Search:up tempo

Stepping up for its landmark tenth release is label honcho Juan Sanchez, who drops four slices of heavy techno funk.. Over the course of nine releases, FORMAT Records have established itself as a very credible source for quality techno. Its tenth release again perfectly captures that frisky FORMAT sound. First up is 'Serpent, a mid-tempo and bass-laden belter that's followed by the darker, minimal-tinged 'Qualia'. 'A Different Place' merges Detroit-esque elements with tones of European techno, after which things close with no-beatsall-fx 'Stubborn Synth'. The tenth FORMAT release is a perfect snapshot of the label's signature sound, while paving the way for many more good things to come..

A real rarity! 1977's "Stepping Out" by obscure Oliver Sain produced Funk/Soul outfit The 13th Floor has always been a tough LP to catch, the only release by this lesser known St.Louis outfit showcased a unique blend of jazz, funk and soul that has intrigued hardcore collectors of rare grooves and black music since it's release. Released on the highly collectable Blue Candle sub label of Miami's TK Disco empire, "Stepping Out" features lots of different musical flavours - from the languid, Ohio Players-esque "Hang loose" and the incessant mid-tempo burner "Leanin" to the dance-floor groove of "Sweet thang", the LP showcases across it's 9 tracks show a band at the top of it's game, completely in tune with each other and firmly in the pocket. This should be no surprise when you consider the opening track of the album is co-written by a young Chaka Khan and members of the band went on to form parts of her band Rufus and played alongside artists such as Patti Austin, Maxayn Lewis, Ronnie McNeir and High Voltage. The overall feel of the album is one of amazing musicians keeping it gritty, soulful and most of all, funky! This album has always demanded high prices on the second hand / used vinyl market and is a truly lesser spotted gem, which is surprising considering the eye catching sleeve artwork!
This is the first time that The 13th Floor's "Stepping Out" has been reissued on vinyl, fully remastered from TK's original tapes, represented the way the the LP was issued in 1977 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

From the whip-like crack of Yako's signature staccato vocals and impossible-to-memorize lyrics to the relentless overdrive tempo of their oneof-a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith. The demos for Fetch, their first studio album since the severely fried pop-punk of 1997's Bambi's Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including
their ability to concentrate on recording. Which stopped completely.

Once they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.


Fetch scrapes glam shimmers off punk's outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata's guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick. The album is juiced with electronics and post-rock production, tempering what could easily be a
tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White's blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild
lychees keeping time on an Ankgor Wat tin roof during a monsoon.

They've been performing live as a duo since summer 2012, and will do the same for their '2 do what 2 fetch' tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on
2009's Lite Live: Ver. 0.0. Yako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper. - First record as a duo expands the M-B sound
into multiple dimensions - LP includes digital download card; first
pressing on clear vinyl

Moonshine Recordings continues to coordinate dub into all sorts of directions with its steady throughput of vinyl releases. This time around, it's the Spanish-based Bukkha to uplift all followers with two up-tempo rollers that take part in his crucial 'Ruling Sound' EP. His name has been all over the news inside bass culture lately, as the American released highly noted physical music on critical labels like Killa Sound and Dub-Stuy Records. He's been working his way to the top and the only thing the Moonshine Recordings imprint can do is support his efforts in pushing dub music to the masses at any given moment of the day.
On top of this wicked news, Portland's dub producer and engineer 'Skelli Skel' joins this session to frame the taste of the 'PDX Mandem' collective from back home. His love for complex rhythms and heavy bass lines fuel his adventure inside dub culture, something you'll hear when listening to 'MS028'. And with the familiar voice from don Junior Dread, who jumps in on the hype by illuminating the dub with carefully selected freedom of speech, it's the collaboration that speaks for itself. To top it all, TMSV is added to the release roster, a producer whose been dealing some serious damage with his inventive music repertoire. Whether it's music on the darker tip, or the more laidback sound, both Bukkha and TMSV know how to uplift and please their followers with bass-heavy, eardrums-teasing bass music.
Bukkha's 'Ruling Sound' leads his way through musicality by portraying the right balance of instruments and not to mention the gigantic bassline that disperses vibrantly through the lower bottom of the mix. The reigning vocal support from Junior Dread and dub techniques from PDX Mandem family Skelli Skell work out fantastically, as it makes this record come to life. Listen to the instrumental part that propagates in the exact sense of 'dub music', regardless of spinning on a higher beats per minute. The version 'Ruling Dub' by Bukkha himself plays a more meditative part inside your headspace; a clipping where basslines and effects will act up in a blurred version. It's the real attention to detail the American producer shares with remix boss TMSV, who hits fans with a darker joint that pays homage to Drum & Bass. It's aggressive stance forms the pinnacle of 'the right' B-side of a Moonshine Recordings plate. Just make sure you experience the second drop of this absolutely mammoth interpretation, as TMSV shuts down the place!

The Round up part III is here: Our annual cocktail of "Heisty" re-imaginations. With our busiest release schedule so far, we've moved up from a 12" and 10" pack to a double 12" pack, with 7 artists re-rubbing each other's originals in their most personal way imaginable. Nachtbraker turns Nebraska's sweet and moody 'It won't be long' into a raw as hell acid stomper. Ouer and Adesse Versions, deliver a great jackin' take on both their victims and Nebraska adds some disco flavour to Frits Wentink's free handing piano work. Frits on his turn gets going with the SP404 to add some dusty vibes to our own Future Imperfect while we've turned Obas Nenor's down-tempo excursion with 'Wakee' into an up-tempo Chicago-esque affair, bringing in our Crumar Performer for some lively work on the strings. Obas on his turn, gets his MPC fired up and delivers a great Midwest inspired version of Push it Along. We've had a truly great year with Heist and have released so much to be proud of, and this Round Up is a great conclusion to it. A nd as always, special artwork courtesy of Baster. Sincerely yours, Lars & Maarten

Our official first time full lenght vinyl release of the James Walsh Gypsy Band album I've got the feeling has been a huge success and are now sold out from the label. As an answer to the demand, we have now pressed a small run of 7" single for the 45 collectors and Dj's. Limited run of 500 only. The 45 is special designed på Hans Jørgen Wærner who also did the original cover art.

Side A: The fantastic uptempo AOR Modern Soul track, I've Got The Feeling was an easy choice as the A side. Smooth soulful sounds for the dancefloor or travelling along the coust of California. The track was also featured on the fantastic Americana - Rock Your Soul on BBE Records.

Side B: Caves of Altamira is a fantastic mid tempo cover of the Steely Dan track. Funky, smooth soulful version with the Tower of Power horns make this as a runner up of the best version of the track.

Here is a review from Juno Records of The James Walsh Gypsy full lenght album, Ive Got The Feeling:

The James Walsh Gypsy Band is kind of the outfit to go to if you're looking for some blue-eyed soul but, just like Ned Doheny and his sublime reissue on Numero, the band never fully came out of its shell and they were limited to just one album on RCA Victor, 1998's self-tiled LP...until now. I've Got The Feelin' was recorded a year later, in 1979, at the legendary Muscle Shoal Studios, but it never made it out onto the shelves apart from a seriously limited CDR run. Norway's Preservation has thankfully done the right thing by pressing it up on vinyl, and the opening title track is as just as wonderful as the first time we heard - a true soul masterpiece with a clear LA influence. "Looks Like You Got Down In Love" is a funkier, more soulful version of Credence at their deepest, while other highlights include the supremely majestic "It's Over Now", and the tear-jerking "Alabama Eyes". It's a road album, the sort you want to really take in properly. Recommended.

Kepler. makes the second contribution to Silencio's catalog with "Planetary Systems I".
With refined ethereal elements rendered from what is surely an eerie origin, "186f", is truly engaging. This track is fueled with a seductive synth heralded by haunting vocals that effectively whisper over its steady, punchy bass line. Meandering in the background is the type of idiophone sound one would associate with a hand-percussion triangle instrument. Its particular effect provides a complex, rolling rhythm that vibrates in a beautiful tone until its objective has been achieved.

On the B-side "452b" is a great track to open up a set with, gentle yet still energetic in how it introduces itself to the audience. It begins with a series of echoing sounds that rise and dive throughout, seemingly reflected off the surface of one's subconscious, in a satisfying manner. Accompanied by a deep pulsating bass line that accents its driving drums, this track will set the tone time and time again.
Imagine the dawning of a realization formed from an inspiring event in nature. The second track, "Luzon", features a laid back tropical tempo and samples that feel transported from a lush, rhythmic rainforest. Kepler expresses this vision within the confines of a catchy groove, utilizing subtle bird sounds and rattles that resonate over layers of atmospheric synth. This is emotional music meant to move a crowd or manufacture a sincere moment of clarity.

Bnjmn's exceptional back catalogue, straddling gorgeous synth-laden house, experimental techno and textural ambient diversions, spans 2 LPs on key Dutch labels Rush Hour, and numerous Eps for Delsin, alongside 12''s on his own Brack imprint.
The prolific British producer now follows up his recent 'Droid' single on Delsin, which featured remixes from close colleagues Cassegrain and Ed Davenport's Inland alter-ego.

Tipping his cap to 90s industrial techno, the A side delivers two uncompromising cuts. 'MDCCLXXII' is pacy and tough - brash drums merging with metallic, tonal signals and searing hats. 'Tor' is similarly

up-tempo however more stripped in comparison, Bnjmn continuing his inventive and challenging sound design in this Beltram-esque bassline killer.
The B side makes quite a contrast - 'T.E.N.S' being a short collage of buzzing,

cerebral electronics, leading into 'Where The Wild Berries Grow'. It's a fuzzy, hypnotic trip stretching out over 8 minutes - a glistening blend of lo-fi ambience and post-club psychedelia, all the while keeping us locked into a padded 4/4 throb.

For its fifth release, Amsterdam's Taped Artifact offers up a various artists EP that features four tracks including one from the boss, Kevin Arnemann, as well as Hiver, Elmer and Physical Therapy. It is a moody and atmospheric deep techno offering that fits in with the label's ever more singular aesthetic. Up first is Physical Therapy, a producer who since 2012 has put out some fine EPs and LPs on labels like 1080p, Unknown to the Unknown and Liberation Technologies. It is a roomy affair with corrugated mid tempo drums down low and haunting pads up top. Building in intensity with some icy hi hats, it ends up as a ghoulish number that adds real theatre to the floor. Next up is Elmer, key part of Brussels' Bepotel Records crew. Melting techno, wave and dub into raw and expressive new forms, this new cut 'Simple Models' makes great use of analog machinery. Again deep and horizonless, a rippling lead synth line plays off an industrial bass riff as paddy drums roll on below. It's humid and heady stuff, to be sure. Then comes the boss who offers a more dubbed out and bumpy dub­techno track with expansive chords rolling off into the distance and light and airy hi hats dancing in the mid ground. It's one to get floors moving before the Hiver duo of Giuseppe Albrizio and Sergio Caio from labels like Curle and Vidab close things out with the dusty old breakbeats and woozy spaced out synths of 'Intersect.' This is a subtle but impactful EP full of sensitive underground sounds that pack a real punch. Vital Sales Points: - 5th release on Taped Artifact - First Various Artists compilation on Taped Artifact - Custom made artwork by photographer Merel Kemp - Artwork

The Tiger is back - finally on full length again! The second studio album for Tiger & Woods not only marks a desired return to a specific format, but is also a huge leap forward in their area of expertise: their brand of fun and functional dance music gets broadened by influences from electronica, italo disco and up-tempo house, while keeping a groove that is distinctly linked to what some people refer to as boogie. After travelling the world from left to right and from top to bottom with a live-set to boot and skilful DJ sets that resemble that genre melting approach, "On The Green Again" is the result of spending valuable studio time at the "Tiger's Lair" - a carefully-built new work place that plays its own part in the creative process of one of the most prolific production teams of our days, while simultaneously starting T&W Records for all sorts of adventures that are linked to Tiger & Woods, but not narrowed to a specific sound. See "Unleashed Tapes Vol. 1" for further reference. A double A-sided 12-inch that owes as much to disco as an influence as it pays homage to the funkier and brighter sides of house and techno. Honing a craft that is rooted in edit culture as an ethos, but has since long left that bumpy road dependable on samples and their clearance, T&W make "On The Green Again" work as the second album that defies the difficulty usually attached to such ventures. 10 brand-new tracks (and three previously released bonus tracks on the CD version) make up the course between peak-time prime cuts similar to "RockMeLoveMe" or "Come And Get My Lovin" and an almost heart-aching track like "Endless Affair". Mixed with bits and pieces in-between and neatly placed between a classic intro and outro segment, those tracks are testament

You Can't Defeat Her, When You Meet Her You'll Get What I Said B2 Marlon Hoffstadt - 2000MG Floating Info: Retrograde returns late September with 'In Reverse Pt.1', a various artist package featuring Matteo Luis, Natureboy Gold, Terron and Marlon Hoffstadt. Berlin based imprint Retrograde marks its fith release here and once again welcomes back a selection of the collective recording artists already featured on the label such as label head-honcho Natureboy Gold, FFRR/Play It Down artist Marlon Hoffstatd, also co-founder of the label and tipped as a Future Star by Pete Tong on Radio 1. Matteo Luis also makes a return following appearances on two EP's for the label prior to this, while an exciting addition to the catalogue comes in the shape of Terron, most notably known for their work with Young Turks sub-label WHITIES. Up first on the release is Matteo Luis' 'Out Here' setting the tone with ethereal pad swells, organic rhythms and choppy bass hits while a soft and brooding melodic tension subtly unwinds throughout the composition. Natureboy Gold's 'Eternal' follows and employs a similarly airy synth feel while introducing a robust tom- driven rhythmic approach to create an understated dance-floor focused contribution. Opening the flip is Terron's cryptically named 'No.57, You Can't Defeat Her, When You Meet Her You'll Get What I Said' which drops the tempo to a low slung feel with dubbed out bass licks, bumpy percussion and spiraling bass drones to create something idiosyncratic and psychedelic. Marlon Hoffstadt steps up to round off the package next with '2000MG Floating' delivering a raw energetic workout with soaring 80's tinged leads, snaking bass grooves and frenetic percussion.

After a run of releases including music from Rex Club residents D'julz and Phil Weeks, and a beautiful Atlantic breakaway with Fred P, Rex Club Music brings in the boss of Poker Flat Recordings, the maestro himself, Steve Bug. A gentleman and a scholar who has been a key figure of the techno scene since its very early days, Steve Bug is also the mastermind behind a prolific and in demand label. He is a man who is always on point, looking to the future, maintaining the present and drawing on the past to operate in that magical intersection between the different eras of time.Indulge in this short course of Rexology for proof of his mastery, which is expertly applied with this polished new EP.First up we have 'What's Happened', a track that occupies the space between tech house, acid and dub. Get ready for some hard stepping on the dance floor when this track is unleashed. Then ROD goes in hard with two remixes of 'What's Happened', upping the ante, increasing the tempo and urgency to create an air of emergency. With 'Remix One' ROD has us on high alert, while 'Remix Two' focuses a little more on the groove and catchy analogue flashes. On the flip we have a night of 'Berlinian Rexing', with its time-lapse atmosphere allowing us to teleport between Berlin and Paris in a cacophony of whirring synths and uplifting stabs. The track plays on timelessness, creating classic tropes and creating the kind of atmosphere that underpins all of the most unforgettable nights.

Following the frankly huuuuuge Norsk Tripping release (one of this year's best sellers here are All Ears) we get another XL Rune portion, this time on his own Drum Island imprint...
Disko Romeiko, as the title may suggest is a stomping, campfire lit and admittedly unlikely culture clash of Greek and Norwegian music. A vocoder laced, up-tempo workout of Norse Disco technique and traditional Greek melodies that is a surefire dancefloor delight. Remixes come from Rune collaborator in chief, Oyvind Blikstad, who pitches the vocoder vox front and centre and strips back the groove while amping up the drama.
Finally Baz Reznik opts for a rumbling, acid laced House take...
Quite a package

Y-Bayani is Ghana's uprising Fanti-reggae artist. He was discovered by Philophon in Ebo Taylor's hometown Saltpond, where he survived as a clock doctor. With his song "Asembi Ara Amba" he was featured on the highly acclaimed debut "Invisible Joy" by the Polyversal Souls. The success of that song opened the door for his first release under his sonorous own name: Y-Bayani.

"Get Away" is a swinging up-tempo beat with a bouncy bass and a haunting vocal performance on top. "Obar No Ni" on the other hand brings you down with a slowly driving rub-a-dub beat. Both tunes have been produced by Max Weissenfeldt and Stibbo Spitzmüller at Berlin's Joy Sound Studios.

For the eleventh vinyl release of the label, Popcorn Records is proud to welcome the Detroit house veteran Rick wade, after Chez Damier and Aubrey the label seems to have moved into the big leagues with 5 tunes from deep house to down tempo with some rework of the hip hop and house French producer Matsa and a remix of the main track Your Strength by the very gifted Parisian new comer Flabaire.

Kevin Arnemann and Daan Kemp's Taped Artifact label clocks up its fourth release with a three track offering from Outlaw Rec boss and key part of the Italian Serendipity club, namely Matthew Oh. Matthew has previously released on his own label and others like Side Off, and eloquently marries dub, techno and house into smooth and sensuous sonic landscapes. The opening track 'Psycho Hub' is an atmospheric and spacious roller with dubbed out drums and pads, coupled with incendiary hi hats urging you along. 'Shroud' is seven minutes of slick and spaced out deep techno with liquid synths and clacking hits all racing along and making for a frictionless groove that sucks you right in. Finally, 'Get in the Fridge' slows the tempo down and becomes an even more widescreen and roomy roller with suspensory pads, smeared synths and aqueous sonic details that make you feel like you are floating in sound.

Pomalo, means 'take it easy' in Croatian Dalmatia region's slang, is the latest addition to the Burek/Barba family.

A 12" by CL Dawkins titled 'Affirmation Of Love' comes as a wonderful postcard from Detroit. Written and produced by Alex Israel, remixed by Amp Fiddler, and with a vocal contribution by Lavell Williams, the record features three different generations of Detroit artists.

Alex Israel, here debuting his CL Dawkins moniker, is a mechanical engineer and synth aficionado with a deep respect for soul music.
Since 2011, Alex has released a string of successful releases under his real name on labels such as Creme Organization, Stilove4music, Night Gallery and W.T. Records.

In tune with the mood and title of the label, Alex delivers two mid-tempo jams which are hard to ignore. 'Affirmation Of Love' is a soulful tune that works equally as the last song of the night, in your living room, or at a boat party.
Mr. Williams, whose vocals envelop the song, is vice president of the Detroit Sound Conservancy, an organisation deeply involved with Detroit's musical heritage education.

CL's second tune on the record is 'Blue Falconry', an instrumental with a subtle synth line reminiscent of Alex's previous work threading through the whole length.

Finally, Amp Fiddler contributes his take on the vocal cut. Fiddler's career connects the worlds of George Clinton, Sly and Robbie, Prince, and Brand New Heavies to artists like Moodymann, J Dilla, Theo Parrish, and A Tribe Called Quest.
A one-man musical hub, and an artist whose impressive biography would take up more space than we have here, spins the title with a dancefloor edge while retaining all the things we love about the original, a soulful Detroit house take that leaves a lasting impression...

With their next carefully curated release, the Opilec Music label begins to shine a light on the roots of Italo with the reissue of an ultra rare and obscure synth Italo disco track by A. Avenue from 1984.

This is a special Record Store Day 2016 release and of course, Opilec Music has remastered the original vocal and instrumental versions and here include I-Robots reconstructions and two Flemming Dalum's reworks.

This is a track many labels wanted, but only Opilec Music have been granted official rights to this cult re-release. Originally released on Discover Records, this is the only EP

A. Avenue (aka Dario Ancona and F. Feleppa) ever put out and it now fetches high prices on Discogs. Once you hear the music, you can understand why: The lovably naive and innocent vocal version is seven minutes of cosmic and psychedelic grooves with perfectly retro melodies and pixelated chords that take you into outer space.

Mid tempo drums are full of funk and drive and the two part vocal—one crisp and clean, one filtered and dehumanised—really lend the whole thing a special robot feel that is second to none. As well as a stripped back instrumental, there is a fine I-Robots Reconstruction that is quicker and more driving.

The vocals are also more prominent, soaring up top above reflective synths and rainy xylophone style melodies. It is a real Italo disco gem that is followed by a spacious and tripped out version from Danish DJ and producer Flemming Dalum, who has been devoted to Italo all his life and works with labels like Mothball, Bordello A Parigi and Disco Modernism.

He also layers in more cowbells, punchy drums and claps that refresh it for a modern club, and buy the EP digitally and you will get a second Dalum edit that is the deepest of the lot - 100% true to the original.

This reissue will make many record collectors and Italo disco fans truly happy, and is just the start of some brilliant new projects to come.

Ambient techno exponent, A Sagittariun, fires off another full-length album transmission this April on his own Elastic Dreams label. 'Elasticity' is the Bristol based artist's second long player, and the follow up to his acclaimed 2013 debut, 'Dream Ritual'. Having last released a trio of singles in early 2015 (for Hypercolour, Secret Sundaze and Elastic Dreams), 'Elasticity' marks a return for A Sagittariun, and fans of the slippery and elastic sounds that hallmarked his debut album will not be disappointed. 'Dream Ritual' helped firmly establish A Sagittariun as an artist whose musical chops and integrity operate largely outside of the mainstream and a producer who chooses to put the music firmly center stage, whilst opting to remain relatively anonymous within the music scene. A Sagittariun explains, Elasticity was recorded over quite a short period, but the sketches and ideas have been germinating for some time, so sonically it's very coherent and consistent and moves in a way that I personally like albums to move in, with a narrative and flow that holds you right to the end. The recipe for Elasticity was always to be malleable and pliable with the sounds and tempos, for me it's all about the listening experience, and creating a landscape and a world within that one can really get deep into and explore, it's optimistic and progressive music for the head, heart and feet. I really do advise the listener to don headphones and take the trip with me".

The multi-talented musician/producer Bing Ji Ling (Tummy Touch Records/Ubiquity Records/Lovemonk Records/Claremont 56) and DJ Alex from Tokyo are very excited to share with you a brand new, collaborative track Not My Day', that encapsulates their experience in New York, as well as their friendship. It's been a few years in the making, but well worth the wait! Alex and Bing moved to New York around the same time, and met in a bar (filled with Loft heads) after one of David Mancuso's Loft parties. Bing recognized Alex's voice from his weekly Shibuya FM radio show in Tokyo, and went up to introduce himself, being a fan. Turns out, they have many friends in common in New York, Tokyo, and beyond. They were instant friends, family. The track came out of several listening sessions from Bing's basement studio in the East Village, where Alex shared some tracks he'd be digging, across a wide range of genres, eras, tempos, etc.. Everything was very easy, very natural...Back in Tokyo Alex and Isao bring their club vibe and remix the funky and groovy Not My Day' into a magnifique electronic deep house anthem!


On the flip is Bing's version of Lil Louis' club classic Lonely People' Alex has been playing non stop, providing along here his own DJ friendly Tokyo Black Star retouch club version. Bing's version was originally recorded for his covers album called Sunshine For Your Mind' that was first released in Japan on the label Rush Production. This album came about, after years of playing solo/acoustic covers with a looping pedal in Japan. Bing has since performed the song live in New York, London, and at Croatia's Garden Festival with rave reviews!


Bing Ji Ling and Alex now live just minutes from each other in New York City as well as the Catskills, and enjoy frequent meals, music and mountains. We hope you enjoy...Happy Spring!

Reaching the milestone of its 100th single/EP release, Circus Company welcomes back Aquarius Heaven with a new EP of poignant, uplifting house music loaded with a meaningful message for these transient times. It's nearly three years since Brian Brewster delivered the Parallela Mundi 12', and in that time he has been on a relentless mission to spread his unique blend of house music, Caribbean roots and psychedelic magic across the globe in a whirlwind of live performances and collaborations. In a manifestation of his well-travelled soul, these new pieces call upon traditional influences in amongst the modern motifs that Aquarius Heaven has been built on, while lyrically dealing with the pressing issue of refugees escaping conflict, poverty and famine. The proud drum throwdown and carnival bleeps of 'Bato Chargé' conceal the seriousness of its theme. In Brewster's native tongue Creole, bato chargé translates as overloaded boat. With the Caribbean as equally rooted in the history of displaced humanity at the hands of sinister powers, the groove of 'Bato Chargé' takes on a defiant, hopeful tone directly inspired by the traditional percussive music style Gow Ka. '50 Drops' by way of contrast takes on a noirish tone with its gritty, street-weary tale and nocturnal melodics played out through enchanting arpeggios and warbling leads. Cooling off the tempo and heading into a digi-dub skank that plays off Brewster's roots in reggae and dancehall, 'Marie Galante' takes those same warm synths and runs them through a low-but-heavy stepping landscape; the perfect backdrop to the vocalist's dexterous ramblings on the mic. It's not often you hear Creole New Release Information delivered in contemporary electronic music, with a rare exception being the legendary work of Tikiman et al with Rhythm & Sound in the 90s.

Sifu Hotman are here to remind you why you fell in love with hip hop. Known for sharp, up-tempo hip hop, the group is comprised of two-time National Slam Poetry Champion Guante, deM atlaS who also has a solo deal with Rhymesayers Entertainment and SP-1200 maestro producer Rube.

Matches follows the ground work laid out on the now sold out debut 10' the 'Self-Titled EP' released on Stashin' Records and delivers more superb quality Hip Hop in the vein of heavy Jazz sampling that will have your neck snapping in no time. Mr Fantastic's remix of Embrace the Sun on the flip samples a well-known Disco Break which is chopped and spliced with some Eastern European Funk which completely changes the feel of the original version found on the forthcoming EP coming soon on AE Productions and so gives you 2 flavours on one 7' single.

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

Earlier this year, an email dropped into the Claremont 56 inbox. It was from a producer in the early stages of his musical career called Simon Peter, and contained a joyous slice of languid, organic Balearica entitled 'Arc of Lark'. Suitably impressed, Claremont 56 boss Paul Murphy had no hesitation in snapping up the track right away.It marks a new stage in Simon Peter's career. He made his debut in February 2014 with the Double Up EP on Silhouette Music, which contained the shimmering nu-Balearic disco of 'Espacio Temporal'. While that was laden with sun-kissed synthesizers, 'Arc of Lark' is a much more organic affair. Blissful electric piano keys, hazy guitars and fluttering flutes cascade over an undulating live bassline and shuffling, bongo-laden beats. Warm and humid, it's a slice of audible
sunshine to brighten up the grim winter months.Long-time friends of the family 40 Thieves handle remix duties, turning Simon Peter's picturesque original into an effects-laden chunk of slo-mo dub disco goodness. 40 Thieves member Layne Fox loved the track so much that he's also contributed an additional remix that focues the action around a loose, languid, dub reggae influenced groove, spiralling electronics and Peter's mesmerizing flute line. It's a fitting conclusion to a magical label debut.

This project is a long distance collaboration between two amazing artists : Andrea Noce and David Kristian during the year 2013. Each track have been made after set up basic guidelines (style, tempo, structure, and workflow). « It was exciting to think two people on different continents, using different setups, and software, could find a way to exchange loops and build a track in the space of 36 hours. » In the line of label such as Innovative Communication or Edition EG , this record is completely intemporal, made for the past, the present, the future, with marvelous atmospheric and space sounds, escape from your body and synchronise. We are really proud to lunch it on Macadam mambo today.David Kristian has been making electronic for over 20 years, composing everything from experimental music to IDM, electro and synthpop. With over a dozen albums and countless 12"s and compilation appearances, David's discography continues to grow. David's soundscapes and soundtrack can also be heard on everything from science-fiction and horror movies to promotional spots for an X-rated cable channel.Andrea Noce is a very talented singer, producer, polynstrumentist and visual artist based in Berlin, she has many different projects in solo (Eva Geist), in group (Vera Mona, Le Rose) or collaborations.

We have released several of Brazilian jazz legend Dom Salvador's records on Mr Bongo. He worked with artists including as Elis Regina, Jorge Ben and Edu Lobo and led Salvador Trio, as well as releasing under his own name. Dom lives in New York and plays a Hotel piano bar daily.'Barumba' is an uptempo funk-jazz monster with heavy drums and piano right from the off. Soaring horns add to the drama.Originally released on his self titled LP on CBS Brazil in 1974.

'Morre o burro, Fica o Homem' is the third Osmar Milito track to feature in our Brazil 45's series. A classic samba-rock track; funk drums fills and punchy horns underpin the MPB vocals, building in tempo slightly over the track. The song was originally written by Jorge Ben.Taken from his expensive and hard to find 'Nem Paletó, Nem Gravata' LP released on ATCO Brazil in 1973.r

Ever since the debut, 'Communication EP' which also marked our 50th release, Alexander Lay-Far has a special place in the Local Talk family.Since then things have been going well with plenty more releases, tours, the launch of his label In-Beat-Ween Music plus a new full length album done.
With so many things on the go we're of course very happy to welcome Lay-Far back and with him this time, two UK house legends that need little introduction, Ashley Beedle and Darren Morris. Together the trio produced an EP that embraces the charms of both disco and house and we think it hits on every level. The A-side is dedicated to 'Doctor Feelgood', which is just as the name suggests, a delicious disco house cut that will make you feel good.Extra bonus points for the wonky bassline.
On the flip, you'll find two versions of Slope. The first one is an easy / breezy number built around jazzy drums, warm chords to catch your breath for a minute or two, lovers of rhodes should lend the track an extra ear, it's pure bliss. After those 5 minutes and 14 seconds has ended Lay-Far steps into the remix arena, turns up the tempo and sends the track straight to the dance floor. No need to fiddle around too much, he just sprinkles some extra touches of Lay-Far magic to the original and voila, it's done.

After impressing with his debut album, 'Buy The Ticket, Take the Ride', on Tsuba last year, Magic Feet label boss Craig Bratley is back with a hot new EP on his own label that features tracks by Unisexl Audio Club, Beato Cozzi and the man himself.

Since 2014's LP release, Bratley has been remixed to great effect by Ewan Pearson and has continued to take his machine made, darkened disco sounds to clubs and festivals around Europe.

His sound is robust and analogue, has come out on labels like Andrew Weatherall's Bird Scarer and Is It Balearic and now for the first time arrives on his own Magic Feet, a label that has showcased sounds by Timothy J Fairplay, Antoni Maiovvi and Tommy Awards amongst others.

Up first here is Unisex Audio Club with 'Event Duality,' an elastic, low swinging, mid tempo track with frazzled synth lines, pixelated melodies and lots of dark energy. Flabby bass adds serious weight to this most arresting affair.

Beato Cozzi offers up 'Killer ', which comes on like a long forgotten Italo B-side, a chugging rework of a solitary 1990 chart hit that sounds all the more resplendent for its rainy alien melodies, extra visible and twinkling chords and invitingly laboured drums.

Then comes Bratley with the first of two cuts. 'Photons' is seven minutes of loose and lush house music with arcing pads, feel good chords and emotionally swollen melodies. It's the sort of breezy, al fresco tune that would sound great at a boat party and shows a more tender, vulnerable side to Bratley's work.

His second, 'Analogue Voodoo', is a slow and sparse affair where futuristic synth lines, apocalyptic drums and darkened spoken word snippets all conjure an unsettling, industrial mood. It's a fresh sounding cut that is destined to stand out on any dancefloor.

This is another fine offering from Magic Feet that offers disco lovers of all shapes and sizes something to explore and enjoy.

* Jon Gurd's Birth Right EP is the first material from the Portsmouth based Techno producer in more than 2
years since his ventures on Octopus recordings, 8 Sided Dice and Quartz. The EP therefore indicates an
audible step change not just in the approach to production but also in the mindset and emotive feeling
behind each texture and layer. Having emerged unscathed from a traumatic family related drama Jon
communicates a tortuous and re-evaluated life message across all 3 tracks, and is dedicated to his brother
with a hidden meaning conveying, Tomorrow Is - Promised - To No One'.

* Dissecting the EP further the educated are blessed with field recordings, analogue rumbling and modular
synthesis exiting from almost 24 months of lab driven experimentation. No real process has been applied or
extant formulae followed and the EP's resounding success is that this now exudes what Jon feels' innately
rather than what the industry wants, therefore the journey, endless noise making and experimentation gives
a balanced and exciting offering. Jon comments seriously my process for producing this has been all over
the place, literally stumbling on shit, slipping over my own creative vomit, workflow went out the studio
window on day one'.

* Having spent two years asking himself why he makes music, I think on first listen of Birth Right EP we will all begin to empathise why. Remixes kindly provided by Messrs Dave Clarke and Ancestral Voices (new project from Liam Blackburn formerly Indigo / Akkord).

* A long time-friend and recording partner of Alan Fitzpatrick, as well as one third of Mister Woo with Dave from Reset Robot, Jon Gurd is best known for his work on the likes of Octopus Recordings, 8 Sided Dice and Quartz. Abundant with field recordings, analogue rumbling and modular synthesis, his latest signing to Derelicht is a result of almost 24 months of lab driven experimentation, and marks an auspicious return from a musical hiatus that stemmed from a personal tragedy. From the off, 'Tomorrow Is' is a driving piece of techno complete with sinister undertones and menacing atmospherics, meanwhile 'Promised' focuses on a low-slung groove as tantalising synths operate on top. The last original, 'To No One', then exhibits a deeper vibe with ebbing pads and spectral chords. Dave Clarke's decadent rendition of 'Promised' ups the tempo whilst demonstrating commanding kicks, until Ancestral Voices, the new project from Liam Blackburn (Indigo / Akkord), strips back the beats of 'To No One' for a subdued subterranean workout.

* Press / Promotion: 3 x Co-ordinated PR Campaigns (In House campaign by Derelicht, Dispersion PR and EPM Music, 100 vinyl hand-distributed to leading editors, artists and tastemakers. Key editorials through Resident Advisor, Inverted Audio, Ran$om Note, Beat Vision, Slate The Disco, Magnetic Magazine, DJ Mag, Noise Porn, Mind Grub Audio, Portals, Elevated Culture. 1 x videos produced to support Dave Clarke remix
Tiefschwarz - 'Just Beautiful!'
Alan Fitzpatrick - Yeah massively into this, will play a lot. Thanks for sending.
Dustin Zahn - Feeling the original of "To No One." the chord/pads are hitting the right spot for me this morning! The remix is also a nice take on the original
Baikal - to no one and Derelicht are dope
Kirk Degiorgio - Dave's mix for me!
Bas Mooy - yep! A1 for me mate!
Ben Sims - a1 is the cut for me, heavy and heady but still has the groove
Benjamin Damage - Thanks for sending this, top work!
Bryan Chapman - really feeling this EP, fav is the Ancestral Voices remix, that downbeat vibe
Bryan Zentz - Wonderful, moody, and emotive...LOVE it
Carlo Lio - Actually feeling all of them. Something for every time of the night. Can see myself playing a few of these for sure
Lo Shea - Tomorrow is sick! Dave Clarke's remix is dope too.

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

New artist Daniel Wainwright brings his psychedelic vibrations to Is It Balearic ... Doing It is a slow motion sleazy trip into the acid house. Swirling vocals and psyched out guitars melt into chuggy acid beats and effects. Coyote up the tempo a touch and strip back the whole track on their remix. Dubby vocal samples and muted guitar groove along to an acidic finale. The second remix is a real thing of beauty from Mushrooms Project. Keeping the same slow tempo and adding space and texture with mellow guitars and extra sitar. A subtlely developing tribal workout. Groovy man.

Part 2 of Editors Kutz 005 pressed on Purple Vinyl feat cuts from JKriv / Noodleman / Riccio & EmVee who round things off nicely.
With edits and reworks on little known or impossible to find originals, and some beloved classics, this release covers various disco styles, keeping the right balance between the up-tempo and low tempo vibes. Limited Repress act fast.

Mslwte, does the name ring a bell James calls himself a Techno Experimentalist and he sure is! As a co-owner of Subsekt, he sure knows how to turn those knobs. Dirty, Rough, Experimental, Twisted dark techno. You'll love it.
'E121' is dark, rough and has a brilliant atmosphere. 8 min pure pleasure and an excellent track for playing 3 decks.
'Insular Tone' is a great no-nonsense stomper.
If you're a fan of some older Djax up beats stuff, you'll need this too!
On the B-side, 'Derby' is pure emotion with the touch of roughness only James can add to tracks.
The Stoll Remix takes it to the floor and straight up tempo. No Fooling around.

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

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

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

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

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

For more than a decade, The Bunker New York has been a nexus point for the transnational techno community.
A chance meeting at The Bunker in 2011 brought together Gunnar Haslam and Johannes Auvinen (also known as Tin Man), who became fast friends and collaborators soon after, conceiving a joint project called Romans. The Bunker New York is proud to present Romans' Ambulare Aude, a collection of atmospheric acid techno tracks following the project's debut on Auvinen's own Global A in 2014."The Roman theme opens a world to explore beyond both of our past endeavours," says Auvinen, explaining
the conceptual genesis of the collaboration. "In the same way Ennio Morricone may have conceived the 'Spaghetti Western' genre by fusing together various contemporary motifs and moods to conjure the spirit of a past era, we're imagining stories and scenes from the Roman era, trying to manifest narratives while celebrating the distortions we see looking through the murky lens of time." And while Morricone may be a conceptual reference point for Romans, their sound is anything but—instead offering up a pair of murky, psychedelic acid-etched cuts (Emona, Delmenium) buffered by a gradually unfolding up-tempo floor-burner
(Coptos).
The record is the result of several extended improvisational jam sessions in Vienna and Brooklyn in which both
artists would play off of each other in the studio. Accordingly, each of the three tracks have a slight aleatory
air about them, as though both artists are being led down an unforeseen musical path, not entirely certain of
where it leads. This culminates in Delmenium, the record's B-side, a true techno journey, featuring an emotional, metallic synthesizer coruscating against a melancholy background.
"I like to think what we make sounds simultaneously like both of us and neither of us. We both push each other
in different ways," Haslam says, recounting their production process. Auvinen adds that "(Collaboration) offers a chance to hear from someone else's perspective. Working with others, I'm often reminded of how radically different the way people hear things, and relate to them in a musical context, can be."

Following up his appearance on Part 4 of our Strength In Numbers compilation, we are ecstatic to present some fresh material from no other than DJ Slip. A name that has been on the tongue of anyone entrenched in the US techno scene since the early 90's, DJ Slip has entranced audiences for years with his brilliantly bizarre take on sonics. Remix duties this time around come from Berghain resident DJ and all around musical powerhouse, Answer Code Request.

Planting the listener on some foreign stratospheres has always been DJ Slip's expertise, and 'Highland' comes as no exception. Echoed synth stabs detune into the dark while a barrage of claps and clangs provide an onslaught of percussive cleverness that is a signature of the Slip sound. 'Aerial' comes at you like a plane colliding with the earth, a kamikaze of dissonance spiraling downwards and then
in reverse. It's driving tempo, surreal drones, and thudding toms cascade into an intense peak time experience. Answer Code Request provides the perfect counter as a remix, smoothing out the edges into a refined, psychedelic expedition that breathes and shifts as it tunnels deeper. All three tracks together create a diverse and gripping package with something suitable for all times of the night.

Plenty Headroom' EP is a twisted techno release from Kahuun on Scandinavian label PLOINK with remixes from anonymous Norwegian act Vakum and label boss Thomas Urv.
PLOINK started life as a club in Bergen where it has hosted the biggest techno parties in the region. 2014 saw it expand into an imprint, supporting Norwegian artists with releases from the likes of Vakum, Nordenstam, Christian Tilt and label founder Thomas Urv. Bergen producer Kahuun has been DJing across Europe for well over two decades now and saw his first 12' on Paper Recordings in 1999 followed by a string of releases on the likes of Hi Fi Terapi, Bagpak Records and Sex Tags UFO.
'Plenty Headroom' incorporates stabbing, abrasive pads that tumble downwards over a muted, staccato bass and a 4/4 beat. 'Enlargement' then gets more frantic with a faster tempo and galloping bounce, overlayed with punchy warm synth sounds. Thomas Urv's remix of 'Plenty Headroom' delivers the darkness one would expect from the PLOINK founder, underpinned by a crunchy, compressed sub bass line. Tying everything up Vakum's rendition demonstrates a heady buzzing synth that builds a tension over a pounding four to the floor.

Drum & Bass duo The Prototypes, AKA Chris Garvey and Nick White release their much anticipated debut album 'City of Gold' on Viper Recordings. Already one of the hottest acts in the UK Drum & Bass club scene, The Prototypes are reaching new heights with their debut LP which showcases their trademark club sound, vocal anthems plus a few masterful tempo variations which will leave the listener wanting more.

This vinyl album sampler contains two of their biggest hits from last year with 'Pale Blue Dot' backed with 'Humanoid', both of which went #1 on the Beatport D&B charts.

'Pale Blue Dot'
Kicking off with a mysterious, immersive space-themed introduction, 'Pale Blue Dot' transports the rave into the far reaches of the universe. Building up the anticipation with rising synths, 'Pale Blue Dot' transforms into a dancefloor weapon. Crash landing with a stripped back, infectious melody and churning bass, the alien sounds of 'Pale Blue Dot' are sure to get the rave moving.

'Humanoid'
The B-side stays true to The Prototypes' heavy hitting, galactic-inspired sound, with the whirring 'Humanoid'. Exciting and rhythmical use of synth patterns alongside vocal interjections make this the ideal follow up to the hugely popular 'Pale Blue Dot.'

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