Search:ut

"Invisible Cities", the first collaboration between AIDAN BAKER (NADJA, B/B/S) and bass clarinetist GARETH DAVIS (OISEAUX-TEMPÊTE), offers finest ambient / chamber jazz / subtle drones of a highly meditative quality. Available as 180gr LP and download.

Be it solo, as member of the drone duo NADJA or B/B/S (his trio with ANDREA BELFI and ERIK SKODVIN / SVARTE GREINER) or in various collaborations with artists like TIM HECKER or THISQUIETARMY: the Berlin-based Canadian is one of the most productive and versatile artists when it's about postrock, drone or ambient and without doubt a true master on his instrument, the guitar. In recent years BAKER also starting exploring new grounds as a composer of contemporary / ensemble music - e.g. his composition "An Instance Of Rising" was commissioned by SPÓLDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE and SACRUM PROFANUM FESTIVAL for their 2017 edition. "Invisible Cities" marks BAKER's first collaboration with GARETH DAVIS whose eclectic oeuvrespans contemporary classical, free improvisation and orchestral music through to rock, noise and electronica. The bass clarinetist is a steady member of the critically acclaimed post-rock formationOISEAUX-TEMPÊTE and A-SUN AMISSA, interpreted compositions by ALVIN LUCIER with MACHINEFABRIEK, worked with BERNHARD LANG and PETER ABLINGER, performed with musicians likeNY Downtown veteran Elliott Sharp, MERZBOW or ROBIN RIMBAUD (aka SCANNER) and realized multimedia work with artists including CHRISTIAN MARCLAY and PETER GREENAWAY.

Recorded in November 2016 at MUZIEKHUIS, Utrecht, the four tracks create a calm, even meditative atmosphere in their reduced manner that gives much room to the individual instruments / sounds, occasionally spiced up by field recordings that intensify the overall chamber jazz / ambient moods.

Two years after ".... and The Casiotone Orchestra", Odessey & Oracle continue their speculative and colorful explorations through an adventurous sonic quest, mixing acoustic sonorities and classical instruments, using a pallet of analog specimens dating back to the 60s and 70s. Retro-futuristic music with sophisticated arrangements underlines unbridled songwriting with heterogenous influences (Brian Wilson, Caetano Veloso, White Noise, JS Bach, Moondog, Robert Wyatt...). The lyrics, in French, both surreal and utopian, serve as witness to the contradictions of our times and invite the listener to imagine a revolutionary love

'Utopia' is the ninth studio album from the iconic artist Björk, out November 24th via One Little Indian Records. The album's artwork was created in collaboration of M/M, Jesse Kanda and James Merry and reflects the records sonic direction, optimism, lightness, utopia.
Of the album she explained to Dazed this Summer that, Maybe that's why it became a utopian theme - if we're gonna survive not only my personal drama but also the sort of situation the world is in today, we've got to come up with a new plan, If we don't have the dream, we're just not gonna change. Especially now, this kind of dream is an emergency.'
Björk wrote, produced and recorded the album between Reykjavik and New York, working closely with Arca and writing for, conducting and recruiting a thirteen piece flute orchestra which will be on the road with her next year.

Tokyo's DJ Nozaki, the man behind the incredible label 10 Inches Of Pleasure debuts on UTTU with a frenzied baltimore infused acid houz ghetto bomb! Backed with a DJ Haus remix and a re-work-reverse from Nozaki himself! TIP!

Gnork returns to UTTU under his ambient-jungle inspired DJ Shark alias. Three stripped back lo-fi jungle joints backed with remixes from Australia's Fantastic Man &, Den Haag's finest Legowelt.

Re-issued again, with new liner notes. A wonderful, rare record wrapped in a mysterious yet playful ambiance. Or maybe it's just the impression that the Japanese language often gives me. ''Suiren'' is an odd jazz-fusion-wave tune that sounds like its boiling, waiting to burst but somehow manages to stay in control. Like the nervous tick of a leg fidgeting under the table of a restaurant on a first date. Yasuaki Shimizu is a Japanese composer, producer and saxophone player born in 1954. He worked with Ryuchi Sakimoto on certain arrangements, with the South Korean artist Nam June Paik on art+sound installation pieces and even DJ Towa Tei (of Deee-Lite fame). ''Suiren'' was released in 1981 and is the opening title on the sought-after ''Kakashi'' album and is my personal favorite on this overall brilliant record. It weaves behind new wave, jazz, fusion, ambient and experimental music.Repetitive and hypnotizing, punctuated by exclamation marks on most first mesures, the muted triangle percussion hits me straight in the heart. About 90 seconds into the song, the saxophone makes its appearance and the song goes from ''this is cute'' to ''oh, this is some serious shit!''. Shimizu's saxophone frees the song from the rest of the elements which are more calculated and repetitive.A joyful, mysterious slow-moving train ride led by the artist's mellow voice that rocks us with this calming but funky lullaby. Every phrase is punctuated by the xylophone there to energize the piece, albeit very subtely.

Purveyors of enigmatic dreamscapes and organic, danceable electronica, Leeds-based, electronic-soul quartet Noya Rao are set to release their debut album, Icaros, this November. Founded by producer Tom Henry (Cosima, Yellow Days) Noya Rao was originally conceived as a solo production project with a separate live band representation. Alongside bassist Jim Wiltshire and drummer Matt Davies, whom Tom had met playing in other bands within the Leeds music scene, the project grew to become a collaborative effort mixing Tom's production ideas with the attributes of Jim's unique bass synth lines and Matt's polyrhythmic beats. Their compositions drew on the influences of jazz, hip-hop and electronic music whilst incorporating the sounds of the bass-heavy-dub music synonymous with the Leeds music scene. Their sound really came into focus when they met vocalist Olivia Bhattacharjee who brought her gospel style and complex choral harmony to the band. Developing from raw, psychedelic improvisations, their sound became more defined and minimal, underpinned by live instrumentation and more structured song writing. This co-existing electronic and organic thread gives the band a strong identity and their powerful live show sets them apart from other producer-led bands. Matthew Halsall from Gondwana Records saw the band perform at an intimate show in Manchester in 2016 and blown away, signed the band on the spot.

Icaros takes the listener on a journey through the band's unique sound-world amplified by Tom Henry's bold and inventive production techniques. Sometimes fragile, sometimes raw and visceral the album opens with the ethereal Azimuth. It's contrasting sections and mysterious chords offer echoes of the band's instrumental beginnings whilst the repeated vocal harmony layers at the end demonstrate a signature feature of the new Noya Rao sound. Moments is the first tune they wrote together and reflects upon taking joy in the everyday: the opening womb-like chords are another distinct sound of the band. The gritty Golden Claw describes the effects of a manipulative heartbreaker, it's darker, more driving and has a ruder '80s flavour. Midas demonstrates the band's use of linear structural forms and complex rhythms influenced from around the globe. It tells the story of someone who, led by greed, made some regrettable decisions. The atmospheric Dreaming Part 1 and Part 2 are sumptuous dreamy soundscapes. They were born from the same epic improv-based writing sessions as Fly, which has a trippy disco vibe, offset with wonky chords and crunching vocal harmony. The hook-led I Feel points to future ventures for the band: mixing their electronic textures with a more formal song-writing approach. A sublime slice of dreamy space-jazz, Same Sun Will Rise, finds Olivia contemplating mankind's utter selfishness and a desire for change, "Over borders we've assigned, same sun will rise'. Minimal and spacious, This Time demonstrates the merging of ethereal edginess and delicate songwriting. It is this combined with their electronic and live approach and more than a hint of Leeds attitude that gives Noya Rao their unique sound.

Much may have changed over a two-decade period, but Drumcode's commitment to releasing the scene's most cutting-edge and refined techno remains resolute. 2017 has already seen releases from Adam Beyer Vs Pig&Dan, Alan Fitzpatrick, Ilario Alicante, Julian Jeweil, as well as a debut album from Layton Giordani. The label continues push forwards; bringing fail-safe, club-ready music to the techno community.
Perennial pushers of the techno envelope, Dense & Pika are renowned for their standout studio output that seems to constantly conjure up a particularly unique take on their distinct sound, D&P have rather outdone themselves in 2017.
Kicking off the year with a selection of back catalogue remixes from the likes of Danny Daze, Scuba, Slam and Yotam Avni that illustrated the high esteem in which D&P are held by their peers right across the spectrum; From heritage acts to current headliners and cutting edge talent, the duo have gone on to drop bomb after bomb after bomb.

Their universally lauded remix of Tiga's 'Louder Than A Bomb' was the first of a run of chart topping cuts; With a remix of ME & her's 'Wild Rage' on Jamie Jones' Hottrax imprint and their own 'Casino' single both challenging the norm of what techno sounds like in the here and now.
Cooked up with a more melodic vibe and fusing elements of house and techno, Dense & Pika's latest outing on Drumcode offers something different compared to their previous work.

There is still that vintage feel to each of the tracks with analogue sounds and arrangements born and developed from experimental studio jams. Indeed, 'Suki' heavily utilizes the distinct harmonic tones of the Dave Smith Prophet 8 keyboard. While 'Little Sun' - A staple of D&P performances over the last three months - delivers a more classic Drumcode sound. 'Lanky' closes out the release with an infectious slab of wonderfully wonked-out raw funk.

Tact Recordings launch their new vinyl only sub-label 'Tactics' this November, with the first EP coming courtesy of Yard One, who deliver three excellently programmed cuts in the shape of 'Tactics Vol.2'.

Launched by Yard One, aka Jordan Bruce and Larry Jones, and Richard Fletcher (who produces under numerous guises including Adventures In Daydreams and Fletcher), Tactics is set to become the labels latest project with a focus on solely vinyl releases. Inspired by the 2012 Various Artists release 'Tactics Volume 1' on Tact Recordings, which featured productions from Isherwood (Sharingtones/Imprints/Lize Records), journalist Per Boisen-Moller, and label regular Luke Black, the sub-label is set to showcase a more stripped back and minimal side to the Tact Recordings family with releases coming courtesy of Yard One, Fletcher, Luke Black and their close friends only.

The EP opens up with 'Avenoir', a raw and hypnotic production that utilises a multitude of lasers, glitches and pops at the forefront to keep listeners firmly on their toes, whilst a delicate and captivating melody floats fluently amongst ever-evolving percussion shots and twisting bass licks below.

On the flip, 'Granular Movements' snakes its way through swinging drums and hazy, jazzy melodies to reveal an effortless rolling groove, before 'Hexad' keeps the focus on percussive elements strong, whilst a moody bassline goes to work under layers of meditative pads and subtle background nuances to punctuate an excellent debut offering from the label. (Vinyl Only).

“There is rebellion in the daftness and obscurity, and Snapped Ankles are but a celebration of the necessity of the weird” the Quietus

“Uproarious post-punk vocals on an exhilarating, entertaining four-minute gem” The 405

“The most exciting thing in our world” Loud And Quiet

“A post-punk utopia fit for all the creatures of the forest” The Line Of Best Fit

“Just fantastic!” Marc Riley, BBC 6 Music

“Hot-stepping garage rock outta London, underlined with Factory Floor-esque monotone synths and punky attitude” Boomkat

“Snapped Ankles burst forth with a dose of thunderous, rollicking post-punk” DIY

Finally the long-awaited second series of 'Invisible Family' outings has arrived. Label boss and compiler GK Machine has this to say: 'Beyond ecstatic to get these tracks out. The Gazeebo track I've been playing in my sets for years. Digital only but SO great it definitely needed to get pressed onto wax!! I would DJ with it using Ableton and speed it up a lot so for the vinyl I asked Jon (Nedza) who I've been a huge fan of since his Community Recordings releases on Grayhound and Imperial Dub, whether he could speed it up a little bit before we pressed it up. Now it's 100% perfect: a Moroder-esque cosmic stomper that's sure to set any dancefloor alight. The Apiento track is another one that's been gestating for a long time...first appearing around the time the original "E.S.P." 12' appeared on the wonderful Golf Channel Recordings in 2014. Secret Circuit gave it a complete overhaul, in fact several complete overhauls, plus some of his signature guitar and has turned the already blissful track into an afro-esque, trippy, beautiful, beautiful piece of music that (IMO) is one of his best yet. Utterly gorgeous!!
Then there's the boy-girl retro-future duo Der Kundalini coming from the wonderful Lectric Sands stable in NY who gave us Zoovox. This one's also been hiding on my hard drive way too long! Finally relative newcomers Konzel (of Junto Club/Optimo Music fame) & Natural Sugars (Pardon My French) round off the package just perfectly. The former so distinct that I felt it was a perfect opener for the A side. So, I hope you dig it...and keep an eye out for the super limited 12-track cassette too!!!'
Limited to 300 hand-numbered copies.

It's just over 3 years since we launched the Africa Seven label in Paris and London. Our first release back then (Airways One) is still our best seller and had to be repressed 4 times so far. Forty or so releases later it is time to take to the clouds again. Being the unimaginative bunch we are, the fourth installment of our African sky filled musical cornucopia is called African Airways Four (Disco Funk Touchdown - 1976 - 1983). This time around all tunes have the Disco flavour. As ever it's all about the music... the skies are wide and funky and the air is filled with musical goodness. Your flight is about to leave.

Your flight opens with a punchy disco funk assault from Paris based Cameroonian Tala AM. Here with his drive bass and guitar funk riff 1981 stomper "Get Up Tchmassi". Next up and staying with the Cameroonian connection is Eko with "Bowaa Mba Ngebe". The lyrics talk of accomplishing the things in life for your family and yourself. The sweeping strings and gloriously uplifting music matching the sentiments of the words perfectly. Uta Bella began singing in the 60's and by the time disco hit in the 70's she was already established a singer in her native Cameroon, here the locked on groove of "Nassa Nassa" is a perfect snapshot of the sound and the African disco times.

Charly Kingson (cousin of Manu Dibango) is next with his "Nimele Bolo". Recorded in Germany with the cream of Munich's session musicians the bass synth is out in force on this one. Punchy brass, rock solid grooves and jazzy Rhodes add all the right ingredients for a fine disco synth excursion. Next is the musical heavyweight from Cameroon cousin Manu with his 1978 Disco, jazz funk masterpiece "Sun Explosion".

Side two opens with a blast of Elvis Kemayo and his piano and guitar funk bomb "Biram". Next Momo Joseph gives us "Africain". Best known in France as an actor, this disco funk groover was released on his self pressed LP "War For Ground" in 1983. A true gem indeed. Nigerian, ex Funkees member Jake Sollo is next with "Tinni Yanana". Recorded in the UK in 83 its slick and smooth with a hint of "at the car wash" groove. Pierre Didy Tchakounte follows on with his soul funk 'golden years' style groover "Soul Magabe". Produced by one of our favourite Parisian producers Slim Pezin. We close off our journey with the tribal chant disco-funk special from the Monstars "Funny Saga".

Ladies and Gentleman, we have landed at your destination, please remain seated until the aircraft has reached the terminal. We look forward to welcoming you aboard Africa Airways again soon.

Legendary Swedish production unit FRAK debut on UTTU with 4 jackin club tracks. The Börft Records founders deliver a wide array of dancefloor focused analogue mayhem! TIP!

Music From Memory's final 12" for 2017 is a reissue of Dub Oven's self released, and sadly one-off, 1983 EP 'Skin N Bones'.
.
Pioneers in the Post Punk Industrial and New Wave scene in 1980's San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met at San Francisco's notorious 181 Club in December of 1982. This straight/same sex/swing-both-ways late night dive bar was tucked away in one of the city's most risky, drug riddled neighbourhoods. Stationed near the SF Museum of modern Art it attracted a wild audience of local patrons, aspiring young artists and music heads. In the thick of all this the duo felt impartial to a lot what was going on musically and set out to produce electronic music that could break through the "somewhat exhausted post disco sound that was then competing in the local San Francisco clubs". Enlisting soul vocalist Celeste Miller, the duo were also inspired by Lee 'Scratch' Perry / Upsetters dub tracks being produced in Jamaica and created a unique breed of avant guard hybrid New Wave/Electronic Funk.

With it's influences seemingly as much rooted in the past and the present as it was focused on the future, Dub Oven formed a distinct, mystical approach to music intended for the dance floor. All three tracks on this 12" embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Recorded at L7 Studios in San Francisco with the assistance of the the studio's in house producer Marco Perry (who currently now works with Bjork) the record was unfortunately overlooked by A&R at several major and even local labels and was finally self-released in very limited quantities. Utilising analog electronics and instrumentation, the record draws on elements of dub, new wave, soul and funk to create a sound that is uncategorizable and one that was perhaps simply too forward thinking for it's time.

The new EP by rRoxymore signals another audacious step forward for one of the most daring artists in the electronic music diaspora. 'Thoughts Of An Introvert Part 1' is born out of introspection, out of the necessity to disconnect from the frenzy of crowds and to create a soundtrack to an inner landscape which exists beyond the reach of government and dogma. In the words of the artist, "it is a sonic diary of sorts, cataloguing the events of a world which has not yet been invented, in the form of three mesmerizing dance tracks free of nostalgia and the expectations of style."

The spatial afro futurist funk of 'Prodrome' finds rRoxymore balancing darkness and optimism as only she can. The title track, 'Thoughts Of An Introvert' is instantly familiar and carries a soothing utopian spirit, so needed today. Mycetozoa, the closing track is bouncing, drum driven and mad, a celebration of rRoxymore's complex musical mind, offset by irresistibly banging toms and rolling rimshot patterns. It is a track which is at once melancholic, happy, vulnerable, and full of hope. Everything seems possible on the dancefloor this music was written for.

2022 Repress

HQ Gatefold, 3x12 140g Vinyl, black innersleeve, download code
EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden's Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it's with great pride and respect, that we can announce the release of Extrawelt's third album for Cocoon Recordings. "Fear Of An Extra Planet" completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT!
Musically, of course, there's enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title "Fear Of An Extra Planet" sounds cinematic, like some art-house science fiction film, without giving too much away.
However, from the first seconds of the opening track "Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream like quality that made James Holden's label so influential.
New Release Information Second up, "Gott ist Schrott" takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples that gives us a taste of what's in store. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like 'in pursuit' feeling.
With - Das Grosse Flimmern" we cautiously approach the album's high point. It's still in keeping with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade us with an energy and impetus that always radiates from their music. Next in line is "Silly Idol" and here Arne Schaffhausen and Wayan Raabe opt again for a more minimal tack, focusing even more intensely on the dance floor to reveal a pulsing, twisted heart to the album.
"Punch The Dragon" is the hidden gem of the collection, utilising and melting together the most bombastic and playful elements. This one is totally off the hook, a sensory overload in an acoustic widescreen format! Then we have the title track "Fear Of An Extra Planet" which perfectly sums up the album concept. It opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analogue drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album.
As we near our destination, "The Friendly Coroner" really does honour its name. The morbid charm of the title is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. In our mind's eye we see a cheerful medical doctor removing his bloody gloves, hanging his smock in the closet and vibing out in his neon drenched workspace. And there we sit, glued to our cinema seat, submerged in the different textures EXTRAWELT have conjured up on "Fear Of An Extra Planet". Over the course of the last title, the strings usher in the final acknowledgments as the credits roll. The dramatic end of "2084" leaves us transfixed in front of a black screen in a large, dark room safe in the knowledge that we've just witnessed a science fiction epic.

Earth Patterns is a new journey into sound by London based Australian born musician Ben Davidson, best known for his disco tinged house singles as Ben Sun, that were championed by the likes of Gerd Janson and Larry Heard.

The Earth Patterns concept presents a more expanded instrumental sound with live rhythm sequencing and synth work, sitting alongside Vangelis Katsoulis, Lars Bartkuhn and Soichi Terada on Alex Bradley's Utopia Records.

Davidson joins the dots between Detroit by way of Tokyo techno on 'Sunflower' to Dream II Science deepness on 'Horus Rising' and some worldly organic rhythms for a modernist and dare we say it Utopian sound on 'After The Rain'.
The analogue sound from his London studio comes through on the gentle and harmonic B-side opener 'Transit Pan', perhaps the start of a journey beyond the dance floor for the producer.

Artwork and liner notes by Davidson himself, all pressed by bespoke pressing plant The Vinyl Factory on heavyweight vinyl.

After the first successful record, Danish label front man Gaze ill pursues another excursion through the ever-growing Dubstep-spectrum. He returns to his own physical outline of Cue Line Records with four hefty cuts that surely make up another stellar record, however he s not alone. Last time it was his partner in crime RDG, this time its frontline support from the Dutchman & bass mammoth TMSV , who s given Space-Time a completely different spin.

CLV002 opens up with a serious wobbler: one that is reminiscent to the golden days of the fundamental Dubstep sound, but housed in a completely different straightjacket. It swiftly sets the pace, as the wobbles escalate into the leading element of the destructive Space- Time . The second cut by the Danish producer adds the step to dub music so to speak and lively resembles King Tubby on a Dubstep flex. Watch out for that naughty second drop, which holds
nothing but booming vibrations that ll hang fans upside down. Spirit Of The Forces unveils an equally refreshing take on bass music thanks to the creative structuring of both low-and-high melodies. This allows listeners to take flight
easily and fly away from what we call reality an excellent track for both spring and summer time. TMSV s spin-off is as bright as its forerunner, but far more up-tempo and hypnotic. Utrecht s producer instigates a spacious stepper that defeats time & momentum by incorporating his raw remix techniques. The right remixer for the right record: Cue Line Records at its best!

All the beats, tracks, and harmonies that Vega Records release have a story behind them, 'UNION DANCE (LOUIE VEGA REMIX) - DJ CLOCK FEATURING MADAME-X's begins where most great things do as far as we are concerned.... under a mirror ball in a dark club! One night, (well really EARLY morning to be honest) while Louie Vega was vibbing in the booth, listening to Timmy Regisford work it out for a packed NYC dance floor a wild beat caught his ear. As Louie looked over and saw the crowd confirm exactly what he felt he turned to Timmy with a smile and said "that beat is hot, let me get that", and from that moment UNION DANCE's story began with Louie Vega.
No surprise to Louie, DJ CLOCK of Durban South Africa was the mastermind producer behind this fiery beat. DJ CLOCK is practically a house hold name in S.Africa since he first got into producing and djing in 2007. He's collaborated with some serious heavy hitters including Fistaz Mixwell, Euphonik, Oskido, Chynaman et al and has become the go-to producer for compilation albums across his continent and now with Louie Vega he's making his way to all of us. This gritty beat captured every emotion that makes you go in even harder at 3am... It had heat pumping out the system but it was missing something as far as Louie was concerned.
The missing element was the incomparable force that is MADAME-X, known to many as a sexy sultry vocalist by all accounts but there is a force living within HER expressed only as MADAME-X. She interprets the words of Maya Angelou with the utmost confidence and conviction. A powerful woman, with her raw, unapologetic edge MADAME_X pro claims "I WANNA DO THIS MY WAY" transforming a hot beat Louie heard one night into a FIERCE TRACK to ignite crowds around the world today!
UNION DANCE (LOUIE VEGA REMIX) - DJ CLOCK FEATURING MADAME-X reminds us that not only is it ok but its necessary to OWN THE DANCE FLOOR! This right here is for the djs, the dancers and all those who truly understand that HOUSE MUSIC IS A FEELING!
AVAILABLE AT YOUR NEAREST VINYL OUTLET. DISTRIBUTED BY ABOVE BOARD DISTRIBUTION, UK & MANUFACTURED BY OPTIMAL, GERMANY

After releases on the Ninja Tune-backed label R'COUP'D, the mysterious Prequel Tapes surfaces with an EP for Midnight Shift. Composed of 3 tracks and 2 locked grooves, SHIFT LTD 003 fossilises transient moments in between gridlocks of tight grooves. Like a scan of light sweeping surreptitiously across a dungeon of darkness or a blinking throb pulsating from the corner of one's eye, these are the brief but blinding moments of illumination that capture time suspended on the edge of two worlds. Memory capsules slow-releasing an industrial mythos back into the clubbing consciousness. Prequel Tapes is a work of deep synthesis. Teenage recordings orchestrated into densely layered tapestries; a deeply emotional study on a life characterised by a shifting relationship to electronics. The pieces serve as a chronology of desire and reflection, reconciling a nascent passion for industrial music with a history in the club. There is a temptation to draw comparisons to Mark Leckey's excavation of UK rave culture, Lee Gamble's junglist memories or the hauntological approach of the Ghost Box label, however this is clearly a personal trajectory aesthetically distant from an English past. Oscillating between utopian to claustrophobic, the evolving synth work, deep techno atmospheres and traces of the clangorous energy of early European ambient and industrial tell a distinctly German tale, forged between the forest and the autobahn.

If Psychic Health's self-titled debut album took the lessons the LA duo learned in the teeming clubs of Berlin and Melbourne, their latest LP, Exclusion, look inward, a document of the duo tunneling down the studio wormhole. As such, Exclusion is a remarkably dynamic effort, adeptly jumping between evocative ambience ("Jamaica 88," "Ryso") and equally expansive dance floor fair.
Examples of the latter, such as the album's obvious centerpiece and titular track, Exclusion, document Gabriel Mounsey and Devon Steffens's harnessing modular beast technology for peak techno utility, finding a clear thoroughfare between the soaring strings of Derrick May's classic Transmat releases and Ostgut Ton's current EBM-inflected precision.
As you'd expect from Mounsey's background in film composition, Exclusion whirls with imagery. It's a Los Angeles album, but focuses on raw beauty of the city at night—the lights in the distance, and the desolate downtown streets where kickdrums often waft from disused warehouses. While their debut album opened notable doors for the group, landing distribution from Hard Wax and featuring in the Netflix series Sense8, Exclusion is an altogether masterful turn for Psychic Health, their complete studio immersion easing the listener into deeply hypnotic states.

REPRESSED !
Bristol based producers Behling & Simpson take on remixing some Kerri Chandler classics this August with the 'Heaven' EP, set to drop via Kerri's very own Madhouse Records
imprint.

Madhouse Records boss Kerri Chandler needs no introduction having been one of the most prominent names in underground house music for over two decades now. While rising talents Behling & Simpson's collective output has been championed by the likes of Claude von Stroke, Derrick Carter, Ralph Lawson, Modeselektor and many more over the pairs 100+ previous releases between them (under various guises), this stands as testament to their undeniable ability to craft forward-thinking electronic music.

First up on the release we have 'Heaven' featuring Christopher McCray on vocal duties, Behling & Simpson's prevalent low-slung, dropped tempo rhythms take the lead, alongside hypnotic lowend tones, while the duo capture Chandler's warm musicality with style utilizing the original's bright chord progressions and smooth vocal licks, creating an intricate, intelligent slice of house. 'Peace Of My Mind' follows on the flip side, a track originally released on Madhouse in 2011, though returning to the label in 2014 with an intriguing reshape courtesy of the Behling & Simpson, again taking on the pair's niche slo-mo feel, setting the tone and radiantly showcasing why their sound stands tall above many of their
contemporaries in such an effortlessly cool way.

On a hot streak Danny Wolfers is knocking out Jewel after Jewel at the minute. After his gargantuan album for Clone comes this knock out blow for UTTU.
Star Gazing is just as space-stradling as the title suggests, off-key, offworld discords colliding with breakbeats and detroitian atmospherics, intricate electronics, the burblings of a robot examining the earth of an alien world, before huge bass enters the party.
Visions In My Mind is Legowelt's take on the disco-tech vibe, Wayfaring Stranger completes the picture, a slamming acid jacker!

After dropping their first various, Figures, Slowciety is about to release Guru, Sunrom's next EP. The artist has already worked with prestigious labels like Kompakt, Ancient Future Now and The Bricks. The EP lays down four organic tracks for a blend of deep house, world music and techno. The title track sounds like a ride on acid and is followed by Quirigua, a rich track conjuring transcendent Mayan rituals. The B side opens with Elephant's deep muffled kicks and takes off with Utopia's elegant arpeggiator for a final flight. This strange and personal EP will cast a spell on the dance floor.

A new piece by Australian artist Tarquin Manek, devised in collaboration with poet Martina Quake of Canvey Island, UK and recorded at M.E.S.S. (Melbourne Electronic Sound Studio), utilising EMS VCS3, Oberheim OB-Xa and ARP 2600 in combination with cheap, contemporary consumer electronics. It is, to all intents and purposes, a short, cautionary story about love. It is also a folk-tale, a science fiction, a suicide note. Unusually for a long-form spoken word piece, it is immediate in its impact, and lasting in its effect. Our narrator is damaged and unreliable: Quake's voice, digitally processed into a flat, AI affectlessness, conveys this all too well. Is this the vernacular poetry of the Uncanny Valley, or is it just that loss makes robots - numb and listless not-quite-humans - of us all Locks revels in the space between the spontaneous and the programmed (what is a poem if not a programme). It's part Tales Of The Unexpected, part Susan Howe, part Ruth Rendell, part HAL (or Holly). Manek's music is widescreen but understated...a becalmed landscape populated by distant drones, just-out-of-focus field recordings, and phased, minimalistic, Rhodes-style keys. A sort of sombre, lunar jazz. Space-age bachelor pad music, maybe, for a bachelor at the edge of space and the end of his tether. Just as Quake's words are cumulative in their tragedy, so the music grows more agitated and turbulent, at certain points harking back to the smoked-out psycho-acoustics of Manek's 2015 Blackest Ever Black LP, Tarquin Magnet, and his work in F ingers with Samuel Karmel and Carla dal Forno.

CHIWAX welcomes MAP & DJ Haus to the Family! DJ Haus aka Rupert Cogan in the head of Uttu & Hot Haus Records. He released already on respected Clone Jack for Daze series, Crème Organization and of course on his won imprints to name a few. The new 3 tracker made together with MAP comes around in good Dance Mania style. Chicago House meets UK Garage - worth to check!

As felines usually do, TYV's latest effort and Gop Tun's fourth enterprise purrs and prances along with elegance and nonchalance. From the first elements of percussion up until the last trace of reverbed and delayed textures leave the speakers finally at rest, Miau engulfs its listeners in a powerful stream of melodic strength and rhythmic intensity. Not surprisingly all of this mojo relies heavily on very typical chromatic nuances, familiar to anyone who's acquainted with Brasil's rich musical diversity and solid foundations.

Miau is a ritualistic utterance, an onomatopoeic journey that takes us deep into an utopic place where innocence is untainted and our best memories are left untouched, but never forgotten. Features that are somehow enhanced in Tuff City Kid's own Lauer's version, which is Idyllic in its pads and entrancing in its beats, but still elegantly nostalgic in its feel.
Da Terra maintains the festive atmosphere and heats up the oven a tad more. Some earthly delights await those willing to cross the dense layering of percussive vegetation and arrive at a beautiful glade where the main hook meets the strings and chants that conjure a particular vibe of uplifiting melancholia.
This is a feast for your senses, guaranteed to overload your neurotransmitters just like our native meals.

REPRESSED !!
Frak are Björn Isgren, Johan Sturesson and Jan Svensson, a trio of synthesizer lovers from Sweden. The band was formed when Svensson and Isgren's older sisters were best friends and they introduced their little brothers to each other. Inspired by Severed Heads, DAF, Human League, Devo, Skinny Puppy, the boys began collecting analog equipment and started Studio Styrka. While the band were still in their early teens they released the first FRAK cassette album in 1987 on their own record label Börft.

Almost 30 years later, FRAK continue to release their bizarre brand of Scandinavian techno with their debut release on Dark Entries. 'Sudden Haircut' was recorded in 2015, a ten-minute brooding, heavy hitting acid attack full of 808 drum claps aimed at the dance floor. The three remaining songs come from a studio tape the band found in their archives named 'FRAK "After The Silence" 2001-2010' 'Synthgök' and 'Synthfrilla' were recorded in 2010 and originally released on the 'Börft' EP by Sex Tag Mania in 2012. Utilizing a 808, 303, 101 and MS-10, both are supreme cuts of electro leaning acid techno that perfectly fit the sweatiest moments of any club land experience. The deliciously rugged final track 'First Glimt I Ögat' is a vintage unreleased Frak song from 2001 recorded one month before the track 'Second Coming' (later released as B1 on 'Börft' EP).

All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Designer Eloise Leigh has created a playful DIY jacket based on a mysterious black and white photo of the band in their classic tin foil masks. Each copy comes with a black and white postcard featuring a distorted back stage photo of FRAK in their teens. 'Forget all you know about Swedish electronic music, this is Börft crew, the core underground of "söta bror's" techno history - here represented by Frak - a full out techno acid punch.' Juno Records

* 15 brand new and exclusive cuts from some of their favourite producers, alongside another 13 tracks that have been the soundtrack to your clubbing experience their nights. If you have been to any of their nights in the last few months then you may well have heard these being road tested.

* Highlights include the Spectrasoul remix of LSB's 'Rollings Sideways' and the sublime Vanguard Project rework of BCee's 'Lost & Found'.
* Support from High Contrast, LTJ Bukem, Fabio, London Elektricity, Rockwell, Etherwood, Technimatic and a whole load more...

MFM's curious and utterly killer Afro/Belgian electronic project gets the re-whip by a bunch of current producers. The EP also includes the previously unreleased, Veronika V02 (a synth bass heavy version of the compilation track, Veronika 02).

Norwegian producer Tony Anthem is well known and respected for his solo work as well as his contributions to both Gunman and the legendary Drum & Bass dup Future Prophecies... For his latest offering, Tony teams up with London based vocalist Doctor for a couple of Jungle flavoured dance-floor slayers in the form of 'I Love It' & 'Tears Of Mine'
'I Love It' is an uplifting and bass heavy dedication to the beautiful art form we all love... Music.
Jungle vibes and sweet vocals make this one a perfect fit for the airwaves!
'Tears of Mine' again utilises Doctor's sublime vocals and Tony's rolling beats to full effect as the duo come with a grittier image this time of inner city life. Pure FIRE!
The combination of Tony's lazar sharp production and Doctor's awesome voice make this a must play on the both the dancefloor and the FM's all over the globe!

Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7' singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.

Rich released his debut solo album 'Mayan Canals' in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7' single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.

All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich's archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.

'Great Many Arrows' is the 6th studio album from Damien Dubrovnik, the Danish duo of Loke Rahbek and Christian Stadsgaard. It is also the 200th release on their Posh Isolation label, marking 8 years for both the label and project. The label's inception came with Damien Dubrovnik's debut album, and since then the two have been inseparable. Without Damien Dubrovnik there would most likely have been no Posh Isolation, and vice versa.

'Great Many Arrows' is undoubtedly a high point in the varied discographies of both Rahbek and Stadsgaard. It is the most realized Damien Dubrovnik recording to date, and a standout in Posh Isolation's troves.

As a record, 'Great Many Arrows' manages to translate the intensity of the duo's often unrestrained live shows in to carefully crafted studio productions. Unlike the pair's earlier and largely electronic recordings, the compositions on 'Great Many Arrows' set organs, cellos, violas, wind and other acoustic instruments against the backdrop of an electronic landscape.

The new toolset is as apparent on the surface as it is in the enclosed detail, taking the project further from its noise roots than it has ever been. This is not to say that Rahbek and Stadsgaard have traded ferocity for formal constraint. It is rather the opposite. While 'Great Many Arrows' is certainly the pair's most 'musical' work to date, its veneer of accessibility might also make it their most terrifying.

The strength of the recording lies here in the interaction between the melodic, acoustic instrumentation and the bulldozing electronics. Moments of beauty and light are transfigured into utter chaos and rage, the mesmerising change an expression of the equal and opposite form's natural sway as it beckons and slips between its own passing.

'Great Many Arrows' takes its name from a historic archery competition in Kyoto, Japan, in which archers would shoot as many arrows as possible for a 24 hour period. On April 26, 1686, Wasa Daihachiro from Kishu successfully shot 8,133 out of 13,053 arrows, averaging 544 arrows an hour, or 9 arrows a minute, becoming the record holder.

Detroit's Burden Bros have long been looked upon with immense respect within contemporary dance music. Having been in operation since 1990 with their 430 West imprint they have long encapsulated the forward thinking vibe of Detroit Techno with their output over the last 20+ years, gaining praise from their motor city peers as well as fans worldwide. Having had success in the mainstream and an enduring underground presence they are well versed in the art of music.

This double-pack 'Cymbolic' originally came out in 1995 and found favour with electronic music fans who sought a deeper edge in their music. It's all here, the trademark drum programming, the epic sense that all of the Burden Bros productions have within them. This is dancefloor music, music for DJ's to utilise, tools, but tools with the deepest soul imaginable. Listen to 'Terraforming' or 'The Symbiont' - perfect examples of driving, almost tribal-esque rhythms fused with strings, synth pads and human feeling. 'Cymbolic' is for you if you're a fan of Detroit Techno, but it's also for those who enjoy the deepest electronic sounds. That's not to say it isn't funky though, these tracks will decimate most dance-floors, and therein lies the secret. Essential release here, that classic 430 (mid) West flavour re-mastered, re-pressed and re-released in conjunction with the Burden Brothers / 430 West Records, Detroit USA

Mathew Jonson's 'Decompression' was first released on Minus in 2004. To celebrate 13 years since it's release Mathew has commissioned 11 artists to remix this classic split over 4 releases. The first EP of the series features remixes from dBridge, Konrad Black and Nathan Jonson, each artists contribution provides a fresh approach to a package fuelled by the influence of Drum & Bass. dBridge steps up for two remixes, the first is warped and deconstructed, the second a high energy Drum & Bass belter. Konrad Black slows things down with a darker groove whilst Nathan Jonson's 'rewind to 96' utilises rave tropes and chopped vocal samples. The package is a magnificent addition to the legacy of 'Decompression' and coming next will be remixes from Seth Troxler, Deadbeat, Mike Shannon and Natalia Escobar. Mathew Jonson's 'Decompression' was first released on Minus in 2004. This is the first release on Mathew Jonson's new label entitled 'Freedom Engine' Mastered at Scape Mastering

A rare collaborative statement of Laurine Frost and G76 on Tablon's Ten Inches series. Swinging jazz, funk and adventurous techno utopia in a gentle conversation of sounds. A unique soundscape that stands far way from the actual trends.
Obvious trademarks of Frost's unusual drums and wacky structures give birth to two peerless compositions with Florin Gojnea's floating micro-house visions. Sweet cake for silent rebels.