Cerca:tweak

Sinking Into A Miracle is the debut album by Glasgow's AMOR, a quartet of musical travellers exploring the sonic open-ended-ness of dance music. Following two critically acclaimed 12-inches, this is a fully developed treatise on ecstasy and transcendence. Here, Richard Youngs, Michael Francis Duch, Paul Thomson and Luke Fowler are more honed, razor sharp in focus and timing, testing their instrumental prowess on condensed song structures and new, enlightened feelings of expansive hope and bliss. From the outset, it's an ambitious yet ultimately inclusive journey. Recorded to 24-track tape at Chem 19 and mixed by Paul Savage and Richard McMaster (Golden Teacher), this full length retains the elastic grooves of Paradise and Higher Moment, the group's previous singles, but relinquishes the classic Philadelphia International-tinged sound in favor of looser rhythmic patterns. There are new depths to the compositions: a more free-flowing approach to percussion and deft experiments in hybridity make for a full and rounded, emotionally tinged record. Indeed, there are times when AMOR sound like the lost house band from David Mancuso's Loft parties: Richard Youngs' uplifting, gospel-tinged lyrics talk about moving beyond, universal truths, sailing through the horizon. It's a wideeyed optimism Mancuso would perhaps have approved of and which is embroidered with spectral details that begs to be auditioned on large, tweaked out sound-systems.
Fantastic cover art by Robert Beatty.

Celestial electronics are always at the heart of James Welsh's music, via a number releases for labels such as Erol Alkan's Phantasy Sound, Wolf Music and Hypercolour. 'Hammers' is Welsh's second release for Futureboogie (following 2013's 'Craven' EP), and finds the UK based producer on particular fine form.
With its airy pads and shrouded ambience, 'Hammers' drives a 303 bass line right through its centre, perfectly balancing the tracks emotive and darker sides.
Hodge (Livity Sound/Hemlock) comes on board with an industrial sized remix, carving out some heavyweight tribal drums and additional percussion and letting the acid do its tweakable thing.
'Denergy' meanwhile channels some electro tinged bassline moves over super funky, tight drums, a flourishing acid line, and laced with the futurism and sound aesthetics that's keeping James Welsh at the top of his game.

2019 will kick off in style at Blumoog music. Catalogue N.009 District Omega ep is a classy blend of electronic house and techno beauty. One of the key players in the development of electronic music scene Dan Curtin, joins Blumoog for another fine project. With over 70 singles and 9 LP's to his name Dan brings all his valuable experience into this number by chipping in 3 tracks out of 4.

A1 Pay to win, is an intricate, driving and bass heavy techno floater with a refreshing feel to it and with a couple of suspenseful breaks. M.R.E.U.X loved Pay to win and did a superb job remixing it on A2, a darker and more sequential approach redefine this tune but maintaining the heavy bass line. B1 District Omega is a percussive and uplifting 6 minute of upbeat house with crafty voice inserts. B2 ends this ep with a lovely jacking and jazzy house bomb with some virtuoso solos that will make you go wow!
Dan certainly knows how to tweak those knobs.

All the hard work is paying off for M.R.E.U.X with his Blumoog concept by releasing material that defines the musical evolution and contribution of techno veterans. Excellent work Dan and M.R.E.U.X! More to come in 2019 from Blumoog Music.

This highly prolific UK Drum and Bass producer returns with his second Tempo Records release. This work sees Alex' Judd rhythmic tweaks and overlays of texture with intricate melodies, heavy dub basslines giving the tracks a live & energetic feel. He draws out each track with his own distinctive craftsmanship and still giving them space to breathe. ''U Got me'' might be his best work to date but that's just our opinion. ''No Hype'' on the flip side says it all; music shouldn't be a hype but this release surely creates a huge buzz with all the dj's worldwide. This release comes as a limited 140g crystal clear vinyl pressing with full artwork sleeve + white glossy inner sleeve, including a mp3 download voucher + a free poster/inlay and all tracks mastered by Stuart Hawkes of Metropolis Mastering London.

Early Dj Support & Feedback
More Coming Soon!
Ltj Bukem thanks For Sending'
Grooverider good'
Icicle thanks, I'll Support No Hype On Rinse Fm'
Dj Flight nice Release, U Got Me & Loved Up Are Probably My Picks On First Listen. Will Play The Former This Weekend.'
A-sides no Hype', Thanks!'
Doc Scott thank You'
Drumsound & Bassline Smith nice One'
Gremlinz dope'
Hyroglifics (aka The Executioner) nice Ep!'
Villem hype Hype Hype'
Lynx yesssss Not A Media Hype!'
Chromatic nice Ep, Big Up Alex!'
Dj Clarky great Tracks On This'
Dj Chef (ministry Of Sound) big Ups Full Support'
Dj Tendai (swerve) loved Up Is Sublime'
Dj Kalm great Release Thanks!'
6blocc love The u Got Me' Track'
Earl Grey u Got Me Is The One, Badness.'
Arkaik will Be Supporting 'no Hype' Thanks'
Bulletproof Tiger (nyc, Usa) always A Pleasure To See Tempo In My Inbox. Biggups Y'all'
Dj Ros (addiction Fm + Label, Poland)'!'

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Radio & Podcast
Coming Soon!
Icicle (rinse Fm) thanks, I'll Support No Hype On Rinse Fm This Thursday 20-09-2018'
Dj Chef (ministry Of Sound) big Ups Full Support'
Onedek (origin Radio Uk) awesome!!!!!'
Andre (soulsurfer - Bassdrive) now This Is A Strong Release... I Agree That This Is Alex Greatest To Date. U Got Me, Loved Up And Feel Good Are Immediate Favorites. Support In Club And Radio!'
Benjamin (the Dance Mission Dnb Show - Kiss Fm Australia) cool Music'
Overfiend (bassdrive) superb!'
Stunnah (bassdrive) big Release!!'
Chris Muniz (insomniac / Bassrush) mashing It Up Proper!'
J Swif (dnb Hq Podcast) dope Release Duded, 'feel Good' Is The One!'
Stanislav (zima - Czech Radio 1) gonna Play no Hype' Today... Cheers. Stanislav'
Matze (urban Wildlife / Syncopix Records) 5/5 The Rework Of Sweet Sensation Is Killer. The Crowed Loved It. Cool Arrangement And Use Of The Vocals. Feel Good With It´s Long Bassline Is Also A Most Functional Dance Floor Banger. Thanks For This One!'
Jose (nas Radio Show - Brazil) awesome Crazy Material Right Here'
Simon (see You Next Life Podcast & Night) soul Intent Fan Here So It's All Good. Cheers!'
Francesco (delta9 Recordings / Podcast) interesting And Diverse Album! All Are Great, Fav Are Loved Up And No Hype'
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Reviews Blogs & Magazines :
More Coming Soon!
Julian (mixmag Germany Dnb Reviews) i Really Enjoy loved Up'.
Aliina (jungledrumandbass) big Up !!
Matthew (one Hour One Dj) great Tunes. Particularly Feeling The Two 2 Sides, Loved Up And Feel Good. Lovely Gritty Rollers.'
Rohan G. (dj Mag Spain) pow!'
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Eglo Records are proud to present the second official solo album by the forward facing producer and vocalist Steve Spacek. The album, entitled 'Natural Sci-Fi' originally began production in 2005, shortly after the release of the now classic 'Spaceshift' album (which included the J-Dilla collaboration 'Dollar'), but was never completed. Over the last few years Steve has added a some tweaks and changes - including a new song and guests vocalists Oddisee and Natalie Slade - eventually finalising the project and readying it for its release in 2018. The album continues the post Spaceshift vibration of Steve's signature production style and effortless vocal delivery. Swinging spaciuosly from past to present, packed with soul, sounding as fresh and relevant today as it did when it began back in 2005.
Since the albums inception Steve has released projects with Mark Pritchard as one half of Africa Hitech on Warp, an instrumental LP as Black Pocket for his brother D-Bridge's Exit Records and a concept LP as Beat Spacek for Ninja Tune. Following a string of EP releases for Eglo over the last two years we are thrilled to finally be able to bring to you a full length release from one of the UK's most unique and talented artists.

'Breathe The Machine' is the first installment of Dojostudio and presents a musical world rich in harmonics, low frequency and melodic impact, yet with enough space in between to allow that perfect breathing room essential for powerful dance cuts. 'Breathe The Machine' portrays a world that initially feels robotic, yet instills an organic fluidity known only to come from humanoid beings, breathing life into a system littered with code and coldness. Billy Dalessandro presents 3 original cuts, plus a rendition of the title track by Mike Shannon.

Both for 'Breathe The Machine' and 'Tractor Beam' the Waldorf Microwave XT 2 and the Jomox 888 were the primary sound sources. For 'Breathe The Machine' the 888 was processed through a Jomox T-Resonator, which added harmonic distortion, and also spread the stereo spectrum out a bit offering the drums a more washed-out feel. The XT was layered track by track by performing patterns live into an editor until the desired ideas were properly recorded. Mike Shannon was brought on board to offer a contrasting expression of 'Breathe The Machine' and when asked how the process went he stated:

"I took the source sounds, edited them and processed them to work with a groove I had written for this remix. I mainly used the pad, lead synth and synth effects from the original. The rest of the gold I engineered."

On 'Tractor Beam', subtle use shows that ample space in between ideas make things seem larger than life. By allowing a more minimal approach in the production process the sounds can easily co-exist, allowing for that 'big room' sound without overwhelming the overall experience.

The digital exclusive 'Deliverance' was created using NI's Maschine for the drums, and FM8 and Reaktor were the sources of the synths. Drum patterns were created in Maschine and then recorded in realtime back into the DAW as it played, with real-time tweaking of the hi-hat to create the desired impact, especially at the break. The synth and pad patterns were recorded as MIDI into the editor, and then automation of the synths' VCF rounded out the expression needed to complete the emotional process.

All in all, DOJ001 is mostly an all-hardware showdown, with 'Deliverance' being the only 'virtual' attempt. Life is in nature, not in machines, yet the culmination of the two worlds can be beautiful, if only properly tamed and understood. Lest we beware! Stay tuned... and thanks for listening!

Bizz O.D. is somewhat of a mystery.
A known fact is that she released noisy hypnotic acid-house tracks on Force Inc. and Smile Communications back in 1993-1998. 'Warship The Speakers' was taken very literally when Detroit was kneeling in front of their sound- system praying to the allmighty bass drum. 'I'm Coming Out Of Your Speakers' went heavy rotation with Junior Vasquez at Sound Factory NYC. A collaboration with Jimi Tenor for OZON Records in 1995.
A few live shows have been proven to be Bizz O.D. herself. She would send someone, kinda anybody, to play her trademark Casio RZ-1 drum-machine and tweak her TB303 acid-lines. The vocal loops coming off some defunkt Dictaphone. So she's never been really seen or photographed. Bizzi has ZERO social media except the mentions on Discogs and some up-loads on YouTube.
'The New York Push' is two previously unreleased tracks. Fetish club, distortion and newyorican-soul all in one. Set aside some pretty bizarr promo pictures that will add to the mystery.
It's House, New York House with a Latin-Industrial subtext. Ok, whatever!
P.S. Bizz O.D. live shows this year in Berlin, her new home since 2017. The 'T' a monthly tea-dance with Eric D. Clark of Whirlpool Production fame at Paloma/Berlin. Catch her if you can!

Moritz Simon Geist, media artist and robotic musician, publishes his first record. It is the world's first techno record played entirely by self-made futuristic robots. This is the 4-track EP to the following full-length album out 16. Nov. 2018. All of the sounds on his records are played by robots: small motors that beat on metal, futuristic 3D-printed robo-kalimbas, salvaged parts from old hard drives that click and cut. It took Geist several years to build, tweak, test and play all his DIY robotic instruments. His 'Sonic Robots' try to push the boundaries of the imaginable. He did so already in 2012 with his well-known oversized 808 robot - an iconic drum machine gotten real, 4 by 2 meter, filled with robotic parts which play the instruments live and in front of the audience. Now, Moritz Simon Geist goes even further to discover the unknown and futuristic world of techno robotics. For this quest he teamed up with the berlinian sound wizards from Mouse On Mars and dug deep in the history of mechanical music and experiments of early electronic music.

On the 4-track EP 'The Material Turn' Moritz Simon Geist turns materials into sounds. The opener 'Entropy' is a bassy club-track, played by futuristic bass-kalimbas, a psychedelic pattern of tonal glasses and pneumatic hi-hat patterns. It is core piece to this EP and is also featured in the main video. Even without a visual part, listening to his music, a sound world opens up which is unheard before: in definition, reference and organic nature. Geist: 'When you listen to robots playing, you realize, that they sound precise, but in contrast to digital sounds they transport an immense organic feeling. No beat is like the other, everything is played with actual acoustic physicality and thus actual error. On the same time, the repetitive nature of the robots make it perfect for playing electronic music. Its industrial and organic at the same time.' The second track 'Under Deconstruction' is a metal-on-metal slammer with a heavy beat played on a big sheets of metal. 'I often try to compose a track around one instrument', explains Geist, 'letting the sounds take a lot of room so they can stand out.' The B-side starts with 'Supercharged' - a heavy drone, reminding of the darked sides of music concrete. Here, tuned air fans, and a metallic percussion robot create the texture. 'Detok' closed the EP with an up-tempo club track, featuring complex rhythmic textures and well defined robotic percussion elements. What Moritz Simon Geist came up with is a stunning record of what is possible today - to explore the sound of mechanics that keep on filling our world. Geist creates a smashing soundtrack for both the precise automation and physical fragility that shapes today's society.

In the first part of a two-volume release, Eric Copeland (Black Dice) delivers Trogg Modal Vol. 1. It has been one year since releasing Goofballs and Eric has doubled down on his unique approach to crafting dance music, pushing a sort of 'Freakbeat 4/4' agenda even further than before. Where Goofballs was the first album recorded in its entirety in Eric's current home of Palma de Mallorca, Spain, and the result of countless hours spent working in the studio, Trogg Modal Vol. 1 is a bit less serious and more carefree, with tracks that are propelled forward by a singular, frenzied energy.

Chunky percussive layers, hard steady kicks, and tweaked loopy vocals create a playful vibe that is best described as a tropical-industrial hybrid. The final product comes together via seven succinct, self-described 'rippers,' music created both deliberately and accidentally, and always with a sense of humor that bubbles over and out through the speakers. With Trogg Modal Vol. 2 out in early 2019, this two-part release pulls into focus a vivid and unfamiliar new direction for Eric Copeland.

Internal Crosstalk see's Heartless finding inspiration in his own anxieties and fears. Heartless manages to mature his already distinctive sound through experimentations in unconventional tunings and microtonality, creating something truly original and otherworldly. Conceived in the isolation of the Welsh countryside, Internal Crosstalk doesn't find influence in anything other than the battle between Heartless' positive and negative meditations of the human form.

The EP beings with ruminations of existentialism in 'Who We Are What We Are'. Mutated tribal bassline and short bursts of tense percussive clatterings live throughout the track in what Heartless calls 'a classic crescendo piece'. A true understanding of pace remains a focal skill for Heartless, building dizzying synths with just the right amount dynamic shifts producing a perfect balance of anxiety and relief.

'Into the Shadows' is Heartless at his darkest and most experimental. Overdriven rave chords squirm around a kick pattern that remains the same over the course of the track. Heartless presents a truly cinematic depiction of isolation through intensely thought over sound design.

'Internal Voice' is inspired by Heartless' 'doubts regarding production choices' . It focuses on the internal voices that question your decision making during creative processes. Heartless uses feedback chains and filters to mimic the tiring relentlessness of self-doubt, the questions and never-ending tweaks that come with production of art. The song effortlessly strips away all the intensity built up throughout the track during the last minute, it simulates the hope that is gained through smatterings of self-confidence.

'Urgency of Self' is the breakdown of the battle between the meditations of positive and negative thought explored through the EP. A reflection of the fear of change, 'Urgency of Self' is static in its structure and unlike its predecessors, stays the same, almost succumbing to its own negative thought. Taken as whole, Internal Crosstalk ultimately finds triumph in its ability to overcome the anxieties that influenced it. Claustrophobic, sinister and hauntingly introspective, Heartless has produced an EP for anyone who has ever found doubt in their own abilities whilst pushing the boundaries set in his previous release Impulse Model.

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.

A much welcomed reissue of the 1978 Idris Muhammad gem 'Boogie To The Top'. Released a year after, arguably, Idris' most well-known anthem, 'Could Heaven Ever Be Like This' the similarities in style and composition are clear. Expertly produced, rich instrumentation, expansive drum fills, gospel tinged full-bodied vocals, all the while epic and life affirming in it's nature - what more could you want

Young Pulse steps up on the b-side, to add his own subtle touches and tweaks to the original. Looping the guitar and echoing out the vocals whilst working in more of the synth lines. The addition of a crisp clap and extra percussion add an element more vibrancy into this mix, keeping the original feel intact whilst revitalising it for 2018.

Since his 2015 Night School debut E.P. Nouveauree, James Donadio - aka Prostitutes - has been traveling stages and rigs from Los Angeles to Berlin, from prestigious festival slots to slimy Glasgow basements, burning his own path through the modern techno and electronic scenes. On Aluminum Garage, Donadio is at his most playful, laying down unmistakably mid-tempo BPM early-electro jams indebted to early sampling before crashing the soundsystem with frantic, detourned Gabber. Unlike his previous LP for Spectrum Spools or indeed his Night School debut which rankled with austerity and minimalism, here Prostitutes is instinctive, multi-layered and unashamedly, brilliantly borrowing from myriad genres.

In past 3 years, Donadio has racked up critically praised releases on labels like Diagonal and CGI, refining his wares into a precise, bludgeoning toolkit that surprises and develops with each release. Aluminum Garage creeps into life with Born Wanderer, before a sub-heavy kick and bongo pattern blasts into a heavy break that feels like the earth moving from under your feet. With the utmost clarity, the track builds disparate layers - a white noise solo, warped sample piano chords straight from 1986 - into a Rave-o-matic climax, holding steady with the BPMs and immeasurably funky. Jah Elegant further blows apart any image we have of Prostitutes' music as austere' with a loping intro based on teased drum samples and a ghost MC. The Jungle break comes in by stealth before the heavy drop blasts the music into Drum + Bass momentum. It's both blistering fun and undeniably cheeky, a driving track that cuts up Remarc on a dimly lit table in suburban Ohio.

On Side 2, Errant Seagull takes the genre mess into techno territory though put through a heavily distorted grinder. Built around a skeleton of sampled bass guitar and thumping kick, the track layers drums upon drums, building in saturation until a searing synth strafes the criss-crossing rhythms. The effect is dizzying, insuring both a propellant, heavy forward motion and a grimey, angst-ridden climax. Before we're at the end of the track, the stereo field is so filthy with distortion and analogue muck the listener is desperate for a palette cleanser. Final track Shroud of Cellophane however, doesn't let up. With a ramped up BPM we're in a Cyberpunk Gabber club, nothing but 160 beats per minute, layers of frequency-tweaked noise and the light at the end of the tunnel racing towards us. It's sweet oblivion and we've earned it.

Precision dubsteppin' drum & bass collides with tweaked IDM-techno and zero-gravity ambient.

Osaka based producer 7FO. Having previously released a cassette on RVNG International, and a 7'' single on Bokeh Versions in 2017, this is the Japanese producer's debut full length vinyl release. The tracks, recorded between 2012 and 2017, have been tweaked, remastered and recorded to vinyl for the first time.
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The mysterious figure recorded the tracks at home, processing guitar sounds, using a sampler, synthesizer and junk equipment. Following in the footsteps of the ambient giants of his native lands, 7FO's music continues this illustrious heritage whilst offering something fresh, modern and beautifully rendered. He describes his own sound as 'gorgeous sustained tones and dreamlike oscillations that drift through the inorganic/electronic world reverberating through our subconscious creating sonic fables in our minds'.

The 12'' comes with artwork designed by label head & visual artist Jack Hardwicke. To accompany the release Greek filmmaker George Kountouras, who also collaborated on the artwork, has directed a gorgeous video for the title track 'Moment'.

Precision dubsteppin' drum & bass collides with tweaked IDM-techno and zero-gravity ambient.

2Volt and Emasa land their first posthouse EP on EADEMVOCE. Four tracks that serve all needs, with a strictly selected sound palette declined in four different moods. A1 delivers the hypnotic energy which is necessary to take off in a brief and significant journey into the past future. A2 is a pit-stop, giving the listener a pause to gaze around, leaving a chance to the mind evaporate into the synthetic atmospheres. B1 turns the situation in a determined hunt for something hidden, in a scenario dominated by rubbery tweaks and acid stabs. B2 is the celebration of arrival, the success of discovering something unique traveling in an acid path that cross a forest of morbid synths.

Volume 2 from the Tropical Disco camp... 4 killer disco gems lovingly tweaked, treated & tested, all carefully constructed for discerning dancefloor destruction.

Rick Lenoir and Larry Thompson aka Black Traxx dropped several volumes of their own brand of chopped up Disco sampling, deeper side of House. From 1991 through to 1994 the Black Traxx EP's were showing up in record stores, obviously giving respectful nods to other Chicago DJ's and producers the tracks included on the EP's contained a DIY spirit and rawness that were key ingredients. Lenoir, with the technical assistance of Gary 'Jackmaster' Wallace has revisited these classic releases for 2017 and the pair have turned in some special, exclusive extended versions of some of the highlights from the series.

Kicking off the first Black Traxx sampler is 'Climaxx', a stripped back, slow burning acid cut with more than a similarity to 'French Kiss' complete with ultra slowed down section in the middle. Far from a copycat, 'Climaxx' is it's own beast, a truly atmospheric track that tweaks in all the right places! 'Doctor's Housecall' is up next, a cut-up of Disco burner 'Doctor Love', a Chicago staple for sure. This is a brand new extended version of this jam, serious heat on this one, you all know the sample by now! Undoubtedly a nod to the legendary Ron Hardy and his mythical Muzic Box club, this one hits the spot.

On side-B we get a new version of 'Your Mind Is So Crazy' lifted off Volume III, this one's a pumping, breakbeat laced party starter. Vocal samples, synths and swinging drums all collide to form a real peak-time monster of a track, pure 90's style runnings! 'Retrospace' is the last track on sampler 1, it's a melding of Chicago House, breakbeat and bleeps. If you dig the sounds that emanated from Sheffield way back when, or the you're into the early hardcore sound pre-Jungle then this is the cut for you. Fast paced and funky, 'Retrospace' is a real hidden gem of a track, featured here in it's original form lifted from volume II.

This reissue has been realised with the full involvement of Rick Lenoir and Gary Wallace and is 100% legit! All exclusive extended edits have been made by Rick and Gary specifically for this release. Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2017 - You can't stop it!

On this new EP, DJJ's trademark jagged take on filtered French house is still present, but with Chicago bump, techno and more random elements thrown in for good measure.I Keep Trying To Convince Myself is the tougher, more rugged and even funkier cousin to DJJ's hotly-hyped 2016 summer anthem just a lil. Chi house meets soca in this carnivalesque new classic, which hits the perfect spot between sweetness and dirt.Yn Y Ty is fast, jerky funk and almost a new genre in itself. Both melancholy and pumping, think DJ Rush meets the Tetris theme in an oddball, groovy-as-hell work of genius.The cut-up, loopy loops and tough, tribal beats on Apilli are deranged in a good way and - as with the rest of the EP - demonstrate a quirkiness and subtle humour akin to Basement Jaxx's early golden period.A big sample drives the jacking, sweaty, glitz of Upsqwar's warped take on handbag, which channels the spirit of Modjo and features a ponderous, almost chiptune melody drifting subtly over the top.The EP closes with the Greek flavoured stomper Glas, which wouldn't sound out of place on Richie Hawtin's 1999 mix album Decks, EFX & 909. This new EP is first release since jus a lil for Crazylegs, which gained high praise from NPR, Resident Advisor, Indie Shuffle, Mixmag, Dummy, Hyponik and FACT - who commissioned a video and coined the tongue-in-cheek genre name 'outsider Ibiza'. Comparisons have been made to Thomas Bangalter, Alan Braxe, Todd Edwards and David Morales - albeit a skewed reinterpretation. Like the punks' assimilation of rock and roll, DJJ's fresh and irreverent take on highlights from dance music history make for some of the most exciting sounds since Daft Punk's first forays.Although distorted and with lowered bit-rates, to call theses tracks 'low fi' is to do them a disservice, as DJJ's manipulation of frequencies, distortion and samples is deceptively simple yet not easily matched. There's a mastery of sonics and leftfield sensibility at play, akin to fellow EQ tweakers Heiroglyphic Being, Aphex Twin and Adrian Sherwood.DJJ is a member of the Bristol-based label/collective Crazylegs, alongside artists including Gage, Sudanim, Finn (all of whom remixed just a lil). He's also one half of ISLAND, whose grime-flavoured Nokia EP was release in 2015 - also on Crazylegs.

Limited triple coloured vinyl pressing. Do not sleep. Brand new label from Copenhagen exploring the universe of chord/dubtechno run by the host of the legendary TweakFM show, Johnny Fredsgaard aka Kvadrant. First release contains four solid dub influenced tracks made by Ohm and the label owner himself. Ohm needs no introduction as he is a well established Icelandic artist and a part of the label family around the Thule label. Over the years he has teamed up with artists such as Exos and Octal Industries with whom he already released two EPs in 2017 on RAWAX and Taped Artifact. Ejer is made for the dancefloor with its heavy rhythm, characteristic Roland Space Echo delayed chords and a stunning break which will make the floor burn as soon as the bass kicks in. Laki is a fast paced track with repetitive chords and heavy kick. Octal Industries takes Laki to a deeper level and delivers a stand out groovy remix of the track and adds a bit of a melodic flow to it. Yding is a groovy crossover track which fits well in the world between techno and house. Watch out for the phat funky bassline.

Never one to rest, our pal The Revenge has been busy as always. His latest LP as 6th Borough Project Find Your Rhythm' recently dropped on Roar Groove, he created a beautifully delicate remix of Auntie Flo's Waiting for a (Woman)", had a change of scenery relocating from Scotland to Denmark and his collab EP with Dirt Crew, flush with Nachtbraker remixes was one of our biggest records of 2016! Amongst the action he's taken the time and a more in yer face' approach to write us his latest EP, a four-tracker of proper club tracks. Every Night' brims with raucous disco energy. The French Filter House' reminiscent gem's strings shimmer and funk horns hit heavy, a jam destined to wear holes in shoes. Grit' attends to the easy-going Disco grooves we love so much from The Revenge, plenty of shake and soul it's overflowing with good-mood energy. B-side opener Never Learn' gives us a glimpse of the darker end of The Revenge's spectrum. Subby toms rumble, tweaked out synths bleep and slide and delayed key stabs shift the party into smoke hazed, underground rave mode. The closing track Krokodille' brings that Bass n Electro gritty booming sound! The acidic lead wraps around sturdy drums. Straight forward with plenty of kick, what an ending to a high quality EP!

DRIVETRAIN (Detroit, USA) - This is Detroit' ...label founder, Derrick Thompson detonates an explosive, acid-tech fireball of tweaking frequencies accentuating a commanding vocal homage.
J.GARCIA (Detroit, USA) - Ask Yo Self' ...a sub-sonic groove, brimming with peaks and valleys of elemental funk finely seasoned with a penetrating voice articulation.
ELLERY COWLES (Chicago, USA) - Dolphin' ...the long overdue return of Ellery melts his trademark glossy pad arrangements with a propulsive rhythm beatdown.
JEROME BAKER (Chicago, USA) - Put It To Work' ...the underground tech-house specialist debuts on Soiree Records with an organic banger laced with gritty stabs atop unrelenting percussion.


MOTORWIND...when The Motor City meets The Windy City

After 3am Recordings' return to 12' in March 2016, which straight into the Juno Deep House Top 10, it's time for label boss Al Bradley to unleash his own 12". The original of Night Owl has been working like a charm - a deep & bass-heavy affair, coming on like Franck Roger or Djebali wearing their slightly more chunky-vibed studio hats (or something.....). Pressed For Time main dude Goshawk, tweaks his remix taking the cue from the original bass into key-led deepness, with added percussion elements & warm vibes ago-go. Fellow 3am geezer Michael Scott takes a real diversion & strips things right back in freaky trippy minimal style, reworking the vibe of the track completely. Closing the 12", fourfourfour heads into Berlin electronic territory, shifting the focus to the main percussive section & coming out with a massively powerful yet stripped back beast of a remix. Serious damage incoming....

Originally released in 2014, Luciano's 'The Great Amael' is an enchanting and endearing trip; a lo-fi bubbling groove and dusted Hammond organs that hustle along whilst live percussion cuts through the oceanic atmospherics. Two years on, and Cadenza Music call upon a brace of remixers to provide fresh and unique interpretations of this hidden gem in Luciano's catalogue. Having recently released his first album in over 10 years, Matthew Dear AKA Audion boldly steps up to the mantle and stamps his intelligent techno sound all over 'Amael' in the first of our remixes. Cutting a sprightly pace from the off, Audion melts stuttering sine waves and bulging tones over concrete beats, tweaking in the original organ riff and fathoms deep pads whilst adding additional vocal refrains as he playfully teases the arrangement before dropping a superb riff in his 'Backward Melody' Remix, which takes a most psychedelic and unexpected twist! Two other musical heavyweights collaborate on the second of the remixes; Phil Moffa and Seth Troxler are no studio strangers, having released a joint project on the British Hypercolour label last year, and remixed for Tiga a few months back. Their LSOS LOVE/GOD Remix builds from ambient beginnings, save for a rhythm carved out of spongy electronics, a sturdy beat kicking in and setting the controls destination unknown, as the duo steer through breathy vocal cuts and propelling bass, stripping the remix back before leaping back into hyperspace with some adventurous and dubbed out vibes, before coming back down for landing with those unmistakable pads from Luciano's original.

Gerd Janson and Phillip Lauer are creatures of habit. Every week, the two club veterans meet up at Phillip's studio and spend an entire day making tunes. And while Gerd often likes to joke that his role in the arrangement is limited to making coffee and looking at his cell phone, it's clear that the two men have forged a potent partnership, one that's been responsible for an astonishing amount of dancefloor heat over the past few years.

Incredibly, this German pair has managed to maintain a relatively low profile, despite the steady stream of music they've released via well-respected labels like Unterton, Delsin, Internasjonal, Permanent Vacation and Live at Robert Johnson. And then there are the remixes—Azari & III, Scuba, The Juan Maclean, Fort Romeau, Avalon Emerson, Massimiliano Pagliara and Sinkane are just a small sampling of the artists who've enlisted Tuff City Kids to work their studio magic.

Throughout it all, there have been whispers of a proper Tuff City Kids album, and now that Adoldesscent has arrived, it will be all but impossible for the duo to linger in the background. After all, the LP is anything but shy—thanks in part to hooky vocal turns from the likes of Annie, Joe Goddard, Kelley Polar and Jasnau—and even the album's instrumental cuts feature some clear nods to various eras of dance-pop, from the boogie-inflected funk of 'Wake People' to the breakbeat techno of 'Boilered' and the tweaky rave nostalgia of 'Nordo.' Elsewhere, first single 'Labyrinth' is an infectious bit of new wave, while the guitar-driven 'Scared' recalls the gloomier side of '80s pop and 'Tell Me' is perhaps the record's most playfully soulful moment.

DJs will likely gravitate toward the darting strings of 'Aska' and breezy vibes of 'Farewell House,' yet Adoldesscent isn't entirely focused on the dancefloor. Dreamy opener 'Ophmar' evokes the legacy of John Carpenter, while the crunchy 'R-Mancer' offers up a sort of psychedelic synth freakout.

Much like the Tuff City Kids themselves, Adoldesscent isn't about any one style or sound in particular. It is, however, a cohesive effort, along with proof that the different corners of the electronic spectrum have a lot more in common than we'd all like to admit. More importantly, it's a whole lot of fun, and isn't that what dance music is supposed to be about anyways

Breakbeat Paradise Recordings is pleased to welcome back the Laptop Funkers for another set of high-octane fun & funky breakbeat. This 8-track album is a symphony of samples and breaks designed for you to Feel The Goodness. Following up on the successful vinyl release Ready to Rumble from 2013 the Laptop Funkers is back in better shape than ever!

Almost instantly after Ready to Rumble was sold out and a repress was demanded , tunes started coming in for what quickly turned out to be a full album release. Now after tweaking and perfecting these jams for over 2 years we are ready to present you with Feel The Goodness - a 12" vinyl filled to the limited with the finest beats and breaks this scene has to offer.

The Laptop Funkers ( the alias used by producer and sound designer Nuno Soczka for this breaks project ) is an elusive underground act that only emerges when there are some fresh choons to showcase. The influences are not hard to discover and Laptop Funkers has no problem in taking us back to the glory days of Big Beat with tunes that would make even Fatboy Slim and The Chemical Brothers feel envious!

Some of the biggest grooves you've heard for a while can be found throughout this ruthless funky album : from the soul-gospel flow of the Feel The Goodness tune to the bouncy brass works on Ain´t Nobody Like We , the ghetto drops on Incredible Funk and the contagious funky groove of Soul Power , from the pump up energy on I Can Keep It Going to the laid back soulful vibes on Where The Funkers At , the b-boy banger attitude of Got The Party Rockin and the chemical psychedelics of The Temple.

8 golden joints of epic sampling inferno that'll be sure to keep you entertained from start to finish. Comes in a full-color front-and-back cover 12" vinyl package with custom illustrations by the talented Cristiano Suarez.

As so many times before BBP is here to provide the b-boys and girls with some proper breaks to keep the party going...,

Pure worries from Leipzig — three club burners steeped in Detroit traditions, distilling the explorations in collective, nervy hypnosis of KM live sets. As the music slowly unfurls, there he is at every turn, subtly tweaking its parameters, redistributing its weight, pricking its grooves into a state of utterly infectious perpetual movement.
The two visions of Chilazon track opposite pathways: the first is twelve minutes of gorgeous, dubwise, aquatic techno, spattered with kicks and razor-sharp hi-hats, and smeared with ghostly echoes, then a terse mesh of broken drums, escalating to a quiet yet feverishly intense peak. Lanthanum is calligraphic swordplay, its toms and bass stabs warily circling one another in a graceful steppers' dance, spaced-out and fathoms-deep.

Following contributions by DJ Deep and DJ Hell, Tresor Records are proud to present the third instalment in their Kern mix-series, this time headed by Berlin based producer Objekt, his first release following his 2014 debut album Flatland for PAN. In keeping with the series mission of showcasing a more personal approach to mixing Hertz describes his process as such;

Kern Vol. 3 is made up of tracks that I know I will play and love for years to come. Some of these records have been in my bag for years; others are almost as new to me as they are to you. A handful are by lesser known artists whom I admire and who I think deserve wider recognition. Planned, recorded, embellished, reworked, tweaked and chiselled away at over a period of 6 months, the mix was gradually carved out in a way that makes use of new and old techniques alike, presenting itself primarily as a DJ mix but settling in a sweet spot between live recording and studio trickery. The tracklist spans styles, decades and BPMs in an attempt to craft a mix that's unpredictable and compelling in equal measure - one that draws from the more adventurous corners of my club sets, but above all, one that's a pleasure to listen to.

Clocking in at 75min across 36 tracks, Kern Vol. 3 delivers on Objekt's promise, stitching together everything from the playful breakbeats of Beatrice Dillon's "Halfway" to Kirk DiGiorgio's classic techno "Nebula Variation" and the lightspeed IDM of Aleksi Perälä and Ueno Masaaki without missing a beat. A descent through ambient bliss, thundering cello drones and vocal contortions (courtesy of Anna Caragnano, Yair Elazar Glotman and Senyawa's Rully Shabara respectively) give way to the stoned haze of Sensational vs Sotofett and metalwork of Machine Woman and Skarn, rounding up a highly eclectic and adventurous mix which also includes previously unreleased tracks by Bristol's Shanti Celeste, rising Brooklyn producer Via App and accomplished electro technicians Clatterbox and Polzer.

Swiss DJ & producer, Mirko Loko, continued to indulge in his intergalactic persuasions on last year's long player Comet Plan". Released on Cadenza, Mirko's second album was enthusiastically received and picked up many fans for its collection of blissfull and wide-eyed electronica and techno sounds. Featured guests on the album included dOP's vocalist, JAW, and Francesco Tristano. 12 months on, and Comet Plan' gets revisited and remixed by two stellar names from the electronic dance community. Sebastian Mullaert is well known for partnership with Marcus Henriksson as Minilogue, the Swedish duo responsible for killer albums & singles for the likes of Cocoon, Silver Planet and Wagon Repair. Mullaert plumps for a solo remix of Venus' of epic proportions, split into two versions, Phaze One' and Phaze Two". An organic trip through the cosmos, Mullaert tweaks and teases over two seductively trippy versions, showing us a master class in minimal electronics. Hailing from Dallas, Brett Johnson has become synonymous with masterful jackin house music via singles for Derrick Carter's Classic, DJ Sneak's Magnetic, Freerange and Visionquest. Brett tackles U Special' featuring JAW, and turn in a very tasty Remix and Instrumental version. Soulful, spacey and groovy in equal doses, Brett delivers the goods in abundance on these mixes. A tight remix package that bows respectfully to Mirko's original visions, and a timely reminder, to the uninitiated, to check out the album for further inspection.

Sometimes you need rough cuts to heal the deep wounds. Bronze Teeth take a bite with three throbbing tracks that will make your arteries start to squeeze! Mayonaise EP is filled with analog machine madness tweaked to oneâs taste and comes in a surgical inner sleeve by BAKK Dental Care.

repressed !

First Ep (of four) announcing the forthcoming Orlando Voorn COLLECTED double CD that will showcase what we believe is the best from the Dutch producer in his early days. This EP focuses on the housier side of Orlando Voorn and gather on one slice of wax 4 useful classic tracks for the djs.
Orlando Voorn, the artist:
He who started in the late 80's as a successful DMC DJ in The Netherlands, mixing electro and hip-hop tracks, established thenafter an historic musical connection between Amsterdam and Detroit. Orlando Voorn's unique signature of early productions, analog tweaks, funky beats and cosmic chords, quickly attracted the attention of the like of Juan Atkins and Kevin Saunderson, for which he produced game changing classic tracks like "Game One (as Infiniti)" and "Fix (as Flash)" in the early 90's only to continue to do so until today on numerous labels (R&S, Fragile, Nightvision...) and under various aliases (Playboy, Ghetto Brothers, Format...).
Musique Pour La Danse, the serie:
COLLECTED is about... collecting definitive and inestimably valuable works by key dance producers from the past and digging with them classics, hard-to-find and unreleased gems from their vaults to bring them back for your sole and only pleasure. Stay tuned for more house music and beyond.

Huxley follows up last year's '2.0' and the launch of his No Idea's Original imprint with 'Widow', released late Jan via Will Saul's Aus imprint. Huxley's '2.0' marked a new phase in Huxley's production output with the Brit eschewing his previous sample driven work in favour of tougher drums, prominent synths and tweaky arrangements. 'Widow' continues Huxley's explorations into pastures new with three tracks that fold a myriad of influences into refreshingly new shapes while highlighting the producer's love of melody.

To anyone with even a passing interest in the weirder end of good-time party-ready house music, Freaks should need little introduction. Luke Solomon and Justin Harris have been keeping our preferred kind of dancefloor vibrating to the cheekiest manifestations of house music since the mid- 90s, never letting up and moving in the same oscillations as the good ship Circus Company. From first emerging on Phono through to setting up their Music For Freaks label, stopping by Playhouse, Wash House and Rebirth amongst countless other labels along the way, the UK duo have constantly given the traditions of house music a tickle in the ribs without losing that fundamental funk that makes a record great to dance to. We were thrilled to welcome Luke and Justin to remix Dave Aju's 'Nu Threads' at the end of last year, and now we follow up on that connection with a special EP of gems from the extensive Freaks archives. On 'Shrunken Heads (One Pro Mix)' the rock solid foundations of filter house music collide with flamboyant synth noodlings for a truly cosmic end result, while 'Absolut Zero' finds solace in a slower, deeper groove peppered with oddball effects tweaking and disembodied vocal samples. Heading further into loose-fit, slippery territory, 'Funk You (Who Do You Trust Dub)' lets soulful sample licks wriggle and writhe through a decidedly laid-back atmosphere that shows off the range Freaks have always sported in their output since day one. In many ways this coming together of Circus Company and Freaks feels like a logical development for two bastions of the oddball house music community, not to mention a great opportunity to hear tracks that otherwise might never have seen the light of day.

a highly regarded producer and musician who used to be in the midst of the NY metro breeding reactor that spectatuclarely revived and modernized disco and italo disco since the turn of the century and added some hotliped live brass to their platters and whose sought after releases under his own appear appear much to rarely dons his house cloak and dagger for 3 sneaky new chapters on story. not wasting any time on unnecessary nicety the a-side track will send up a whole colony of ants right up your pants riding on a steamrolling percussive disco groove garnished with cut up vocals and fx trickery. B2 is another chicago style wedding of disco and house with a jubilant, string backed female vocal snippet tweaked over a heavy groove while the first track on the flip is a subterrenean, groaning dub house affair that reminds of a slowed down John Ciaffone banger. no matter which chapter you jump to here it puts you right into the action.

Streetlight Soul' is the inaugural release on new imprint Gnosis. This four track EP is the fifth Myriadd record, following 12"s for Crème organization, Pinkman and Signals. The past decade has seen releases from the artist under a variety of pseudonyms including Acid Phreex (Djax-Up-Beats), Mantra (Bunker, Abstract Acid, Solar One Music) and Monofonix (Iwari, Cataclyst). Across the EP, Myriadd remoulds the template of vintage Chicago house, acid and deep house into his vision of modern house music. Opening with 'Midnight Obsession'; working a dark hypnotic bassline into an endless groove of crisp jacking drums and soul stirring melody, all primed for maximum effect at 4AM when lost in the smoke and strobes. 'Visions Of Love' is driven by a Juno bassline, a classic palette of tumbling, infectiously funky drums, warm, enveloping synth atmospherics and elevated by lush, celestial string work which comes off like some fantasy Mr Fingers + Virgo psychedelic jam. The EP's titular track goes deeper into the night with 909 claps, off-kilter snare hits, melancholy synth and ethereal melodies that ascend and dissolve into neon clouds. Closer 'Back To Nature' is a trip into blissed out, tropical house sounding like a lost Balearic classic re-tweaked for the 21st Century..

Phase 2: Expansion Unit returns with another three tracker of bass-heavy electro robotics, lush techno variations and beautifully tweaked Pro One madness.

With releases on a slur of top labels including Invisible, Critical, Metalheadz, Subtitles & Dispatch, 2014 sees Hybris release his debut album on Noisia's Invisible imprint.

Entitled 'Emergence' the new album is set to cement Hybris as one of the most forw