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REPRESSED

An ultra-pitch non skip DJ scratch tool on vinyl by Ritchie Ruftone, with one side at 100 bpm and the flip side at 133 bpm - includes non-skip drum loops!

After the success from OLVA001, which was appreciated worldwide Moratu returns with OLVA002 which contains two tracks, extremely well constructed and hypnotic melodies.

Oldvavis is a Romanian electronic music record label founded by Florin Gavrila aka Moratu .

Oldvavis releases will promote quality, both on musical production as on producers and artists.
The world is changing fast and so is the music. Music is an art that puts sounds together in a way that people like or find interesting.
Music also tells stories, breaks hearts, reduces us to tears, or seduces us into falling in love, over and over and over again. Music is a universal language. A human creation from a divine source... perhaps.
Music is a mystery, a code. A vehicle of spirit and soul. It is perceived through 'hearing' the vibration of sound, the most sublime resonance - from the eardrum to the brain. Music moves us beyond intellect to the heart-centre.

Oldvavis is specialized in new sounds and electronic riffs, with old school spices and eye on the future. From techno, minimalism, to soul, tech, deep underground, with organic and synthetic textures, always with an inner feeling.

With Dan Curtin on the 4th release, Melodymathics has undoubtedly one of the key players in the development of electronic music as we know it today. With 'deserted station' Dan Curtin is as innovative and vital as he has ever been.
This funky production, with the typical Dan Curtin edge, covers the sound of the past, the present and the future.

'I want you' the result of a collaboration between 3 Belgian talents, discovered by Melodymathics. Amtek&E-Freak ft. Mike Ekim are bringing the contemporary club sound, though remaining funky and soulful, with catchy vocals. A real dancefloor killer!

Melodymathics holds the tradition alive to indulge the vinyl dj's. This time the funky loops are provided by the mysterious Melodymann and Sjef Wanders.

Cadenza Records displays a deft touch in showcasing new talent, just as much as it leans on its core of established producers. The 'Split' EP shines a bright light on the musical endeavors of Enrico Gasperini AKA gAs, and fellow Italian, Lino Pugliese. One side of vinyl each, and gAs opens up Side A with 'Rack Attack', its woody hits and scattering hi-hats holding a solid groove whilst gentle keys entwine a melodic touch with a stuttering synth riff that's designed to circulate around the brain. Splashes of cymbals and white noise provide the all important drama as the track rises to a crescendo. Enrico's second contribution, 'Agogo', keeps up the ante with another slice of exquisite house grooves. The inner-city street ambience opening gives way to an undeniably funky rhythm track, incessant spongy stabs and frenzied percussion that makes this one a sure fire winner. Over on Side B, Lino Pugliese gets to flex his sonic palette after recent releases on Cadenza Lab and Memento. 'Banging On Your Door' takes its time to unfurl; a percussive swing not too dissimilar to the Stones' 'Sympathy For The Devil' sets the tone magnificently, as low frequency synth sweeps and distant vocal effects build, the kick drum jolting the track into life with bursts of furry snares and handclaps. More ambient soaked business on 'Aniwama' as Lino forges melodious piano and clanging ride cymbals with low end sonics as the track deconstructs as quickly as it builds, tearing up the arrangement rule books to create a unique cut that can perform as a mood-setting piece just as well as a peak time genre-shifter.

KiNK (Macro/ Running Back)
I love this! All the tracks are massive! My favorite is the Andreas Gehm remix as it`s the most
weird one, but I`m a sucker for funky acid and this is right up my alley!'

Robert Owens (Chicago/London/Berlin)
Great tracks'

Tensnake (Virgin)
thanks, nice original and Gehm remix'

Dave Clarke (White Noise 2fm)
Dark and groovy'

Luke Solomon (Classic Music)
love love love love hard TON xxxxxxxx'

Tim Sweeney (Beats In Space)
Make me Dance is the one for me'

DJ T. (Get Physical)
thank you for the music!'

ÂME / Kristian (Innervisions)
thanks'

Mark Broom (UK)
FAT mix from Andreas! Respect for the UK!!!!!!!!'

Massimiliano Pagliara (Live At Robert Johnson)
bravi!!'

Mørbeck (Vault Series/Code Is Law)
Make Me Dance!'
Acid Washed (Paris)
MEGA GOOD!!!'
Patrick Pulsinger (Vienna)
love it!'
Angel Molina (Barcelona)
the ultra dark acidic 'Make Me Dance (Andreas Gehm Remix)' is my track on here, although
'Forget About The Music' is a fantastic 80 ´s house track as well. Thanks.'

Paul Woolford (Planet E/Hotflush)
2 thumbs up for the Andreas Gehm Remix. Many thanks!'

Renato Cohen (Brazil)
That's proper music! Forget About The Music sounds amazing. Andreas Gehm Remix is also
huge!'

Roland Clark has without any doubt written house music history. Under names like South Street Player, Dark Clark and of course Urban Soul he has influenced the evolution of house music like only a few others. His different vocals on Fatboy Slim´s records are timeless, such as - What the f*ck and - Song for shelter .

Gourmets of old school house music become excited when they listen to Roland´s - Alright . The song, released in 1991, became a milestone in terms of soulful house, in the same way like Adeva´s - Respect and Terrence Parker´s - Love´s got me high .

Marc Romboy has re-explored this pearl for his series - Lost Treasures and was able to convince Roland to release it again, fort he nyoung generation and fort he old school lovers.

The package comes along with a respectful interpretation of no one else than Gerd (Clone, 4 Lux) and the fine remaster of the original club mix from more than 20 years ago.

After "III" Dusty Kid is back with a new album that is a trip and homage through and for his native land, Sardegna. "The Arsonist" anticipates this trip from its most dramatic part, touching upon an issue that haunts the island every summer: arsons. Setting itself apart from the contemporary techno music trends 'The Arsonist Part II" delves into 90's trance, reminiscent of legendary Jam&Spoon and rave parties. An intense explosion of pathos reminding us of the glorious Loveparade to describe a dangerous situation, a desperate attempt to save the Sardinian land. The pathos peaks with "Doa" when the fire leaves behind utter desperation and desolation, ashes and smoke. "Doa" is another stage in this new journey for Dusty Kid. It is an emotional and melancholic stop, drenched in the magic of the spaghetti western genre, honoring Morricone that has always been the artist's idol. The track is dedicated to the date of July 18, 1983,  when in the north ofSardegna the worst arson happened; here 9 people lost their lives and 15 reported terrible burns in the attempt to extinguish the fire. This has later become the European date to raise awareness against forest fires. The EP ends on the balearic notes of "Serpentara', little abandoned island in the south east of Sardegna, that represents a small batch of land that is untouched by men, their doings and their fires. 'Serpentara' recalls the likes of "Sueno Latino', the summer of love '88 and Ibiza, when ravers wanted to take a break from the hysteric acid house and needed softer and dreamier sounds. Dusty Kid is back with a masterpiece that cannot be missed, a perfect soundtrack to the Summer of 2015.

Hailing from Tel Aviv, Israel, the DJ/producer trio PARTOK MATUSHKA APFELBERG is a well-known entity in its hometown, with the involved artists holding residencies in one of the most acclaimed clubs these days: Tel Aviv's The Block has been named "one of the five best sound systems" in the world on England's BBC Radio 1, perfect proving grounds for the slick, propulsive techno to be found on our latest 12" offering. Title track NAI NAI bum-rushes the stage with prowess, inflicting its bass-heavy demeanor with some funky voice cut-up work that will conciliate the hardcore floor heads with the more casual headbangers. The flipside shines with STATION, a relaxed, somewhat introspective belter giving its epic synth pads enough room to breathe without sabotaging its percussive agency. All in all, this is an impressive calling card putting these fresh talents on the road to worldwide floor domination.

Aus Tel Aviv, Israel, stammt das DJ/Produzententrio PARTOK MATUSHKA APFELBERG, in der Heimat eine anerkannte Grösse: die beteiligten Künstler stammen samt und sonders aus dem Umfeld von The Block, einem der besten Clubs zur Zeit, wo sie auch als Resident-DJs walten und wirken. Vom englischen BBC Radio 1 als "eines der fünf besten Soundsysteme der Welt" gelobt, entpuppt sich The Block als das ideale Testgelände für den smarten, antreibenden Techno der unser neuestes 12"-Release schmückt. Der bassgeschwängerte Titeltrack NAI NAI stürmt gekonnt die Bühne, auch dank der elegant zersägten Stimmsamples, welche die Hardcore-Flurfüchse mit den Gelegenheitsheadbangern versöhnen wird. Die Rückseite glänzt mit STATION, einem entspannten, tendenziell introspektiven Schieber, der seinen epischen Synthieflächen genug Raum zum Atmen gibt, ohne jedoch die perkussive Schlagkraft zu sabotieren. Alles in allem eine beeindruckende Visitenkarte für diese frischen Talente auf dem Weg zu weltweiter Flurdominanz.

Prolific electronica polymath Emika found acclaim once again this year with new studio album 'DREI', an opus that picked up Ibiza Spotlight's 'Album Of The Week' accolade and was called a fascinating album' by Rolling Stone. With six new remixes on this EP, further life has been breathed into her latest LP - with stunning results.
UK techno legends The Black Dog provide a foreboding rework of Battles, all brooding pads, electro glitchery and stomping breakbeats.
Kamikaze Space Programme's version is more dramatic still, returning the favour after Emika appeared on his own 'Choke' recently.
CNCPT (Brenda, Natch Records) kicks off the remixes of What's The Cure with an industrious slab of dubbed-out, reverb-heavy techno, doing away with Emika's vocals entirely and instead making use of her sound design expertise with subtle finesse.
Mysterious German Clone and Bunker affiliates The Exaltics tap into their electro roots on their rework with a thick, rubbery bassline working its way under a simple, atmospheric arrangement that allows Emika's honeyed delivery to take centre stage.
Borai (Tasteful Nudes) teams up with Emika herself to provide a stripped-back, heavily-swung, stomping take on the track, boiling it down to its melodic and textural essence.
Eomac rounds off the package with his stunning string-laden instrumental interpretation.

180gr! This 12" features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.
London based jazz appassionato Sean Khan, will release his second album 'Muriel' later in 2015. Dedicated to the driving force behind his musical career, his mother Muriel McGinley, the album is virtuosic free, Latin and nu-jazz experimentation, drenched in soul with the help of the vocal talents of Omar, Sabrina Malheiros and Heidi Vogel (Cinematic Orchestra).

This 12' features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.

On the A side, Henry Wu, a key member of the tight-knit label/ loose collective 22a Records (also home to the likes of Mo Kolours and Al Dobson Jr.), imbues the original track with a distinctly organic and off-kilter groove: a loose and earthy quality which is hallmark of the Wu sound and makes for a perfect complement to Khan's delicious melting pot of jazz, soul and broken beat flavours. Sturdy yet swinging with strong jazzy synth stabs and topped with a child-like, wordless, sing-along vocal, it's sure to be an underground summer club hit.

The B Side sees the mysterious Ben Hauke, whose previous releases have been courtesy of Melodica Recordings, steep Khan's 'Things to Say' in his own murky yet soul-drenched sound, one that falls somewhere between hip-hop and broken house. Not much is known about this young producer, but what we can glean from his work on this remix is a sound drenched in syrupy, slightly sinister keys and a plodding, unpredictable thump not entirely dissimilar from previous Far Out remix contributor Theo Parrish. Like the work of that Detroit innovation, these two young Londoner's contributions both look set to lend a funkily idiosyncratic and offbeat edge to all the right dance floors.

NORD Records is welcoming DJ Guy on the label for their ninth record. The release is a double 12 inch with tracks produced in 1993-1997. DJ Guy was able to find and restore these tapes which results in a vinyl release from NORD.

Konstrukt. An electronic music label maneuvering below sea level. Hear the heart pulsating..

Konstrukt 001... Watching the morning fading away, thoughtless and absent.
Organic soundscapes guided by field recordings layered with insubstantial percussion patterns.

Following the huge success of the lead single "Settle Down" (played twice on one show by David Rodigan!), Blend Mishkin and the Roots Evolution band deliver their stunning debut album "Survival Of The Fittest" for NICE UP! records. Having spent most of his professional career behind either a computer screen or pair of turntables, Athens based producer Blend Mishkin (real name George Mantas) has been putting in work since the mid 90s with releases on labels such as Pork Recordings, Tru Thoughts, Shadow Records and many more. For this, actually his 8th studio album, he decided to do something a little different and step out from behind the computer. A chance meeting with some like minded musicians led to a conversation about them re-creating some of his past tracks for a potential live show, but after much thought it was decided that something brand new and fresh was needed. After numerous sessions and jams, a collection of tracks had begun to take shape. Recorded live and then taken back to the lab for mixing and dubbing, "Survival Of The Fittest" is the fruits of these sessions. The next step was to scout for vocal performers to bring the rhythms to life, with the focus on using both international and local talent to give a wide breadth of influences and themes. Lining up are Rebel Salute show-stopper and Juno award winning Exco Levi and seasoned veteran Skarra Mucci from Jamaica, UK reggae/dancehall don Gappy Ranks, Italian raggamuffin KG Man, Mandinka Warrior from Denmark and fellow Greek BNC amongst many others. Retaining an authentic vibe whilst keeping it current, "Survival Of The Fittest" is a truly modern roots reggae album.

Front Left represents a very special corner in a very special spot on this planet. Every week the front left people gather together to celebrate techno music.
Techno is what brings us together and what makes us family to one another. We rejoice listening to it, produce it, talk about it, share it and mainly dance to it.
It is incredible how one physical spot creates so such magic and human connection.
This label brings the productions of the front left people to the world.
In the first release, you will find Elad Magdasi, a heavy dancer and an emotional producer. His productions are wide-ranged and loaded with a true rave spirit, combining an acid-line treatment and his melodic point of view. In the last two years Elad's productions turned to the techno side, and now he feels it's time to finally let his music out. Gathering knowledge and figuring out his style brought him to this point. His love for raving is what keeps his mojo going and brings the inspiration to his life.
Joining the first release is Matrixxman (Charlie Duff), the talented producer who's been shaking dance floor with his hit "Protocol" for already 2 years and now releasing his debut album on Ghostly. Not surprisingly, the connection between Elad and Matrixxman was also formed on the Front Left.
The first release combines a slick collection of sounds.

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.

The project named after his own label brand presents four cuts ranging from cosmic quantum nervous compulsion to introspection. Harmonious combination of complex percussive rhythms gives way to the already identifiable sonic universe of 30drop that turns into an effective formula at any club aimed at the forefront of the electronic dance music. Sacred geometry and style, concept and form, all to the service of the fundamental search. The roots are deep and horizon is vast. >Superconductivity EP< extends the scope of 30drop positioning on the edge of the sideral dance floor.

Until December last year music was simply a hobby for Alex Crossan, aka Mura Masa. He may have had 7 million plays and 30,000 followers on Soundcloud but the 18 year old Channel Islander had never played his music live, DJ'd or even been to a gig himself. He had just started an English degree at Sussex University and was happy playing guitar and bass in function bands.
It was an email from Jakarta Records that changed everything. The Cologne-based label (previously home to Kaytranada, Iamnobodi and Sango) felt Mura Masa's mixtape 'Soundtrack To A Death' was too good to sit on Soundcloud and persuaded him to release it with them.
The following 3 months were a whirlwind, with 30 spins on Radio 1, a sold out debut show & a top 5 position on the itunes electronic chart in the UK and US. At one point Mura Masa had 4 tracks in the HypeMachine top 50 and remix requests from Ed Sheeran, Ellie Goulding, RL Grime and iLoveMakonnen in his inbox, whilst still juggling his degree.
So as Mura Masa prepares for his first official EP release the stakes are very different and he has upped his game accordingly. As well as the sampling for which he known, Mura Masa plays live piano, guitar, drums and even sings on Someday Somewhere. He is keen to show that he is a musician and songwriter as well as a beat-maker and has called on new friends Nao, Denai Moore and Jay Prince to feature on tracks.
Paul Epworth (Producer for Bloc Party, Adele, Santogold): 'That 18 year old is taking over the world right now and he's just delivering the most deeply textured music around, we have got such a talent on our hands in the form of Mura Masa and i think the UK has finally got our very own Kaytranada and it's not beyond him to overtake that, so good, ridiculous....

Repress!

"Il corpo" is the last one of Luigi Scattini's trilogy, which started with "La ragazza dalla pelle di luna" (1972) and then continued with "La ragazza fuoristrada" (1973). Umiliani's music privileges jazz and funky moods, dominated by the Hammond organ and wah wah, alternated with languid and almost "sleazy" instrumental ballads. This soundtrack finds its strength in melancholy, but also in drama and tension.

Shimmer was the record that put Stefan Goldmann on the map of techno. The dark and throbbing tracks, reduced to the essentials, were love at first sight for many of the DJs who ruled the scene back in 2004. Josh Wink threw in one of his most focused remixes for Stefan Goldmann's debut on Ovum - which was also the first one by a German artist on the label. As so often in dance music, things have come full circle. About time to give a mint copy of "Shimmer" to the DJs who play this prototypic sound today. Remastered meticulously by Rashad Becker at D&M, with the title track cut to a full 12" side, it never sounded better.

Releasing under the moniker Misanthrop since 2002, Michael Brauninger's music reflects a foreboding sense of darkness, something that has been prevalent in his previous releases with the likes of Critical Recordings, Neosignal and Subtitles. Misanthrop has utilised unfamiliar ways to push the envelope of his twisted, sinister sound for new EP 'I Need More'

The automated refrain on 'Capitalism' reflects the stark coldness of Misanthrop's work, before unleashing an onslaught of off-beat breaks to display Brauninger's deft, often unpredictable production style.

'Rock'n'Roll', a more familiar tear-out drum & bass track, bolstered by pummelling percussive flourishes and flashes of distortion throughout.

Gaining support from the likes of Skrillex, Goldie, Skream, Alix Perez and more, Misanthrop has spent his 13 year career carving a sound that is wholly realised in this latest release. Brutal, uncompromising and inherently forward thinking.

Laercio Schwantes Iorio is the person behind the project L_cio. To listen to the musical work of L_cio is watching a scene. Music is free. It does not project - it gives impulse..............

In 2012, he made a tour of Europe. Passed through Cologne (Cologne University Radio), London (Egg Club and Bunker 184), Lithuania and Vienna.

In 2013, L_cio was one of five winners of the contest remixes of the track I Human' of Jazzanova (feat. Paul Randolph), sponsored by CDR Berlin.

Amazones de Guinee - SambaPure vibes to start our series. Live and direct, high energy African funk with a powerful vocal, recorded live in Paris in 1983.Hailing from Guinea they were the countries first all female group, formed by members of Guinean army nonetheless. Their lead percussionist Kade Diallo was killed in a car crash just days after returning from a tour of France in the early 80's. The group did not record again until 2008, but they continue to tour now, with a new generation of fans.Taken from the sought after 1983 album 'Au Coeur De Paris', previously unreleased on 7'.Moussa Doumbia - SambaMalia born Moussa Doumbia and was a prolific saxophonist, composer and arranger, who lived in Abidjan, Ivory Coast.He fused African and Funk rhythms in his own unique style, comparable to the likes of Fela Kuti, Orchestre Poly Rythmo de Cotonou and Ebo Taylor. Moussa's voice is strongly reminiscent of the almighty James Brown. Similarly to Fela and The Shrine, Moussa played at 'Boule Noire', a club in the cosmopolitan area of his town, Treichville. Every night they would play their own styles for hours to rich businessmen and locals.'Samba' is taken from his 1980 LP 'Lassissi Presente Moussa Doumbia' released on Sacodis. Extremely hard to find.

Reissue of a unknown b-side of an early Belgian trance outfit release. Before they made euro trance they made this heavenly balearic gem. It screamed for Lauer remixes and he provided...
Unless you have been sleeping it should be pretty obvious that WPH head honcho Red D has a weak spot for early Belgian trance stuff. Before trance was even known as trance that is... The early 90ies were the post new beat era in Belgium and loads of producers were experimenting with new sounds to steer away from the blatantly commercial new beat chart stuff. So that's when the magic started happening.

One of these producer outfits was The Mackenzie, who on their very first releases covered a territory somewhere between new beat, Chicago house and Balearic sounds. None of these tracks really 'hit', but some 25 years later WPH shows you that true timeless quality always resurfaces. 'No Promises' is simply a divine piece of work from start to finish and should become that underground summer hit played by any DJ worth his or her salt when it comes to putting melody over beats. One listen to this one and it's easy to see why German stronghold Lauer was the go to man for some remix action. Lauer brings you a different take and a classic cover version of the original.

As a little bonus Locked Groove & Red D made an edit of a remix done by The Mackenzie in that same period. I think you will agree that both these tracks were made to be on one E.P. Trust WPH to bring it back in a different way!



[C] b1 | The Right Side (Locked Groove & Red D's Exotische Edit)

Continuing on from Vol 1's theme of established artists working in disguise, 'Music First Vol 2' delivers another sonic assault with this absolute rollercoaster ride of a record. The mysterious Scorpio T opens the EP with 'Neptune Rising', a squelching acid-bass boomer that can simultaneously spiritually elevate and physically devastate any dancefloor. Rounding off Side A it's followed by Scandalous Arthur's 'Acid In My Mind', a lo-fi tape-hissed jacking beast of a banger that sounds like it's genuinely been brewing in a vat of highly toxic acid for at least 25 years and guaranteed to melt your mind. On the flipside comes JaX DaX returning from Vol 1 with the low-frequency moody slo-mo electro workout 'Fucking Computer' that oozes bad attitude and booty-shaking basslines in equal abundance. Bringing the trip to a close is Kyrenic Azalee with the self-titled 'Kyrenic Azalee', an x-rated new beat tour-de-force of epic proportions that will fry minds and bodies with its relentless energy. Limited edition so don't sleep on it, not that it would let you.

WRR is back on the scene with a new record from the label owner Giovanni Damico aka Ron Juan. Freshness and grooves are the key words of this new release projected into the summer and Gio is serving them to you on a beautiful piece of yellow wax! Laying the needle on side A and listen to "O Pais Do Sol", feel the smell of the sea and have a mojito, then when the sun is burning, smoke a cigarette in the shade and check what Trinidadian Deep thinks about that sound on the side B...Yeah you feel it, right The party is on! Now dance until the sunset and when you feel tired, the "Someone Is Gr8" track will bring you home safe!

Tasty Treats, another side project of the multi-talented Ronald Burrell dropped this 4 track EP way back in 1993 on the cult Citi label out of NYC.
As expected the tracks contained within have all the facets of that magical "Burrell sound"; healthy doses of Soul, sleaze, deepness, late night atmosphere and that solid, no nonsense NY/NJ House attitude, for the heads, the dancers, the all nighters and the freaks! This is pure Shelter/Garage joy!
The Burrell brothers back catalog is just ridiculous in terms of releases, styles and quality control and this EP sits comfortably up there with some of their classics. An all round solid EP for all true House music lovers regardless of area code or geography!
%100 legit re-issue, re-mastered and brought back for the summer 2015 flex - Don't snooze!

Since debuting in 2013, J.Tijn has found his corner of the electronic music world, developing a hard techno sound that is raw and unforgiving. A core member of Untold's Pennyroyal label, Jesse Tijn has also released on Overlee Assembly, Power Vacuum and Bedouin Records. For Naked Naked's eleventh release, J.Tijn gives us two versions of 'Pick Your Battles' that are ready for damage on the dance floor.
On the A side, 'Pick Your Battles V1' gives us a dark rolling rhythm being led by a crisp snare hit through a sea of machine bleeps and grinding waves of noise. An unrelenting groove which is sure to keep the floor heaving. On the flip, 'Pick Your Battles V2' hits harder with distorted kick drums, an array of hats and attacking synth bleeps. After almost imploding, the track reaches another level, taking us to peak time madness with aggressive percussion. Heads down, hands up, this is sure to bring heat wherever it goes.

Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.



Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.



Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical

revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.



Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'

This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.



While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.

Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.



The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.

Blue Russell was the husband/wife duo of Manlio Cangelli and Lorella Ghilardi from Milan. Cangelli was a session musician and composer for many Italian singers, making music for commercial TV and working long days in the studio. He had a strong passion for the analog synthesizers of the time and discovered the latest drum machines. 'I Wanna Fly Away' was recorded in Milan in the Spring of 1984 and released later that year on Disco Magic Records.

New 4 Track 12" release from Mickey Pearce for Swamp 81 sublabel, 81

Waou ! What a bloody record ! A savant melt of Dub and Dubstep, super modern and super respectfull with the Dub Roots... sound is as big as Empire State Buildeing... A BOMB !! !! Specially for this Babylonbuster Pachamama tune... this guy has the voice of Shaggy... even more insane and bassy... That Dubstep tribal tune, very dark, is absultly delicious... The Big Techn oDub from Lisa Benett is also a super tune... with a fat kick and a superb sound...The Ai Sammy-I tune is also a big needling melt of Dub and Dubstep, To finish i'd suggest that amiga dub Little Lion MC, superb brass du... FAT FAT FAT !! MUST HAVE !!!

Hlanganani Music proudly presents its second release from young fast-rising producer Deep Sixty. Although his name is little known outside of Soweto and Johannesburg, already Thabiso Mamogwa has shown the determination to reach beyond his immediate world and make his musical message heard. In 2010 he made it to London to take part in the Red Bull Music Academy, which is when the HLANG team first heard the tracks that make up the Mme Hayo EP. From the same momentous trip, Mamogwa managed to get into a studio with Todd Osborn (a.k.a. Osborne, Soundmurderer), resulting in the "Thursday Nights" track which Mamogwa has self-released.
The purpose of Hlanganani is to provide a channel for the talented producers of South Africa to present their craft beyond the limited reach of their own country, opening their music up to collaboration and cultural crossover in the process. With his tenacious attitude and distinctive fusion of African traditions and contemporary techno influences, Mamogwa represents the perfect example of what the label is striving for, hence they waited five years to be able to release Mme Hayo.

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."

Hot on the heels of killer releases by label heads Ryan Crosson and Shaun Reeves, the latest Visionquest release sees the label turn its head to Deadbeat aka Scott Monteith. The Berlin based Montrealeler has been putting his own spin on house and techno for some time now, putting his stamp on esteemed labels such as Cynosure, Echocord and Wagon Repair. The Jacks EP continues his fine tradition of putting out discerning fare, as he conjures up a new EP package that remixes his classic track, Mecca Drum Track (originally released on Wagon Repair), from 2008. Striking in its many intricate and delicate production wares, it's a polished effort from the outset.

The Jacks EP gets going with the suitably titled ''Berghain Drum Jack'', a suitably raucous and out-there slice of tribal tech that pays homage to the Berlin club and is notable for its banking percussive elements and its propensity for surprises. Starting off on an unrelenting tip, it gets even more off-kilter the longer it stretches out, as the drums become even more pronounced and the baseline finally enters the fray. Dark but dexterous, it's a thrilling track that's sure to more even the most ardent and discerning of dancefloors.

Middle track ''Mecca Drum Jack'' sees the producer opt for a similarlly-inclined vibe, as the drums play a similarly pertinent role. A fitting tool with which to light up your set, it's more dextrous in nature than what's arrived before but another altogether engrossing effort. Rounding off the weighty three-tracker is ''Acid Dub Jack'', which sees Deadbeat really go off on a frankly mental course that's littered with atmosphere from the get-go. Once again, Visionquest and Deadbeat have reminded us why they're both so cherished in the techno world.

With a magnificent compilation Dial Records celebrate their 15th anniversary! ALL offers a collection of exclusive works by long related label artists and friends. Part 1 of the Viny 12Inch Edition features contributions by Stefan Tcherepnin, Dj Richard, Christian Naukoks, Pantha Du Prince and Queens.

After releases for Discos Capablanca and Moon Glyth, Food Pyramid join Especial for a remix EP of their album-only track Oh Mercy. Updated by the inhouse team Apophenia, before being given the full italo treatment by SF's Inhalt and a true Especial twisted FX double mix by the man, the myth, Jamie Paton.

Minneapolis collective, Food Pyramid are welcomed to the label with the twisted psychedelic electronics of Oh Mercy. Taken from their Mango Sunrise album of 2012, its warped breakbeat jam-fusion has long been a secret favourite of the label, so it seemed right to present it on a unique EP.

Starting with a 2015 rework at the hands of the label's in-house production team of Apophenia, the original is extended with respect, keeping much and taking out little (the horns) so that the originals groove can ride and ride.

This is followed by a superb remix from Inhalt. After themselves appearing in the form a remix EP (EES009) it seemed now was the right time to get on board with their own take and in the process creating a pumping Italoesque classic. In the same way Timmy Regisford turned NOIA's Rules To Survive in to a mid-80s Chicago all time top 10, this remix harks to all that was good of that time, notably replaying much of the
instrumentation, while keeping it aimed squarely at today's floor. Who said Razormaid

On the flip are killer remixes from the label's main man Jamie Paton. Locked in an increasingly modular headspace, he digs deep and expansive. Premiered on the recent Beats In Space showcase, the Remix kicks far and wide, pushing club systems to the max, this yearns to be played at 7am Panorama. Sliding straight (and you'll miss it) in to the Dub, stripping it wayyy back, let the drums do the talking. Oh baby, have mercy on me.

The final part of the SchleiBen series brings the contrast of heavyweights for a special collaborative release featuring Colin Potter (Nurse With Wound), Alessio Natalizia (Walls/Not Waving) and Guido Zen (Brain Machine), backed up on the flp by a rising name, the (another) world ambience of Cass. Emotional Response completes the SchleiBen series, bringing together the legendary Colin Potter with two of Italy's best experimental / drone / industrial producers in Alessio Natalizia and Guido Zen for a one off special recording, plus again highlighting one last Dusseldorf affiiated project, with the Osnabruck based, beautiful ambient touches of producer Niklas Rehme-Schluter aka Cass. When the idea of the split series was born, one of the aims was to get producers who have worked with the label to come together and record special pieces. However, it was not until the fial release that this fially occurred and who better in which to do this. Having seen a number of reissues come out in the last 18 months - one of which on the distant relative label, Sacred Summits, Colin Potter has brought him in to the orbit of two
artists closely associated with Emotional Response in Mr Natalizia and Mr Zen. The assimilated Parts 1 and 2 provide a perfect marriage of methods. Percussion hinting at Industial and Techno is explored, while the constant Drone inflx and disintegration grab your attention, overlapping with rhythmic repetition deeper and deeper. To end is the ambience of Cass. Taken from the limited 'Hiding Place' cassette only album, the pieces here are the perfect completion. Found sounds, loops, piano, synthesis, all intertwine and overlap to bathe you in pause, a one last time call to stop and (un)listen.

Following up his debut on the label, JC Laurent successfully returns with this memorbable four tracker, Southside' EP. Using his influences from deep within Berlin and detroit, he resumes where he left off, continually blurring the lines between techno and house with an uncanny ability to make it look easy.

similar to 2013's From Nice to Berlin', we have been fortunate to cast an extremely well respected, and in-demand producer to join forces on this release. last time it was Fred P, and now Uk's Tom Dicicco provides a heady, seductive remix of the title track. Tom has been busy releasing on labels such as Run Out Run, Stockholm LTD, Ear to Ground, Inner Surface and The Corner. additionally, his globetrotting dJ skills have found him inside Berghain and also a standout appearance at Boiler room in london. we love his work and glad he's a part of it.

Hidden Recordings again focuses on quality over quantity with another master- fully curated vinyl. southside' ep looks to be the next classic in the already well stocked and established history of the imprint.

Just This is Hunter/Game new label based on their well known party in Milan.
Just This is the expression of a social, metropolitan and underground movement we are living and going through all together.
Our Mission is to give room and importance to Art and Music which are still evolving day by day.
Just This is aimed to frame these changes, which are going to be the picture of today and the future memory of the cultural movement of this age, throughout a series of messages, images and sensation drawn inside the audience.

Furthermore, thanks to the energy, the happiness and the magic charm of our parties and events, talented and unique artists, from all over the world, use their way to interpret music to communicate people the real core of this change:
the future is changing...

Alphahouse imprint deliver the 'YY' EP from Italian duo MFS: Observatory, backed with a remix from label-head Butane & Alexi Delano.

MFS: Observatory is the collaborative guise of Italian duo Matthias Tuchetti, Francesco Cozzolino. The outfit are relative newcomers having only released material since late 2014 and here we see them take a huge leap in their career stepping into international water via the Alphahouse imprint, slotting them alongside heavy hitters like Skudge, Mark Broom, Alexi Delano, Butane, and Ricardo Villalobos on the stellar roster. With a Little Helpers release also confirmed in 2015, this is a duo on the rise.

Opening up the EP is 'Observatory Y1' which see the duo deliver a haunting slice of electronica fueled by smoky atmospherics, meandering arpeggio synth hooks and raw weighty rhythms to smoothly set the tone for what's to come. 'Observatory Y2' provides a more reduced, but still heavy, groove with bubbling synth drones, menacing stabs, a bumpy bass hook and mesmeric vocal murmurs.

On the flip side Alexi Delano collaborates with Alphahouse founder Butane to reshape 'Observatory Y2' into pure vibe. The duo provides a typically infectious groovy number, which evolves over six and half minutes with a subtle dubbed out hook taking over the last half of the track. 'Observatory Y3' rounds things off afterhours-style, laying the focus on a sparse rhythmic foundation while howling sweeps and spaced out vocals fuel the psychedelia.

The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!! Analog Africa compiles a complete collection of Amara Touré's Afro-Cuban compositions, originally released between 1973 and 1980."Lamento Cubana and Temedy are the two finest Afro-Cuban compositions ever recorded. As if they were played in a smokey, poorly lit ballroom where dark rum was sipped ever so slowly" - Vikram Sohonie - Ostinato Records
Analog Africa to release a compilation by Amara Toure, the enigmatic Afro-Cuban musician from Guinea-Conakry, showcasing all of the 10 songs he ever released between 1973 and 1980.
"Latin music, is it really foreign to us Africans I don't think so. Listen to the drums, to the rhythm. It all seems very close to us - it feels like it's our own culture," declared enigmatic singer Amara Toure. It is the late 50s, and Senegal is going crazy to the groove of Son Montuno and Patchanga. Brought to West Africa by Cuban sailors in the early 40s, these styles were immediately adopted by a flourishing music scene that did not hesitate to embrace the Caribbean sound, mixed it with their own Folklore, and, in the process, created something new. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound - the format was reinvented. Producer Ibra Kasseì and his Miami nightclub acted as the spearheads of this movement. They brought a breath of fresh air into Dakar's nightlife, further energising one of West Africa's most exciting cities. The demand for ballroom parties and live acts exploded, attracting numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Toureì, from Guinea-Conakry. Spotted by Kasseì while performing with Dexter Johnson, Toureì was asked if he would like to be part of a new project. Little did he know that this project would become a phenomenon.Immensely important for the development of Senegalese modern music, Le Star Band de Dakar, led by Mady Konate, became a sort of musical incubator and workshop, where many musicians learned and practiced their trade before moving on to become stars in their own right. Toureì's talent on percussion was undeniable, but it was his powerful and raw voice that captivated the producer. The fascinating way Toure interpreted Cuban music was unparalleled, and it was this feature that encouraged Kasse to recruit the unknown artist.
Although already brimming with incredible talent, Amara Toure's joining of Le Star Band de Dakar in 1958 began the band's meteoric rise to the top. The band quickly became Dakar's number one orchestra, and it cemented the reputation of the Miami nightclub as the hottest spot in the country. The place was packed nightly, and Dakar was boiling.
Amara Toure's Senegalese adventure lasted for ten years when he received an irrefutable offer and in 1968, joined by a few talented Senegalese musicians, headed to Cameroon and immediately formed the Black and White ensemble. Many live gigs later and it was time for the first songs to be recorded. A total of three singles were produced between 1973 and 1976. These singles, representing the first six songs on this compilation, fully epitomise and distill the essence of what Toureì had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered - the perfect foundation for the Toureì's Cuban interpretations.
If Toure's intention was to create the most sensual music ever recorded in Africa, he might very well have reached this goal. The musicians on the recording sound like they are playing in a smokey, poorly lit juke joint, where dark rum was sipped ever so slowly, and the pulse of the music took up a life of its own. How many couples have danced, swayed, and melted together to the distinct sound of Amara Toure Nobody can say for sure ...
Amara Toureì's success poured across the borders of Cameroon, and in 1980 he went to Libreville, Gabon, to team up with the powerful Orchestre Massako. Toureì recorded an LP at that time which is hailed by many music aficionados as one of the very best African albums. The songs from that LP are the last four on this compilation. It took only ten songs for Amara Toureì to become a legend. These ten treasures, representing Toure ìs complete discography, have been carefully re-mastered from original session tapes and vinyl records, and will be released by Analog Africa on 22 June 2015. After the release of his LP in 1980, Toureì seems to have disappeared. Apparently he was last seen in Cameroon but it is unknown if he is still alive today. His music though is definitely alive.

Bunny Lee's Flying Cymbals or flyers rhythms dominated the Dancehalls and the charts during 1974 and 1975.The style based around the Philadelphia disco or the Philly Bump ,the sound of an open and closed hi-hat was not necessarily novel but Striker's innovations of bringing a number of different elements into play most certainly was.
Johnny Clarke's interpretation of Earl Zero's 'None Shall Escape the Judgement' not only opens this se but also opened the floodgates for the flyers style.
The story had begun the previous year with Lowell'Sly'Dunbar.
'Sly played the flying cymbals first'....I said to Sly' You played it on the Delroy Wilson tune for Channel One named 'It's a Shame' AND Sly played it before that was with Skin, Flesh & Bones on 'Here I am Baby Come and Take Me' the Al Green tune, when Al Brown sung it for Dickie Wong with the 'tsk,tsk,tsk' sound on the hi-hat,I named it flyers but they didn't know what flyers was!!!'..Bunny Striker Lee
Before too long 'Every tune we put out we put the rhythm behind it' and every Kingston producer followed suit with their own variation of Striker's Flying Cymbals Rhythms...........

Aux-Rec is Airdrop's offshoot label designed with a specific mission in mind: to look back and pay tribute.

Aux-Rec continues its survey of musical history, looking for those inspiring pieces of music (famous or forgotten) that carry a very distinctive groove and identity, and that offer the potential to be revisited in an ingenious contemporary way.

At Airdrop, we love music of all ages and of many genres! We feel Aux-Rec is a way for our artists and for us to pay our due respects to the origins and the evolution of contemporary dance music.

Neil Tolliday aka Nail, released the Themis records on his own Velocet imprint between '96 and '98. These three extremely rare 12"s constitute a great and important part of Tolliday's work.

For our eighth and ninth installments, we are glad to present the re-release in two episodes, of the long lost Themis works - re-shuffled, re-packaged and re-mastered by Matt Colton.

The late Dena Barnes reputedly recorded four sides for Harry Balk in the Impact studios circa 1966-67, two are featured here, the other two have yet to surface... oh what joy! If You Ever Walk Out Of My Life' IS Northern Soul to many devotees ever since it was first spun on the UK club scene some 40 years ago. Co-written by Gar'dena' Barnes and Duke Browner, during his glory years, and arranged by Detroit royalty Mike Terry. Surely this iconic double-sider demands to be in every soul fans collection.

SALES POINTS:
All time Northern Soul Classic - Two fabulous sides
Massive appeal to ALL Northern Soul fans

To coincide with Expansion's release of Leon's two iconic Elektra albums, back to back on one CD, two signature tracks have been brought together here on 7' single. Outside of all the great work Leon contributed to other artists, notably Marvin Gaye, both 'Why I Came To California' and 'Rockin' You Eternally' are songs he is best remembered for as a solo artist. The love of Leon and both these songs keep Leon performing through to this dates, including nights at Ronnie Scotts in London last year. Leon continues to record beyind these 80s records, and Expansion have been honoure d to represent his music over the years with reissues, compilations and new recordings.

Vor eineinhalb Jahren war er noch Tellerwäscher in einem Restaurant in Fort Worth, vor drei Monaten jagten vierzig Plattenfirmen nach seiner Unterschrift. Nun, im Frühling 2015, steht Leon Bridges vor der Veröffentlichung eines DER Alben, die mit Spannung erwartet werden. So musste zuletzt beim diesjährigen SXSW Festival in Austin beim seinem Konzert hunderten Besuchern wegen Überfüllung der St. David's Episcopal Church der Eintritt verwehrt werden. Doch wie war dem extrem schüchternen, 25-jährigen Texaner, der mit seinem Look und Sound den Soul der Prä-Beatles-Ära aufleben lässt, in der kurzen Zeit dieses Kunststück nur geglückt Leons große Liebe war eigentlich das Tanzen und so absolvierte er zunächst eine Ausbildung als Choreograph. Auf die Idee, irgendwann einmal selbst Musik zu machen, wäre er damals nie gekommen. Seine eigene Musikerkarriere begann Leon Bridges mit dem Schreiben einfacher Songs und trat bei "Open Mic"-Abenden im Großraum seiner Heimatstadt auf. Im Laufe der Zeit entwickelte der junge Texaner dann ein Faible für perfekt nuancierten Retro-Soul und -Gospel, der ihm Vergleiche mit seinen Helden Sam Cooke, Percy Sledge und Otis Redding bescherte.

Etruria Beat welcome again the berlinian Dj Oliver Deutschmann! He was already featured on the label with his remix of Dast's 'Architect'. Now he offers two original tracks with a defined and aggressive sound, backed by two huge remixes from Etruria label boss Luca Agnelli and from french Techno stalwart Electric Rescue. Get ready to blow up some dance floors with those 4 hard hitting monsters. The EP opens with Agnelli's remix of Resist", this track is a muscular and stomping. He catches the originals mood and transforms it into a spectacular version that will leave the dance floor in ashes. BIG! The original version of 'Resist' it's a funky and driving technostomper with house chords that creates an obsessive and powerful rhythm, accompanied with a hypnotic vocal saying 'Resist' in132bpm! The B side continues with the original version of 'Hope' which got a melody in the best Detroit tradition and powerful 808 drums. A stripped dark atmosphere ensure a breathless pace, to the final second. Finally, Electric Rescue morphs this one into a powerful loopy journey, A synth hellfire as it's best. All of them are already Berghain approved and rocked countless other floors. Don't be stupid, buy that shit!!! Additional mix downs have been made at Caduceus Lab Geneva

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the
label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels.First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth
it, as Diego takes the crazy afro-stylings of Afrobotics and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians,
Cole M.G.N. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on Shockers is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind.
Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of Underdogs, Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in
modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr
Ruscha.

Over the last sixteen years Moods & Grooves has amassed a staggeringly impressive label family that includes names like Theo Parrish, Mr G, Kyle Hall, Rick Wade, Andres & Kenny Dixon Jr. aka Moodymann. This May the legendary Detroit label returns with a seminal thirteen-track album from veteran DJ & producer Joe Le Bon entitled 'House Music Love Music'.

With this new LP Jarno Eerola aka Joe Le Bon demonstrates his inimitable production prowess, garnered from a musical career spanning more than twenty years and encompassing releases on labels such as International Deejay Gigolo Records, Pro-Tez, Plastik.FM and Blumenbeat. Alongside his own output the Berlin-based artist has written tracks and remixes for numerous producers, most notably composing DJ Hells chart- smashing remix of Tim Deluxe 'Transformations' which saw six continuous weeks at number one on Beatport.

Jarno's polished production ability and aptitude for exploring diverse sounds and rhythms whilst maintaining a resolute warmth and depth to every cut is the most prevalent footnote across the course of the album. For 'Ghosts On Cassette' the Berlin-based producer works whirring space-like atmospherics over hypnotic beats and shuffling snares to dish up a smooth and captivating opener. 'For Yasuni' and 'The Road Is Under Repair' get worked over subtle synth patterns and crisp percussion to offer up some of the more emotive provisions on the album. This in contrast to the deep driving beats of 'House Music Love Music' and the more club-ready tracks like '82 Degrees' or 'Like Cotton Deep Orchestra' truly exemplifies the wide-ranging nature of the album.

All in all Joe Le Bon has structured a sublime body of work that can be enjoyed in the comfort of your own home or the middle of a dance floor, each and every track oozes depth and sits as a true testament to his abilities in the studio.

Iosefa Manumaleuna, aka DJ Hyperactive, is now back in Chicago after nearly 20 years in LA. Prior to his return, his classic Wide Open track got a serious re-working by Berghain resident Len Faki on Figure. As part of the Droid Behavior crew he released the 25Hrs. EP on Droid Recordings. More recently another DJ Hyperactive classic "Venus" got re-released along with Ciren and Truncate remixes on the "Venus Revisited" EP on Chris Liebing's CLR imprint. 2012 rmarked the return and start of a heavy remix cycle starting with Luis Flores "The Word" and recent remix of Mike Gervais "Churn" both on Detroit based Blank Code, Impact Unit "Dread" on Silent Steps, Manic Brothers "Sledgehammer" on Octopus Black Label, Truncate "31" on Gynoid Audio and the current list of TO DO's is long...!
The first release back in 1997 on 4 Track Records was by DJ Hyperactive titled P.51 and here were are nearly 20 years later and we're going to see the next release again by Hyperactive on vinyl again titled "Black On Black" EP. This EP will be three tracks, 2 which are acid tracks and one long experimental spaced out track.

BACK IN STOCK NOW!! "Volume One is the debut album. It was the only album recorded with original guitarist Justin Marler, before he became an Orthodox monk. Volume One showcases a darker sound and stronger doom metal influence than Sleep's later work. The image featured on the cover is taken from the Salvador Dali painting "Soft Self-Portrait with Fried Bacon".
Their only album as a four piece of Al Cisneros, Matt Pike, Justin Marler and Chris Haikus

LP repressed for first time in many years.

allmusic
"For all their budding, precocious talent, Sleep's 1991 debut, Volume One, quickly betrays their still quite heavy debt to doom metal forefathers like Black Sabbath, Witchfinder, and Saint Vitus. Driven by Matt Pike and Justin Marler's lumbering mass of low-tuned guitar riffs, Al Cisneros' (still going as Luke here) serpentine bass and ragged screams, and drummer Chris Haikus' cyclopean kit pummeling, occasional highlights such as "The Suffering," "Nebuchadnezzar's Dream," and "The Wall of Yawn" prove less memorable than they are sensorially overwhelming. And yet, ironically, Sleep's rhythm guitars would never again be kept as under control, nor would their leads sound quite as refined as they do here (see the cleaner harmonies employed to good use on "Numb" and "Catatonic," for example). This was probably due to the onetime involvement of the significantly less stoned Marler, who would soon exchange the group for a monastery where he would study to become a monk. Fittingly enough, however, losing the versatility of a second guitarist was exactly what Sleep needed to focus their singular power into a crushing force, and the remaining trio would flourish immediately behind the sheer physicality of Pike's six-string style, as proven by 1993's superlative sophomore LP, Sleep's Holy Mountain."

a1. Celestial Encounter (Original Mix) 6:08 - 4×4 driven groover laced with choppy hi-hats, complexed rhythms, and orchestration only fit for mental travels. An uplifting tune of spirit and electronic sorcery.
a2. Ominous 4:58 - Steely industrial percussion, creepy atmospheres, dance floor know-how....The honest depiction of the title lurking within the corners of your psyche.
a3. Celestial Encounters (Interlude) 1:22 - A fine example of the latest in signature interludes from the 'Optic Nerve' project. Movement & Imagination.
b1. Jazzy Circuitry 4:49- Moody, computer-ridden textures walking along side a odd-time signature until the introduction of the bassline and trippy piano keys seal the deal on craft & creation. Niceness, Indeed.
b2. Jazzy Circuitry ( Blaktony's Step Glide Remix ) 4:18 Traditional 'Optic Nerve' ambience is chopped & rehashed into a 1/2 step groover; Then.... blasted into a full jam session by 'Blaktony'. Madness/A complete new trip on the original structure & tune.

Warriors of the Acid Clan unite! Finally our cup runneth over! Your saviours return from the dark fold and bring with them treasures from afar, our bravest and most noble heroes of the Invincible Scum are here to save you from our once certain fate. A bounty of golden acid and precious gems lies before you and is yours alone for the devouring. HEAR the mystical 303 weave it's tales of yonder and FEEL the pounding of the electronic drum deep in your soul....seize the moment and celebrate this day for it is ours!

ZTAUR is the fourth of 12 releases from Z O D I A C 4 4. One for each sign of the stars and then Z O D I A C 4 4 is forever dead and gone. Forever gone and dead.

Es ist die langerwartete Rückkehr einer klassischen Kombo - die Kompakt-Koryphäen MICHAEL MAYER und REINHARD VOIGT verbünden sich für TIME IS RUNNING, der nächste Geistesblitz in einem fortlaufenden Dialog, der uns bereits legendäre Releases wie etwa Speicher 2 bescherte (KOMPAKT EXTRA 2, mit den Tracks "Pride Is Weaker Than Love" und "Supertiel"). Wie von tanzflurerprobten Produzenten wie diesen beiden zu erwarten war, trägt das neue Material alle Kennzeichen eines Clubfavoriten, geprägt sowohl von der knackigen Rauheit der frühen Kompakt-Stampfer als auch vom ausgeklügelten Klangspektrum unseres aktuellen Katalogs.

Back in 2013, Futureboogie released The Fade EP by Outboxx, a record that received critical acclaim from the who's who of music press, helping to propel Outboxx on the upward trajectory they've managed to maintain since those early releases. Unsurprisingly, Futureboogie are delighted to get the pair back for more.
Having developed their sound in the two years since, the pair has refined the raw ingredients of those records to show a combined maturity beyond their collective years. Previously the pair of producers (Matthew Lambert and Jake 'Hodge' Martin) have released music on respected independent imprints such as BRSTL, Idle Hands, Well Rounded Records and Local Talk; honing their analogue rich sound that touches on the hard edge of drum machine rhythms crafted by Hodge and the harmonic, jazz soaked embellishments from Lambert on Keys.
'Day One' opens with the sound of a string sample drifting behind warm drums to beautifully open up proceedings. As the track develops with an explosion of shuffling hi hats, the main hook enters with more than a nod to the classic Acid basslines of a 303, built to hypnotize dancers into the early hours with subtle simplicity.
The EP's title track 'Under The Lights' shows the pairs appreciation of Disco, with overdriven drums and a dotting bassline setting the feel. As the track develops, elements of Detroit enter the picture, with more string samples setting the key, and further allowing Lambert to contribute more of his signature Jazz licks as the track winds down to an unwanted close.
'Gift of Life' features the always-beautiful vocal contributions from long-term collaborator, Naomi Jeremy. Having featured on some of their most memorable releases to date, Jeremy's vocals again add a complexity often found in Jazz, but with the drum machine funk of 90's House; creating a sound that blurs the lines between sampling and original composition, uniquely, as only Outboxx can.
The record ends on the appropriately named 'Closing Titles', a track seemingly built to allow Lambert the opportunity to show his prowess and mastery of melody and harmony. Creeping basslines and warm chords mix with looped drum machine rhythms to wind down the release elegantly, showing the pairs versatility and understanding of each other's strengths.

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.

'We Start Over' arrived on the desks at International Feel and it felt perfect for us. Deep electronics, a lovely mood, forward thinking and a gorgeous vocal from Trudie Dawn Smith. Lots to play with from a remix perspective and a great original track in itself. Steve Cobby is a British producer, musician, composer, and DJ, based in Kingston-upon-Hull, Yorkshire. He co-founded Fila Brazillia in 1990 and released 10 critically acclaimed LP's and produced over 70 remixes for artists as diverse as Radiohead, Busta Rhymes, Black Uhuru and A Certain Ratio. Cobby now releases music via his own label Déclassé label. His latest and third solo LP 'Saudade' was released in March 2014 and received considerable critical acclaim.

The first 12" consists of the original version and on the flip a remix by Apiento & Lx (their first track together since the underground classic 'The Orange Place' ). The remix is slow trance in its purest sense, made for lasers and dark nightclubs. It's already receiving club play and has been named by Andrew Weatherall and Sean Johnston's ALFOS as "one of the records of the summer". High praise.

On the second 12" the reins have been handed to Gerd Janson & Phillip Lauer a.k.a Tuff City Kids - two people making some of the finest house at their at the moment with Janson also getting massively known globally for his DJing. Their remixes are made for the clubs. The 'Garage Dub' is classic New York house that is as deep as you like and one of those hooky ones that does everything perfectly. The other, 'Private Acid Mix ' goes heavy on the beats and drops the 303 in a fine style with the vocal looped and twisted.

As you would expect from International Feel this is classy and classic club music covered from all angles from a balearic original, a deep chug remix from Apiento & Lx and the Tuff City Kids bringing the house vibe. Deep deep deep.

Nach der Veröffentlichung seiner "Dreamzone EP" verbrachte der gebürtige Finne Jaakko Eino Kalevi das vergangene Jahr hauptsächlich damit, Shows und Festivals von Europa bis Japan zu bespielen. Letzten Sommer veröffentlichte der finnische Workaholic zudem seine "Yin Yang Theatre EP" für das Beats In Space Label des New Yorker DJs & Radio Hosts Tim Sweeney, die mit ihrem bohemen Disco-Sound erneut aufzeigte, wie vielseitig Kalevi sein kann. Die zweite Hälfte des Jahres 2014 mixte Kalevi sein fertiges Album dann in New York mit Nicolas Vernhes (The War On Drugs, Run The Jewels) und zog anschließend nach Berlin. Sein selbstbetiteltes Synthie-Pop Album erscheint Mitte Juni auf CD und Vinyl via Weird World/Domino Records.

Matt Nowak drops a trio of mesmerising techno tracks on his Zaijenroots imprint this June with appearances from Sebastian Klenk and Jerome Sydenham. Matt Nowak inaugurated the Zaijenroots discography under his No Mad Ronin moniker alongside Jerome Sydenham in 2013, before reappearing for the second release with Quiet Daze (Ian Pooley) on remix duties. As the label returns for its third outing Nowak pairs up with German producer Sebastian Klenk whilst distinguished veteran Sydenham carves up a remix. 'Aleister' sees Nowak and Klenk create an acosmic track that initiates with a touch of funk before sullen synths make way for punchy SP-1200 beats and unsettling throbs. Sydenham provides a rendition of No Mad Ronin 'Chemical Planet' from Zaijenroots second release, featuring a perennial hook joined by intangible spoken samples and a subtle sub bass. Lastly 'Lenore' ties things together with a subterranean cut abundant with echoes and spacey atmospherics.

The second part in the Hudd Traxx 10th Anniversary 'Now & Then' compilation sees tracks from Luna City Express, Sek, Iz & Diz and Rick Wade. Berlin duo Luna City Express serve up a lush deep house groove that builds throughout the track, and will bring a smile to the faces of those who follow them on their beloved Moon Habour Recordings. Sek uses slick beats, trippy leads, a driving bassline and some 'Thug life' vocals to ensure this one has 'future classic' written all over it. Go back in time (to 2006 to be precise) on the 'Then' side to find Iz & Diz's 'Happy'. The words 'epic' & 'journey' are often misused in music but both can be mentioned about this track. It had devastating effect on first release and is set to do the same again nearly 10 years later. Rick Wade closes things out in fine style to fly the Detroit flag on an all Chicago / Detroit side.

Leisure System presents rising talent Will Ward's Interval One EP, the second in our 2015 GRIDLOCK series of dance floor 12"s and the British producer and DJ's most exuberant record to date. In addition to two prior solo releases, Will Ward is a member of the esteemed electronic trio Circle Traps along with Jack Wyllie and Duncan Bellamy of Portico. He has previously collaborated with the likes of My Panda Shall Fly and gained support from tastemakers such as Rob Da Bank and Gilles Peterson for dazzling productions that blur the lines between pumping house and windswept techno. The Interval One EP is a strong representation of that sleek sound, with tracks that are bursting with emotion and memorable detail. "Digital Design" is an aural kaleidoscope, with a shimmering melody line refracted in squiggly arcs next to murmured female vocals and resonant chords. It's a fittingly varied introduction, drifting between hot and cold poles. "Portion" features Circle Traps member Jack Wyllie, and subtle additions accrue to create waves of unease, while the melody line bounces energetically through a maze of ossified handclaps and buoyant chord stabs. Closing things out, the EP's title track builds from a woozy introduction to an ebullient peak, as if rolling out of bed and stepping immediately onto a throbbing dance floor. It's a cleansing and exhilarating feeling, the type of rare emotional response that Will Ward has proven himself thoroughly capable of creating with Interval One.

500 12" 180g, hand stamped, individually numbered records, single press only.

Gatupreto, enigmatic duo, hiding their identity while exploring the common ground between an idealized African feeling and the classic references of the dance movement from the 80's and 90's. The art Gatupreto generates is simple, unpretentious and sincere, it owes to the classic rave vibe as much as to the rawness of hip hop.. as much to the sunset of Cape Verde as to the sunrise of the Lisbon riverside.
Gatupreto is a binomial entity that refers to itself as one, it was rescued from anonymity by TINK! Music, newly founded label split between Amsterdam and Lisbon. To the extend of most people's knowledge, Gatupreto comes from a colorful Lisbon suburb where they inhabit a luxurious house, on an isolated hill where music is made every day.
Those who have seen them perform live say they are frenetic and deep in their sound. At night all cats are black.

The crème de la crème of electronic sci-fi soundtracks receives — what else — a vinyl reissue

Uber picked up this beautiful mellowed out pop song by Shining Bird for a vinyl release after becoming totally captivated by its warm laid back Balearic feel. Shining Bird hail from Austinmer a coastal town just south of Sydney, Australia. They are a collective of friends who got together over their love of the sea, Australian cinema, Dennis Wilson's "Pacific Ocean Blue" Lp and the great Australian poet Henry Lawson. The second track Stitzing/Wipeout is another great alternative pop song in the same vein as Destroyer with the song blending into a 5 min piece of psyched out ambient. On the flip side Coyote remix Distant Dreaming into a horizontal percussion led dubby contemplative trip with pitched down vocals and a throbbing bassline. Uber continuing its crusade of finding and releasing music that captures their Balearic ethos.

For the first reference, Sounds of The City is happy to welcome the mysterious Spirit Of The Black 808, responsible of one of the hottest wax in 2013 for Eargasmic Recordings in Chicago. Invasion Of The Black Bass is also following the Eargasmic record in terms of style. It's warm in every way and infectious. Let's get invaded with Invasion of the Black Bass and Invasion of the Black House. Both tracks share the same chords grid, one could be a re interpretation of the other. Both are very warm and melodic. Frenzy In Firenze on the other side demonstrates SB8's skills for groovy tools and more DJ oriented tunes.

'In The Beginning' is the inaugural release of Romanian vinyl­only imprint We Play Wax
that joins the italian Giovanni Damico and his close english friend Tomson for a special
12" release that has both artists remixing each other's original tracks. With a vocal
featuring by Keter Darker and a beautifully designed dj­friendly package by Romanian
artist Lar Pavel, 'In The Beginning' is already making a buzz. Out on the first day of summer on heavyweight 180­gram black vinyl!

Clip! steps up to the plate as FINA White continues to set out its stall as a go-to label for top quality techno.

Second up on FINA White is a four tracker from rising Barcelona producer, Clip! Since being cherry picked by RBMA back in 2011 Clip! has quickly established a name for himself in and amongst the city's growing pool of electronic artists and further beyond. Diverse releases on on Discomaths, Classicworks, Sweat Taste and JD Records, coupled with his signature 'hardware only' live shows, showcase his sound shifting style and impressive knowledge of sound design - unsurprising perhaps given his classical and jazz music roots.

Clip! is a chameleon of sorts and for FINA White, he puts on his thick skin and offers up a package of pure and unadulterated peak time cuts.

The title track is an absolute sonic stonker. Its menacing bass line, low end throb and sharp edged hats roll and slice with a galvanized intent whist the old Chicago house sample and gradual layering of pumped up beats and sustained synths give it an unmistakable groove with attitude.

Meanwhile, long drawn out synth tones, distorted vocals and broken beats make up the stirring intro of 'R36'. The calm is short lived of course as the steady beat gives way into the track's defining hard-hitting bassline; one that is enveloped and then let loose again by a carefully crafted fusion of atmospheric sounds.

On the flip side, 'Forward' is, well... forward; a no messing, relentlessly percussive banger. And wrapping up the EP is 'Dissonance's Technique' an equally straight-up, rough n ready belter which once again showcases Clip!'s skills in the studio. Watch his space.

'Brotherhood EP' is out on FINA White.

Droid Behavior's Luis Flores comes through with a 2-track ace for the label's 20th vinyl release, Static Forces. Negative Pressure (A1) starts off with a brewing undercurrent of bass and hypnotically builds into a dizzied cavern of competing sonic forces and reverberant whispered utterances. Surface Tension (B1) takes an alluring shaken groove and reveals its drive as its elements make their way to the front, slowly pushing the track's rhythmic intensity. Two tracks for long play and lost minds.

Kevin Saunderson's Detroit-based imprint celebrated its 25th Anniversary back in 2012, and the label's continued to cement its legacy with key vinyl reissues over the past couple of years. The recent campaign included Saunderson's Just Want Another Chance, the track which contains the "Reese" bassline—rivaled only by the Amen break as a formative element of drum & bass—as well as '90s releases from MK, Kreem (Saunderson's duo with Juan Atkins) and Chez (Damier) N (Ron) Trent.

The two remix compilations dwell on Chez N Trent versions produced during the 1993 through 1995 period, when they released enduring originals like "Morning Factory" and "The Choice." Volume One contains remixes of Sonya Blade and Miller/Scott Project while the second EP includes Damier and Trent's versions of Kreem as well as Saunderson's seminal vocal house group, Inner City. Chez N Trent's takes on Naomi Daniel's "Feel The Fire" and Essar'ay's "Forces" are also included.

secretsundaze 017 comes from London based producer Endian. Releasing just 2 EPs in a few years on Nonplus and Electric Minds, Endian has nevertheless managed to turn the heads of the likes of Steffi who used one of his tracks for her Panorama Bar compilation and Boddika who also licensed a track for a various artists EP. Sounding like a producer far more experienced than the two releases would indicate, it came as no surprise that this is far from the output of a novice but the seasoned veteran George Levings aka Commix (Metalheadz).
Endian has been a regular at secretsundaze events over the years and a friendship developed with Giles and James. The project is an outlet for him to release the more technoey and house sound that he is increasingly inspired by.
Lead and title track 'Finish Me' is a stone cold killer. Ballsy, raw and over driven in the mix, a tribal breakbeat groove builds before brassy stabs sneak in. The peak of the track sees dramatic pads cut through for a moment of serenity before the drums drop back in. Joy Orbison used 'Finish Me' in his Essential mix late last year and its also been a highlight of secretsundaze's sets over last 6 months. 'Dusty' goes deeper with a layer of fuzzy warmth enveloping the track. Driving but definitely one for the later hours or early on with its hypnotising flow and subtle musical flourishes. Last up 'Sub Tropic' is a heads down, growling, low slung techno track with its deep sub bass. This is definitely a track you can imagine hearing in the bowels of Berghain well into Sunday daytime. 'Finish Me' is arguably Endian's best work to date and it's another fine addition to the secretsundaze catalogue.

Fasziniert von der Dynamik elektronischer Tanzmusik und der ungeheuren Kraft und Reichhaltigkeit von Live-Instrumenten, schufen Chris Davids und Liam Ivory, aka Maribou State, mit "Portraits" ein unwiderstehliches Album. Es ist ein Album, auf dem sich Organisches und Synthetisches umarmen und an James Blake oder SOHN erinnern und dessen Groove es durchaus mit dem von Moloko aufnehmen kann. Maribou State setzen uns atmosphärischen Dubstep gepaart mit House und einer gesunden Prise Pop vor - "glitchy, sad and slow" (The Guardian), aber ungeheuer tanzbar und garantiert aus der Mitte des Herzens kommend. Die letzten 18 Monate des Duos waren strikt getaktet: An den Wochenenden wurde wild durch die Gegend getourt (von England, Europa, den USA und Australien war alles dabei, die Bühnen von Glastonbury und Bestival waren nur zwei der Meilensteine auf ihrem Weg), während man sich unter der Woche disziplinert den Albumaufnahmen widmete. Bei Radio-Schwergewichten wie Zane Lowe oder Huw Stephens schaute man auch vorbei und werkelte ganz nebenbei an einer schönen Palette von Remixen für "alte Hasen" wie Kelis, Lana del Rey oder den Crookers. Die harte Arbeit zahlt sich mit Erscheinen des Debüts nun endlich aus.

Active for over 25 years , Max Durante is a legendary figure in the Italian Techno scene. An early 90's innovator in combining the sounds of Techno , Acid and Industrial with his old school project on the legendary Italian label ACV/Hot Trax. His project 'Automatic Sound Unlimited' with D'archangelo of Rephlex Records fame was ahead of the game back then. So like glove fits hand. Max fits perfectly on Sonic Groove with a cutting edge , menacing time bomb of an EP. Sharp as a razor , hard as steel this is seriously powerful stuff for those that like there techno uncompromised.

OUTTA SIGHT celebrate five soulful years - in association with Passion Music - with the release of the coverted Northern Soul classic I Got To Find Me Somebody' by The Vel-Vets. This special 45 is coupled with the driving, funky, You Don't Mean It' by Towanda Barnes.
I remember queuing and walking into Wigan and hearing The Vel-Vets I Got To Find Me Somebody' which remains in my top ten just because of the memory of hearing it that first time at the Casino' DJ Ginger Taylor

Two iconic MOD/Soul tracks by the Godfather of Soul himself - JAMES BROWN and his Famous Flames. First spun at the Scene Club, London, by legendary DJ and label owner Guy Stevens, Night Train' was originally a 12-bar blues instrumental and its roots can be traced as far back as 1940. Lyrics were first added in the early fifties but James Brown put his own stamp on it by shouting a list of cities off his East coast touring schedule. The energy of Brown's delivery and the exotic sounding American locations caught the imagination of Britain's young Mods and it's never lost it's appeal. Think' is the title track from Brown's third album and is a cover of the 1957 5' Royales R&B hit. Brown makes it his own and transforms it into an insistant dance floor workout complete with an extended sax break.

Building on her first LP April Song Sara Mitra draws folk blues and psychadelic influences into her second LP. Recorded and produced by Ben lamdin / Nostalgia 77. The LP was previewed by Gilles Peterson on BBC 6 Music & Sara conducted an interview feature with Jamie Cullum on BBC Radio 2
Press quotes include the following:
Her skill as a songwriter and honesty as a performer shine through" Mercury Prize Recommends
Especially talented" The Daily Telegraph
Fresh sounding and free from cliche..., Sara is left to her own special devices and nails a good melody everytime." Blues and Soul Magazine
Mitra has a really fresh-sounding voice: a great night" The Sunday Times
I love her voice, I love her Englishness." Gilles Peterson

'Psych', the long-awaited Freaks album released in 2014 gets a re-release in 2015 with some brand new remixes.
Freaks, a musical partnership between Luke Solomon and Justin Harris that's spanned twenty years and includes the Music For Freaks label, four albums, and an avalanche of singles on the likes of Playhouse and Hot Creations to Crosstown Rebels, News and International Deejay Gigolos. The album was released to rave reviews and featured a much awaited gathering of material from the late 00s onwards, including collaborations with Robert Owens, Stella Attar and Diz Washington.
This 12" includes interpretations from Dave Aju, Jamie 3:26 and Freaks.For over a decade, San Francisco innovator and a vital part of Circus Company, Dave Aju has been producing and performing his unique brand of electronic dance music, a consistently fresh and expressive sound.
His remix of 'Situations' makes no exception, a strong piece of jacking house music with bubbling sub bass, strong raw percussive beats, and an effective use of Diz' vocals and the flute sound. On the B Side 'Misfits' is reworked by Chicago's master Jamie 3:26 who turns the tune into an acid house monster and by Freaks themselves who extend their Original version for dance floor action. A strong package...and more to come !

'Nana' is the fourth Simonal track to appear in the Brazil 45's series. Lush, horn and string laden MPB-samba-jazz, taken from his 'A Nova Dimensao do Samba' LP released by Odeon in 1964.

Nana was released on 7' in the same year, also by Odeon.

Wah Wah 45s are very proud to present the first full-length album in almost a decade from vocalist, keyboard player, Fela Kuti collaborator and afrobeat legend, Dele Sosimi!

You No Fit Touch Am represents where Dele is today - something of an untouchable force in the music scene that he has always been such a vital part of. The title is an uncompromising message that this man means business, and with his mammoth afrobeat orchestra on board that is definitely the case. Recorded at the Fish Market Studios in North-West London by Benedic Lamdin (AKA Nostalgia 77) the album provides a musical representation of Dele's strong socio-political opinions, as well as delivering classic song-writing that could have come straight out of 1970s Lagos!

Born in Hackney, East London, but soon to return to his parents' native Nigeria at the age of four, Dele Sosimi was schooled and raised in Fela Anikulapo Kuti's shadow at the height of early 70s afrobeat. Having been chosen by Fela to join his band at somewhat of a tender age, he was still a young man when sharing Fela's Glastonbury stage in 1984, and became both Musical Director for both Fela's Egypt 80 and Femi Kuti's Positive Force.

After Fela's passing in 1997, Dele went on to concentrate on his own solo career and, with diligent patience, carved out his own afrobeat crown. In London, where he now resides, his Afrobeat Vibration all-nighters are charged with his passion, labours and his unrelenting spirit.

Following on from his first two studio albums, Turbulent Times and Identity, this third long-player is sure to cement Dele Sosimi's position as a major player within afrobeat and beyond!

Following a three year hiatus from Cadenza, the label is delighted to welcome back Felipe Valenzuela and Dani Casarano for a third release on the Luciano's imprint. Both producers are respected individually for their prowess in the studio and as DJs, but as a combined force collaborate with magical effect in the studio. Together the pair run Melisma records and considers each other as musical soulmates. The pair's familiarity with dance floors across the world is reflected in these two tracks for Cadenza, continuing the labels rich musical history of electronic dance music fit for all purposes. 'Instinct' opens the release with an instant bubbling groove, supported by a groovy bass melody, crunching claps and shimmering rides, dancing around the tracks core rhythm. Subtle drum edits, reverberating snares and warm pads grab the listener's attention, whilst the tracks central rhythm maintains the pulse and lively feel of this exceptional production. A versatile slice of intricate house music that will find it's way into many sets this Summer. 'Impulse' sees the pair venture into more avant-garde territory; exploring themes of dissonance, syncopation and tension and release. Lo-fi electronics and discordant pianos notes create a unique pallet of sounds responding to each other. Offbeat string arrangements and shimmering synths evolve over the 14+ minutes track duration. Perfect headphone electronics with stacks of detail and fresh touches.

Reissue of the first 3 song 7" + 1 unreleased from 1990. These were songs that were a transformation from their hardcore/punk band - Virulence, that started in 1985.   we were listening to a lot of Melvins , laughing hyenas, TAD, GORE, Swans early White Zombie' - Scott Hill. The song "blowtorch" was recorded at that same 1990 session but never released. ....Extra track featured on download card " flashin' " was recorded as a demo a few months after the self titled recording in 1990...and is also unreleased. 

1. Kept Between Trees
2. Bouillabaisse
3. Jr High School Ring (7 karat)
4. Blowtorch

Let's focus on Ricardo Tobar: Born in Chile and now residing in France, Tobar picked the "creative border crossing" as the common thread for his album "Collection". Musical experimentation and crossing musical borders - Tobar refers here directly to the style and sound of the great new-wave-bands of the 80s and 90s. With the help and influence of their new electronic instruments (that often met classic rock guitars) the post-punk-electronic-movement turned almost everything upside down. No matter if the result was moody and mysterious or romantic and hedonistic, all sounded new and different back then and paved the musical path for a whole generation - the reverberations of that episode are noticeable until today.
Tobar plays with the musical approach of the post-punk-era, he mixes, merges and experiments fearless with styles and moods. He creates a wide range of "own styles" and even dives into abstract sound fields - listening electronic in best form! Ricardo Tobar breathes the air of his own musical universe and is not refering to the typical styles of this genre - you won't find any Detroit, Berlin or Sheffield reference here. Although produced in France, Tobar's album doesn't have anything of the sweet and lovely french listening touch. It also won't beam you into the north of England and the grey and cold Sheffield winter like so many other electronic albums try to do.
"Collection" contains full compositions, sound collages, experimental sounds and even proper beat based tunes. Tobar rather creates than produces and is presenting a bigger picture with his collection. Many electronic music artists are trying to do this however Tobar delivers a collection with an impressive range and it seems he did all this in an almost nonchalant way. He plays and combines his instruments and sounds at the same time very sensitive and harmonic but also brave and dissonant without risking to be inaudible at any point. He creates atmospheres by using electronic sounds and layers. Listening to the sound of "collection" almost appears like reading an acoustic book. This album is full of interesting sounds and ideas and is far from being boring or even too demanding.

Young East London producer Sam 'Palace' Walker has been part of DJ Haus's trusted inner circle for some time, having released on both Unknown 2 The Unknown and Hot Haus Records. Here he unreleased two more retro-futurist house gems - the kind of kaleidoscopic, rave-inspired tracks that evoke memories of early '90s pirate radio stations and illegal parties full of smiling dancers in bad long sleeve t-shirts. Choose between the bouncy stabs, hazy vocal cuts, bleep-era bass and snappy, cheap-sounding beats of "Codex", and "NRG", a piano-laden banger that makes great use of some familiar samples that were once a staple of breakbeat hardcore and bouncy house records. Oh, and the unmistakable rhythmic swing of UK garage.

Kaum eine andere Band hat in den vergangenen Jahren so viel Wirbel in der deutschsprachigen (Emo-)Punkrock-Szene verursacht wie Captain Planet aus Hamburg. Vor allem ihr Album "Treibeis" von 2012 untermauerte ihre Ausnahmestellung, legendär ihre energetischen, fast immer ausverkauften Konzerte: Live hinterlassen sie allerorts glückliche Menschenknäuel. Eine Band, deren Textzeilen man sich auf die Zunge tätowieren möchte. Lange Zeit waren ihre ersten beiden Alben, "Wasser kommt Wasser geht" von 2007 und "Inselwissen" von 2009, als LP vergriffen. Die Reissues erscheinen beide auf farbigem, auf 500 Exemplare limitiertem Vinyl, neu gemastert und inklusive eines MP3-

Kaum eine andere Band hat in den vergangenen Jahren so viel Wirbel in der deutschsprachigen (Emo-)Punkrock-Szene verursacht wie Captain Planet aus Hamburg. Vor allem ihr Album "Treibeis" von 2012 untermauerte ihre Ausnahmestellung, legendär ihre energetischen, fast immer ausverkauften Konzerte: Live hinterlassen sie allerorts glückliche Menschenknäuel. Eine Band, deren Textzeilen man sich auf die Zunge tätowieren möchte. Lange Zeit waren ihre ersten beiden Alben, "Wasser kommt Wasser geht" von 2007 und "Inselwissen" von 2009, als LP vergriffen. Die Reissues erscheinen beide auf farbigem, auf 500 Exemplare limitiertem Vinyl, neu gemastert und inklusive eines MP3-Downloadcodes.

Recorded in a Bunker somewhere in the ancient basque region, Sagas of Subterranean life is a collection of 5 sagas that are heavily influenced by Scandinavian life and European culture in general. Showcasing a versatile collection of 5 bits that range from moving distorted house jams to synth blops and violating techno, ''NORSE'' is not just a collaboration between soul notes head honcho ''Kastil'' and Rotterdam based ''Gitchell Moore'', it's also a project that tends to avoid genre-restrictions and box thinking.

Odd Sequences X Violating Drum Patterns X Palindrome Titles = Sagas of Subterranean life.

SUPPORTED BY:
RODHAD, DAVE CLARKE, DEEP SPACE HELSINKI, ARNAUD LE TEXIER, STRANGER, ASAN REGAL, EXIUM, RAIZ, HECTOR OAKS, VIKTORIA, EKSERD, XHEI, GREY PEOPLE, TOM TRAGO, PAUL MAC, POSTHUMAN, PHOTONZ, JONAS KOPP, DVS1, TOMMY FOUR SEVEN, BAS MOOY, EOMAC, RUB-N-TUG, TENSNAKE, RANDOMER, EL TXEF A , FABRICE LIG, LAST WALTZ, PERTHIL, DENITE, TRUNCATE, DARKFLOOR, DEEPBASS, BLEAK, NX1, KLANKMAN, LAURENT GARNIER, MARCEL DETTMANN, HEKKLA,

Composer, improviser, and Buchla Music Easel master Charles Cohen returns to Morphine with a suite of new material.
In keeping with the timbre spectrum of his semi-modular system, Brother I Prove You Wrong is built around pointillist analog tones—Cohen's cosmic "beeps and boops"—that swarm and scatter in mesmeric patterns across four sides. Moving through surrealistic textural overlays and industrial miasma, the album's nine tracks reveal a more introspective and personal side of the artist, following from a retrospective LP trilogy released via Morphine in 2013. Those assembled works, dating back to the late '70s, quickly became essential listening and brought Cohen—at the time largely unknown outside Philadelphia's experimental circuit—to critical renown.

Brother I Prove You Wrong was recorded in Berlin in September 2014 using the Buchla Music Easel, with production help and support from Rabih Beaini. Mastered by Neel and curated and designed by Tank Boys; cover art by Nathalie du Pasquier.