepy melodies and reshuffled UK bass patterns to create his own distinctive hybrids, halfway straight dance functionality and non-formulaic experimentality.

As playful in essence as it is serious in its execution, 'Lie To Your Mom' EP starts off with the title-cut, which works a wonky swagger that proves all the more infectious as bars fly by. Engineering a finely-woven mix of off-kilter drum programming, raucous analogue belches and volatile harp stabs distorted to the max, the track's shadowy intro is eventually offset by overlapping tides of luminous pads, released as one lets the light break through a vampire den. 'RnB Ritual' follows up close in the vein, meshing a brooding late-night-ish atmosphere with playful percussive mechs and sustained rhythmic accidents.

Flip sides and you'll be treated to a choice pair of remixes from in-house groove traders Rupert Marnie and Youthman. First in line, Marnie turns 'Lie To Your Mum' into a straight jacking and shuffling Chicagoan chugger. Going deeper into soulful terrains and lavishly-textured expanses, TPG's main operator exploits the whole melodic potential of Zlykh's original, bringing its anthemic power to further completion beautifully. More on the dubby end of things, Youthman adds his uniquely vibey touch to the main cut, deftly navigating betwixt a classic deep house kinda vibe, post-rave'y electronics and a Basic Channel-esque sound spectrum, which all in all should have people instinctively clapping their hands as their mind begins to sink into a weirdly introspective sense of euphoria.

Rounding up five years of Heist also means we're releasing our fifth version of the Round Up. Last year's edition was full of highlights with Fouk remixing Nachtbraker's anthem 'Hamdi' and Alma Negra going all tribal on Nebraska's 'Big plate chicken'. This year, we've seen a lot of new faces on the label, which has brought us a fresh set of combinations and a couple of really nice revisions of the tracks that made our year.

First up is Detroit Swindle's take on Heist's latest signing Hugo Mari. They chose to remix 'Change ur ways', beefing up the dreamy original. They focus on a simple but effective grainy groove and added a twist on the bass to give a more 'warehouse' feel to it and play around with the lovely detuned keys and vocal chops of the original to great effect.

Alma Negra show you just how loose their limbs are with a Rhodes filled version of Kassian's Acid surprise 'Bad Habit', while the full B side is dedicated to Pitto's personal take on Adryiano's classic house track 'Me and you and her'. His version takes the track into a new territory that lies somewhere between balearic and dreamhouse. Whatever it is, it's got a lovely vibe where the vocal is complemented by airy pads and a touch of acid.

Kassian on their turn, have done a great job on taking Pitto's 'Treat me like a fool' into 4x4 house territory. They've opted for a sub heavy club track where reverbed hits and the vocal take turns over a solid house groove. Next up on the C-side is Adryiano. He's picked Detroit Swindle's moody-but-heavy album track 'Cut u loose' and does what he does best: a steady and nicely distorted filtered house groove that packs quite a punch. The final track of this compilation really is a great pair of artists: Hugo Mari and Alma Negra. Hugo takes the tropical warmth of 'This is the place' and adds a subtle punch with a smart percussion loop and some added pressure on the low end.

So there you go. Another year, another Roundup. We hope you'll enjoy listening to these re-interpretations as much as we do. Yours

Sincerely,
Maarten & Lars.

FSL007 drops from Corkwegian, Berlin-based producer and dj Ellen King AKA ELLLL.
ELLLL has always brought a different cut to bass ans techno music and with Febreeze it sets out into the further realms of breaks, jungle and euphoric rhythms alongside a bass driven tech-house uk funky joint from College Driver G.E.O. Corp.

Febreeze keeps my house clean, I even like the advert where someone is absolutely chuffed getting their nose into a carpet or there old dirty shoes cause basically febreeze had sorted
it all out. Febreeze after this has new meaning to me now. Its that large sound break coming into a sweaty basement club, its the euphoric sounds being supplied to a Sunrise before
deciding to go to bed or stay up.
This is the image ELLLL brings to mind when I listen to the two mixes of her fresh sounding cuts from her latest creation Febreeze.

KosmoramaDisco Vol. 2 is the second of a series of compilations that KosmoramaDisco label begun to release in 2018. This is a follow up of what the label it's been trying to show in the last 2 years. For this we have a new bunch of artists which music styles fit again with the philosophy and taste of the label: from Italo to Dark Disco and Slow Mo all wrapped, as usual, in club dancing format.

To kick off 2019 Haven are setting their sights on the farthest reaches of the resurgence in EBM. New Zealand based hardware warrior Body Beat Ritual grew up in the UK exposed to the body music of the 80s and 90s and his experiments in industrial-tinged dance tracks inspired by the likes of Front Line Assembly, Ministry, Subpoena The Past, Nitzer Ebb, and Revolting Cocks were made in complete isolation from, and with no awareness of, the EBM resurgence in Europe's clubland.

This EP represents the first of Body Beat Rituals explorations into this sound. The A1 starts the EP with 'Instinct Primitive' - a certified body moving slammer featuring haunting screams, samples ruminating schizophrenia, a funky bass-line and drum rolls aplenty. The A2 welcomes Poland's VTSS to Haven for the first time with a bouncy gabber kick and distorted tones on her tough remix of 'Instinct Primitive'. The B1 begins the flip with the hectic drum workout, cutting bass and synth programming and political samples of 'Crash Report', followed by the destructive drums and scratchy timbre of Blush Response's remix on the B2. Not one to be missed for fans of dance-floor focused, gnarled industrial techno and EBM!

Kyle Geiger isn t your average DJ/producer. From his marathon sets at legendary clubs like Berghain to his powerfully pounding but yet sensationally melodic productions, there are plenty of notable musical accomplishments on his resume. When you scratch the surface though, what you find is a genuinely humble human with a true passion for techno and a love for DJing the kind of grateful joy you find in those who come from small Midwestern towns in the U.S., and find themselves relocated to an area where techno is so widely consumed: decades of experience collecting and programming music for some of the toughest crowds to be finally rewarded with chances to play in venues that have carried the music to where it is today. We are beyond happy to have this true legend and gentle giant on MATERIA with his awe-inspiring 4-tracker Thirty Seven EP

Mystique Sound Explorer Scherbe Is Bursting Out Danceable Groove Science Between Epiphany And Delusion. Urban Misty Visions Of A Past And Current Future Deconstructed And Cludged Together Again, Twisted And Dubbed Into Danceable House.
The Ep Contains 6 Tracks In Mid Tempo, Each Of Them Having A Distinct Emotive And Dense Energy. Ready To Be Played In Clubs As Well As Tailored To Accompany You In Your Everyday Frenzy.
Steady Work By Dear Friends, A Heidelberg (germany) Based Label, Is Feeling Honoured To Disseminate His 3rd Release Featuring Scherbe, Who Used To Live A Long Time In Heidelberg And Is Now Based In Dresden. This Release Fits Well Into Scherbe¥s Discography Who Yet Released A Variety Of Records On Numerous German Underground Labels Like Uncanny Valley, Or*s, Kashual Plastik And Big Bait.

Belgium DJ / Producer ED1999 kicks off the debut release for his newly minted 'Porpax' imprint with 'Melodius Hubbub, a 4-track EP of hypnotic dark Techno saturated with modular wizardry. The release confidently displays ED1999's production power as well as the serious direction the label is aimed at taking. The music featured clearly inspired by the energy found in Tbillisi, Berlin, Detroit and anywhere else heavy duty underground music is celebrated.

'Path Of Hope' is a punchy mover heavy on the reverb, with washes of metallic gray atmospherics floating in and out of the steady analogue drum patterns. The track grows in energy throughout with additional claps, hi hats and melodies generating an absolutely effective tension building weapon.

Title track 'Melodius Hubbub' is pure hypnotic Techno at its absolute finest. Black as midnight elements drive the energy to dark territories. ED1999's perfectly positioned sonic peaks and valleys of thick musical textures ensure the dancefloor never loses a moment getting lost in the incredibly positioned hypnosis of sound.

'Winding Course' is centered around a gurgling synth ride which gives the track an uneasy and twisted vibe throughout. Additional melodic effects join the main synth, adding a romantic sense of danger and dancefloor movement. Akin to ED1999's brilliant ability to keep his music restrained and effective for serious club-goers.

'Sleazy Nook' is the darkest of the dark tracks found on the release, with shudder inducing effects and ice cold soundscapes residing alongside the winding rhythms. A truly intense breakdown midway through the track generates a clever sense of sinking, with only the kick drum returning to keep people safe from going under.

Off the back of the highly conceptual project 'Plata - Last Dayz', Circadian Rhythms quickly return to focus on their white label series and solidify their signature sound. CRWL003 takes form of three club driven tracks from the arsenal of Leicester based producer R@ (Lewis Ireson). The 21 year old's current studies in Video Game Development have evidently started to seep into the ferocious sound that has drawn him attention.
His praised debut EP 'Neural' was released on Stella Beats in October 2018 and following his DJing debut at the CR003 Live event alongside Mssingno and Plata, he now continues this run with his first vinyl release, showcasing his signature production.

Das Duo Boy Harsher Aus Northampton, Massachusetts Gibt Es Seit 2014 Und Sie Verbinden Düstere Dance-beats, 80er-jahre-versatzstücke Mit Sehr Ätherischen Vocals Und Schaffen So Eine Unheimliche, Intensive Und Fesselnde Klangwelt.
Nach Ihren Ersten Ep&album-veröffentlichungen "lesser Man (diverse Pressungen 2014 - 2018, Soft Science / Nachtaufnahmen / Aufnahme + Wiedergabe / Nude Club) Und "yr Body Is Nothing" (diverse Pressungen 2016 - 2018, Dka Records / Nude Club), Ist - careful Nun Der Nächste Schritt - Vielleicht Noch Einen Schritt Weiter In Richtung Dunkelheit.

Augustus Muller Entwickelt Den Unterbau Der Tracks Aus Präzisen Und Kraftvollen Beats (die Irgendwie Nach Damals Klingen, Aber Von Heute Stammen) Und Schleift Darüber Noch Sägende Synthies, Während Jae Matthews Dazu Haucht, Schreit Und Singt. Diese Kathartischen Aber Auch Magnetisierenden Tracks Wurden Innerhalb Kurzer Zeit Zu Hits Eines Real Existierenden Untergrunds. Das Album - careful Wurde Hauptsächlich In Massachusetts Geschrieben, Mit Einer Handvoll Synthesizern Und Einem Laptop. Für Muller Ist Ein Minimales Set-up Sehr Bedeutend In Diesem Prozess. Gemischt Wurde In Italien Mit Maurizio Baggio Von La Distilleria Studio.

Boy Harsher Haben Sich Über Die Letzten Jahre Bereits Eine Sehr Treue Untergrundgemeinde Er- Und Zu Beginn Des Jahres Eine Triumphale, Restlos Ausverkaufte Tour Durch Europa Gespielt. Es Folgte Eine Weitere Tour Durch Europa Und Zwei Us-touren, U.a. Mit The Soft Moon. Im Frühjahr Folgt Die Eigene Headline-tour Durch Europa.

Working with artists like David August and Daniel Brandt, Frieder Nagel is known for managing projects in venues ranging from theatres to clubs, for concerts to audiovisual experiments. He finally signs his first solo work Distract Robots to be released on January 18 on InFiné and invites his listeners to get lost in an universe that spans from euphoric to devastating excitement. - mastered by Zino Mikorey, the magician behind Nils Frahms latest album.

Frieder Nagel invites his listeners to get lost in a universe that spans from euphoric to devastating excitement. He is known for managing projects in venues ranging from theatres to clubs, for concerts to audio-visual experiments - working with artists like David August, La Boum Fatale and Daniel Brandt (Brandt Brauer Frick). The first time he appeared on stage, in 2016 at Berlin's infamous Radialsystem V, armed with several synthesizers, effects, drum machines, one grand piano; and backed by the German Symphony Orchestra (DSO). This critically acclaimed debut was streamed by Boiler Room later and led to further collaborations with Philharmonie Essen or his ensemble show at Reeperbahn Festival.

Now finally Nagel Žs first solo work Distract Robots will be released by French label InFineŽ. This 12" has become an album in miniature with a final polish by mastering guru Zino Mikorey known for his work for Nils Frahm Žs All Melody. This EP offers up a mystical world, full of warm synths and detailed sound clusters morphing into each other to form utterly dark and dystopian ballads. Nagel gets lost in obsessively endless sessions with his instruments. He isolates himself and spends night after night drifting away from reality. The result is that his tracks carry moments of utterly deep relief and deliverance, as well as despairing sadness and stoical escapism.

Continuing on the thematic thread of soundtracking an imaginary short movie, label founder DJ Tennis aka Manfredi Romano, asks some of the greatest contemporary club producers to take on the task of interpreting this idea in their own unique style. Romano explains that 'the score is a translation of our imagination, memories and emotions into music, with no protocols.' Opening the soundtrack, Vatican Shadow swaps his thunderous techno for a more cosmic and gentle approach, setting the tone for an equally serene soundscape from London based DJ and producer Midland. Japanese Future Terror head honcho, DJ Nobu, layers dense cerebral textures exuding the punk spirit of Life and Death. A similar rule defying energy can be heard by Ninos De Brazil who fuse carnival percussions with straight up old school techno. Both Scuba and Uchi bring the futuristic synths of a space age tomorrow we've all been waiting for. German producer Isolee interprets the task with his minimal productions and Italian producer Cosmo closes the compilation with Psychedelic Soundscapes turning into a distorted gabber missile. As the decade edges closer to it's decade anniversary, Romano proves yet again that Life and Death is a label which evolves through each reincarnation of itself, never failing to impress.

THROUGH GODS OWN EYES
MusicForSunrises&SunsetsDarkCornersOfTheDanceFloorDarkCornersOfTheMind.
FastDeepSlowRaveInspiringInspirtational&CosmicUpliftingWildPitchedHeartMelting&HeartPoundingSexMusic

Conceived in Bali as a club event to allow Phil Cooper and Indonesian DJ, Dea Barandana a chance to flex their rave potential and dig out those obscure, heavy dance floor cuts it has been hosting sporadic parties for the last 3 years, with no specific musical boundaries, it is about the late night, early morning dance floor experiences, heads down and lost in music!

A label was also planned, but when that would happen was always unclear, however a chance meeting in Croatia at Love International Festival 2018 between Phil and Carlo Bragagnini AKA La Mano has led to the inaugural release, TGOE001 La Mano 'Tana del Lupo' EP

Side A - Sirena, inspired by the classic Italo stable, a deep and driving intro that builds with a rolling, solid bass line, shimmering effects, gun fire handclaps and siren sounds before the piano line eases in to take it to a euphoric crescendo of soaring synths for maximum hands in the air vibes...

To add weight to the release, remixer options were discussed and both agreed on Man Power, and his rework has taken it to a much different place, adding a solid breakbeat to it, dirtying up the piano and extending the mix to 9+ minutes, this is HEAVY for the floor...

Side B - La Mano, the ying to the yang of Sirena, this is a much more progressive track, subtle in the arpeggio build up and layered to create a big sound culminating in a swirling series of dreamy chords and synth lines.
The Ambiente mix takes away the kick and percussion to allow the full dream like state to take effect, one for sunrises and sunsets across the globe...

Layton Giordani steps up for his first solo EP of 2018. In terms of pedigrees, it doesn't get finer than Layton Giordani.

The Brooklyn-born DJ/producer followed up his lauded debut album of 2017, with a collaboration with Danny Tenaglia to close out the year and marked the summer of 2018 with a three-way collaboration with Adam Beyer and Green Velvet, 'Space Date'.
The period has been a big one for Layton personally, also. From humble beginnings in his native NYC as an Output resident, to being thrust into the bustle of the European club and festival circuit, he's enjoyed a stint living in Amsterdam, growing and developing over this time. All these experiences have had a fundamental influence on him and his music.

The four-track EP 'Phase II' represents a new chapter for this exciting talent. Beginning with 'New York to Amsterdam', a track that draws inspiration from the Yves Deruyter's classic 'Back To Earth', Layton's work packs a memorable punch as tough acidic undertones and brain scrambling synth effects undulate raising the intensity, making it a perfect opener for Adam Beyer when he played Berghain earlier this year. Following this, 'Enter the Stratosphere' is steely electro-tinged techno paired with atmospheric licks of melody, awhile maintaining the artist's trademark low-end chug. On the B side, 'Body Language' follows, a track written when Layton was scrubbed out of touring for a month courtesy of a shattered elbow from a skating accident. Not wasting the downtime, he's crafted a cut that's sleek, sexy and smart, with a seductive vocal and rousing melodic riff that runs throughout. Closing out the EP, 'Black Mirror', stays true to its dystopic name, a stomping rave cut that pummels dancefloors with a menacing lead synth that's purpose built for the cold months ahead. A classy conclusion to an EP from one of techno's brightest talents.

Following the best-selling first volume, Robert Ouimet returns to Basic Fingers with a second 12" volume of edits. Another essential selection of extends and amends from a real connoisseur

BIOGRAPHY

Ouimet's career as a deejay started in the early 1970's
His obvious talent for moving and grooving the crowd was soon noticed and he was approached to join the in-house staff of a newly opened club on Stanley St. called The Limelight where he remained as their principal deejay from 1973 to 1981.

In 1977 Robert also went on to win Billboard Magazine's Best Canadian DJ Award. Similarly he received Gold records for introducing his public to such artists as Boney M, Donna Summer, Musique and Gino Soccio to name but a few, plus a special commemorative plaque/mirror from the Saturday Night Fever soundtrack.

Robert was also the driving force behind the Montreal live performances of The Salsoul Orchestra, James Brown, Grance Jones, to name but a few. He co-produced many records licensed in the US by such labels as TK Records, RFC/Warner Bros., Arista, and Quality Records of Canada.

You might know Peter Matson as the founder, frontman, and guitarist of NYC-based breakout band Underground System, who recently released a debut album of otherworldly global-dance anthems (on Soul Clap's self titled imprint) and have been touring their live show at venues around the US. Matson's roots, while nestled in worldly live sounds, also firmly grip deeper dance music styles, though they manage to still pack a refreshingly eclectic energy.

His debut EP 'Short Trips' for Brooklyn's Bastard Jazz connects the dots between his time moving bodies in the club as a DJ, as well as in his group as a guitarist and producer, though this record is better suited for a woozy club floor. "Roma Norte" kicks off the wax with its soulful cocktail of latin-house styles and hypnotic basslines that would elevate the opening hours of any club night. Deep house legend and Freerange Records boss Jimpster provides an ethereal, creative remix that delves into afro-house territory. "3AM to Sete" is a warm and bubbly deep house tune that sounds like something you might hear late-night in a South London nightclub—it's all warm bass vibrations and subtle synth explorations. Matson's seasoned instrumental skills shine on "126," another breezy synth jam with just enough punch to make you move, eyes closed, of course. 'Short Trips' sounds like the work of someone not interested in where one scene ends and the other begins, but instead, where they connect.

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

As the man at the helm of many musical projects over the years including Cookin' On 3 Burners, Menagerie & his solo project Lanu, Lance is no stranger to the art of imaginative musical re-interpretation, be the material soul, funk and jazz based or the works of James Blake, Roxy Music and Prefab Sprout.

For Raregroove Spectrum, Lance explains that much of the inspiration for the re-works comes from his experience as a DJ, "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

In other cases, top-shelf classics have been re-imagined in different guises: James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover. Stir into this musical gumbo stew the raw Deep Funk of 'Egg Roll', the swinging Mod R&B of Googie Rene's 'Smoky Joe's La La' to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Naphta is a DJ and producer hailing from Wroclaw, Poland. Also, one half of Polish DJ/producer duo, Pvre Gold and host of Wroclaw's infamous Loud & Clear parties, he takes inspiration from a variety of electronic stylings, with a thick dose of soul and southern rap and acid techno thrown in for good measures. After a string of 12's released on Studio Barnhus, Omena , Father And Son Records And Tapes, Transatlantyk and his first LP with a full live band as Naphta & The Shamans; the Polish producer returns to the latter with his debut EP for COSMIC CLUB, SKYLAX RECORDS sub-label. This is house music like you've never heard before - loose, freaky, hippie, voodoo machine funk, highly infectious grooves for any modern dancefloor. As usual : Vinyl only. SKYLAX RECORDS 4 EVER !

Bendik HK is now launching his debut EP “Depot” via Oslo based label Mutual Intentions. The EP boasts Bendik HK’s futuristic approach in the realm of techno, house and ambient. His progressive production revolves around melodic structures, rhythm and soundscapes. On all four tracks Bendik HK uses an atonal percussion instrument called “Sixxen”, brought to life by the Greek contemporary composer and architect Iannis Xenakis. On “Depot”, this instrument is fused with more classic synths, in an attempt to “challenge” the club genre and invite something new; not only through rhythm and production, but tonality as well.
Vital sales points:
Bendik HK (Bendik Hovik Kjeldsberg) is best known for being one of Norway's most skilled and sought after drummers, playing alongside acts such as Charlotte Dos Santos, Ivan Ave & Gundelach.
He also works regularly with the internationally renowned composer/producer Pantha Du Prince, touring the world and playing events and venues such as Berghain, Sonar, Mutek, and Boiler Room.

Seit Dem Plötzlichen Und Völlig Unbemerkten Erscheinen Ihres Manifests Im Jahr 2016 Schwor Das Weird Folk-songwriter-duo The Mañana People, 100 Lieder Zu Schreiben, Die Die Wege Des Pop-genre-diskurses Erkunden. In Der Mitte Ihres Kampfes, Während Sie Eine Reihe Von Hausgemachten Freak-folk- Und Psycho-country-kuriositäten Erfanden, Wurden Ihre Bemühungen Gnadenlos Von Dem Deutschen Kult-label Unique Records Unterbrochen, Das Sie An Den Ohren Packte Und Ihnen Sagte, Dass Sie Aufwachsen Und Eine Richtige Platte Machen Sollten.

Das Ergebnis Ist Ihr Bevorstehendes Debüt "princess Diana", Ein Hauch Frischer Radioaktiver Luft In Der Welt Der Autorenmusik. Die Exzentrische Sammlung Von Melodien Bietet Theremin-getriebene Honky-tonk-kracher, Zombie-themen-electro-pop-balladen Und Horror-spirituals, Sowie Eine Zusammenarbeit Mit Dem Besten Troubadour Selbst, Bonnie 'prince' Billy.

Die Erste Anstrengung Der Mañana People Schafft Es, Harmonisch Zwischen Experimentierrinnen Und Der Angenehmen Leichtigkeit Der Popmusik Zu Schwingen. Tim Weissinger Und Alvaro Arango Trafen Sich An Einem Winterabend Auf Den Grünen Wiesen Ihrer Universität.

Ihre Musikalische Chemie Und Das Kalte Wetter Zwangen Sie Quasi, Sofort Musik Zu Machen. Ihre Debüt-ep "the Mañana People" Wurde Am Halloween-abend 2014 Online Veröffentlicht. Ihre Musik Wurde Sofort Von Ihren Freunden Gelobt, Von Ihren Feinden Gefürchtet Und Von Vielen Anderen Ignoriert.

Seit Anfang 2015, Und Mit Hilfe Von Tobi Mercer (keyboards) Und Simon Mead (schlagzeug), Haben Die Mañana People Ihr Wort Verbreitet Und In Jeder Bar, Café Oder Straßenecke Neue Seelen Gefordert.

Nach Einer Zweiten Ep - "horror Songs" - Ist Es 2016 An Der Zeit Für Ein Komplettes Und Mit Spannung Erwartetes Debütalbum Auf Unique Records!

Die Jungs Supporten Honig Auf Seiner Herbsttour.

Live
14.09.18 Ulm Roxy
15.09.18 Mainz Schon Schön
16.09.18 Dresden Beatpol
17.09.18 Berlin Privatclub
18.09.18 Leipzig Werk 2
19.09.18 Nürnberg Club Stereo
20.09.18 Essen Zeche Carl
21.09.18 Köln Kulturkirche
22.09.18 Bremen Tower
28.09.18 Konstanz Kulturladen
29.09.18 Saarbrücken Kleiner Klub
30.09.18 Aachen Musikbunker
02.10.18 Langenberg Kgb
03.10.18 Haldern Pop Bar
04.10.18 Hamburg Knust
05.10.18 Münster Sputnikhalle


Für Anfang 2019 Ist Eine Kleine Eigene Tour In Planung.

Tropical Disco plucks out a spellbinding salvo of heaters for Tropical Disco Volume. 7, dished out on suitably heavy wax.

Moodeena's 'The Horns' boldly kicks off the record, effortlessly weaving together elements of funk, soul and afro, influenced by a myriad of far-reaching regions. The earworm of a bassline subtly leads the piece, morphing, dipping and then reassembling as the brass resurfaces, creating a tender, palpable sound palette. On the flip 'What Da Funk's playful track title doesn't reflect its cultivated build, and no doubt lethal functionality on a dancefloor.

Titillating strings are the driving force for Tropical Disco newcomer Sammy Deuce's input, bringing a burning, high-energy ode to golden-era disco with 'Smack My Strings Up'. Hot on the heels of a series of well received releases on labels such as Glasgow Underground, Club Session and Big Love, Sammy deuce offers up a rare guest track on the label that pairs perfectly with a recipe Sartorial and Moodena have refined so successfully.

Sartorial closes the EP with 'Little Love', a carefully plotted symphony and formidable sign off for the release. Hustling a creamy bass and slowly swooning vocal, this audio aphrodisiac will have dancers headed straight to the bedroom...

Tropical Disco's back-catalogue of quality nu-disco obscurities is building thick and fast, and the latest package is a diamond in a gleaming gold mine.

Support across Mi Soul & House FM.

IDA007 is a vinyl release entitled 'Pagan Rave EP' by label's co-founders Uninc & Kolomensky coming up from the emerging Moscow scene.

Title track opens EP with breakbeat groove, flute solos and slavic vocals combined with progressive and acid lines to deliver unexpected mix of pagan folk music and rave rhythms.

'Ancient Tool' is another original track on the A-side with tribe vocal samples combined with acid and punchy rhythm section filled up with bongos to create a dancefloor oriented DJ tool with ancient flavor.

On the remix duties at the B-side are Ransom Note's craftsman Timothy Clerkin with slow atmospheric and meditative version of 'Pagan Rave' and quickly emerging Olsvangèr from Tel-Aviv who delivers weird oriental progressive club banger made up from the 'Ancient Tool'. Overall there is an 12'' saturated with different vibes neatly crafted and mixed together for a wide range of feelings for the listener and tools for the DJ.

H.omevvork is back! We are happy to announce Insolate!!! On her debut for H.omevvork, she
offers two solid deep 90s techno tracks, remixed by PVS. The first track is called "Disgrace",
that continues to explore the PVS's concept-informed take on techno. "Warehouse Jam " is 6.54
mins of pure and brutal club track! Kick, clap and bassline with a break remix from the
H.omevvork record label owner. Sounds complete! Master by Dadub Studio Mastering - Berlin

iPM is proud to announce its very first vinyl, fruit of the inspiration of iPM's label heads A-Kintero and Mateo Holguin. NYC based Dj/Producer PJay has performed Live at many of the old school New York City Clubs. He is a Teacher of analog sound and modular synthesis and he is behind iPM's very first vinyl. With two tracks, one ambient and one Techno mix, both are characterized for their immersive and profound analog sound. "Crawl" is a laid back relaxed track which takes us on a journey of atmospheric synthesizers and deep bass lines with consistent drums that are sure to delight us, perfect for openings and closings. Brendon Moeller needs no introduction and he's on remix duties with "Space Jam", taking this track on a groovy happy vibe. This is definitely one to get people moving on the dance floor. "Space Jam" complements this Ep with a funky vibe where the cosmic synths takes the roll along with a moving and bouncing bass playing in sync with the consistency of the drums.

Fresh from releases on his own Polymath Records, as well as Natura Sonoris and Sodai, that have seen support from the likes of Maceo Plex, Bicep, and ANNA; UK producer Third Son debuts on Dusky's 17 Steps imprint with the 'Machine Love' EP.

The synth laden 4 tracker utilises electro, acid, techno and breakbeat influences to provide a rugged and bold reflection of the current clubbing landscape; one that is set to melt underground dance-floors this autumn.

'Machine Love's squelchy synths and gritty percussion build towards a chopped and skewed finale, that has proved a ferocious piece of club artillery in Dusky's sets this summer.

Next up is 'Bloodsport', a dance floor primed roller that consists of dusty breaks, squealing atmospherics and a meandering baseline. 'I Hear Laurel' follows, a cosmic alliance of ghostly vocals and hard hitting distorted synths that feels like meditative ode to rave music of the past. Closing the EP is 'Ambiturner', stacked with syncopated drums and twisting synths that scatter across the stereo stacks.

Big news on the Apparel Tronic side. We're here to celebrate another step forward of our newest label introducing the 7th release on the catalogue & 2nd on vinyl, by an artist we really admire and we're delighted to have on board with us: Julian Habib aka Inkswel, on this project with his alias 'That Dude Inkswel'. The man himself created an 8 tracks LP which truly represents our spirit of experimentation, this time round steering towards a more jazzy influenced hip-hop, shaped up staying true to the sound we love. 'The Sound' LP features dope collaborations such as the Detroit vocalist and multi-instrumentalist Brownstudy singing on the opening and title track, the amazing progressive artist Maia Von Lekow giving her voice for B1 track 'Mother' alongside Mista Monk, the superb Han Litz's flute and Trujillo on Kellin' it & also Divine Species on 'Galaxies' and Mr. Shem rapping on A3 track 'Dedicated to Mr. Schem'. This work is a bold and captivating selection of different styles belonging to the same soul orchestrated by Inkswel and his musical mastermind, listening to 'The Sound' is like jumping on a caravan for a journey where every track is a different stop: crunching beats, deep bass lines, psychedelic melodies. The ingredients for this amazing recipe are all coming from different parts of the planet, a place that Inskwel seem to have written on his palms seen his capability of bringing different music influences under the same roof, where he finally invited Apparel Tronic to hang for a bit.
racks such as 'Snooker Club' and 'Viejos' delve into more caliginous, IDM territory. The result is a rich and varied collection that demonstrates Apparel Music's unwavering ability to continue to keep listeners guessing.