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Green Marbled Vinyl Vinyl Only!
great 1988 summer of love old school acid house release, recorded with analog machines tr909, tr808, tr707,
tb303, sh101, juno106, dr.boss220, korg ms2000. pressed in random acid colours, including full color info/cover sheet. recorded by Joppy Mister & Hennie V. from well known dutch vinyl acid label and former record shop boss.
marvellous oldschool acid house tracks in limited edition HQ vinyl pressing.
Bass ik Records vs. Dance Drugstore Records - Vinyl Only!

Just in time for ADE, we are more than happy to present a new release by one of our main protagonists since our renaissance. Lehar has made a fascinating career in only two years, he is a key member in our label family as well as Diynamic and plays gigs around the world. His "White Diary EP" is his most unique release so far, with two original tracks by him and two dub versions by UK house legend Charles Webster.
"The Cave" is a very touching track which again shows Lehar's love for deep but popish moments in his music. Again, he has teamed up with L.A. singer Rush Midnight, who already lent his voice to "Number One Hero", which was released earlier this year on the Diynamic sub-imprint 2Diy4. An instrumental version is also available in the digital package.
The title track "The White Diary" is a demanding and hypnotic builder, which was already played often by Solomun during the summer. This is a next level Lehar track, signature sound structure combined with a highly effective arrangement. A winner for many situations.
Charles Webster has been a favourite of the Connaisseur label heads Alex Flitsch and Martin Henkel for ages. Requesting a remix by him has been on the Connaisseur bucket list since day one. He gave "The Cave" two different dub treatments, one
better than the other. His "Dub the First" already takes the original one foor deeper, making it very timeless and hypnotic. His "Dub the Second" takes it even deeper and is adding a proper portion of trippiness. Music for the guardians of the real stuff!

In the lead up to their 5th year as a label Music is love celebrate by continuing their infamous VA series the 'LOVEBOX'. Sticking to the winning formula of a hefty double vinyl package comprising of 8 tracks from 8 top artists, this time they have some familiar people alongside new faces to the label.
Kicking off the package in fine form is South London's prodigy Wbeeza and his track 'Bodyman'. It's as if this track announces the the opening of the VA with its beat-less and thickly textured opening... when that beat drops you know your in it!
Label main stay Jamie Trench is up next with his track 'Oil Spill ', this sees Jamie veering away from his tech house roots, delivering a quirky house track laced with an almost footwork groove.
On the Flip we see more new additions to the MIL roster as Ingi Visions ( Samuel Deep & Julian Alexander ) drop Nauyaca, a deep druggy track, with the kind of hypnotic flow and delicate arrangement the pair have become known for. Liam Geddes finishes up the B side , fresh from dropping the previous release on Music is Love his track 'reach out' continues to stamp his unique sound on the label.
And it don't stop...
As we reach for the second vinyl in this double pack we are greeted with a familiar site in the shape of Dutch duo New Jack City. 'Pick Me up' is everything you want from a NJC track, big, bumpy and beautiful.
Mak & Pasteman counter with their very cool track 'U Said', the boys are in serious form at the moment and this track is no different. Slick drum workouts decked out with Juno licks, what's not to love.
The final side welcomes another new act to the stable. Am Unit present their track 'Bang Dat'. With 'Bicep' style production values echoing throughout this track and THAT break, this one will be big.
Closing out the final track is label boss, Oli Furness. 'Broken Summers'. A huge 808 rave workout. Broken beats and sub rattling kicks are the setting for this track, finely polished electronic music for those with a fondness for rave.

Absolutely classic double header of brand new mixes from the mighty Mike Maurro! A Detroit classic goes head to head with another solid gold Philly classic on this 12" of exclusive mixes lifted from his "Peak Hour remixes" project, all produced from the original master tapes. The Spinners evergreen Soul classic "I'll Be Around" takes up the A-side with Mike's trademark respectful flourishes evident - a restrained, classy version of this all-time anthem is what we're treated to by someone who truly understands the originals and feels the music. A must have for all serious Soul lovers out there. On the B-side we have The Trammps stellar "The Night The Lights Went Out", a long time favourite that has been extensively sampled by numerous House artists and The Trammps paean to the infamous city wide blackout during the summer of '77 in NYC that ended up subsequently reshaping popular culture as we know it. Maurro's mix, as always, has respectfully rearranged the track in such a way that he's managed to put a new spin on a legendary disco classic focussing on the incredible arrangements of Norman Harris' original. Simply put, another set of essential mixes from a modern day master! File under - *Essential Disco*

For those of you wondering what Adesse Versions was doing at our Heist Boiler Room this summer in London, the answer is here. The "Push it along" EP for Heist is Adesse Versions first appearance on our label and features 4 stunningly raw and warm originals, and an amazing remix by New York's ambassador of funk: Ge-Ology, together with multi-instrumentalist Marc de Clive-Lowe on keys.
After having released numerous records for Jackmaster's Numbers, Local Talk and Toy Tonics, we're happy to welcome Adesse Versions to the Heist family. When he sent us his demo's we had the tough job to choose the right tracks, cause there were just too many. The selection on the "Push it along EP" features what we feel are his purest work up to date. With only a small amount of elements, he manages to create such a big and warm sound, finding a great balance between gritty percussion, rich analog synths and funky sampling work.
Opening track Tout it is built around an ever evolving arpeggiated synth, a dancehall-esque percussive riddim and lovely pad work. It builds up slowly, without ever becoming dull, changing small elements and adding momentum with each step.
E to E is based on a chopped vocal looped to bits (only shouting: (E, E, E, E, E..), dancing hihats and a rolling bassline, whereas Geology flips the high energy original into a classic deephouse tune that fans of Larry Heard will love. The steady bassline and trianglework form a perfect canvas for MdcL's work on various synths, adding layer after layer of melodrama.
The title track goes for the same recipe as Tout it, with fierce snares laying down the rhythm and a far away disco sample adding the right dose of funk. Ebony Roses is the final track of the EP: A beatless groove built around a spoken word vocal with dreamy piano work around it building up suspense as the track evolves.
We've been playing this EP over the course of the last few months and it's been getting great response, so we're happy to finally share it with you.

Sincerely yours, Lars & Maarten

**LP + Download - Bonus track 'Three Tears' on download***Natalie Mering, the being behind Weyes Blood, embeds her sublime song in a harmonic gauze of arpeggiated piano, acoustic guitar, druggy horns, & outer space electronics. Propulsive, spare drums carry us across the album's course. There is a faded California beauty to Front Row. A gentle honesty that recalls the finest folk music made on the West Coast of the '70s. The hue hangs in the sweet-spooky harmonies, the pulsing sway of the vibrato & the ecstatic chord resolves. But this beauty is scratched with shadow, with dark foreboding, alienation, & acceptance of change. Love & loss balance together in suspended alchemy, as the earthiness of the singer-songwriter tradition wears digital sounds like feathers in its hair. Mering, together with co-producer Chris Cohen contrasts live band intimacy with the post-modern electric sheen of A.M. radio atmospherics. The experimental flourishes sparkle amid the succinct, thoughtful arrangements.The closeness of this record - how personal, alone, & frank it feels - conceals its aspirations to the outside, to the "Earth" of its title. Weyes Blood harbors devastating weight while also universalizing the strange ways of identity & relationships. These are not typical love songs or protest songs -- they are painful, poignant riddles that celebrate the ambiguity of love & affirm the conflict of harmonious life within a disharmonic world.

In 1997, a quiet, unassuming man of 59 years old named Victor Tavares - better know as Bitori - walks into a studio for the very first time to record a masterpiece which many Cabo Verdean consider to be the best Funaná album ever made. Bitori´s musical adventure had begun long before this point. It was 1954 when he embarked on a journey across the seas to the island of Sao Tomé & Principe. The young man´s hope was to return to Cabo Verde with an accordion.

Following two years of hard labour Bitori had succeeded in saving enough money to acquire what was to become his most valued possession, his cherished instrument. The two month journey back to Santiago, his island of birth, proved time enough to master it. Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation. Before long Bitori was being asked to share his musical talents, igniting the local festivities around Praia with his music.

But not everybody welcomed the rural accordion-based sound. Perceived as a symbol of the struggle for Cape Verdean independence and frowned upon as music of uneducated peasants, Funaná was prohibited by the Portuguese colonial rulers. Performing it in public or in urban centres had serious consequences - often jail time and torture awaited musicians that were caught in the act'. In light of such persecution the genre of Funaná began to slowly disappear.

In 1975 Cabo Verde achieved independence from Portuguese colonial rule. Along with Cabo Verde's independence came a lifting of the ban placed on Funaná. The musical repercussions in Cabo Verde were plenty - many upcoming artists embraced Funaná, translating and adapting its musical form in new ways. It was not to be until the mid-1990's, however, that Funaná in its traditional form was actually recorded. It was a young singer from Tarafal, Chando Graciosa, who was to play a key role in this event. Upon hearing Bitori, Graciosa immediately felt drawn to Bitori's unique playing style - a raw and passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He eagerly approached Bitori suggesting they join forces and travel overseas with the objective of taking Funaná beyond its rural roots. The two of them, with others in tow, achieved their goal and travelled to Europe, introducing a receptive European audience to the vibrant energy of Funaná.

Eventually Bitori returned to his beloved Cabo Verde. Graciosa opted to settle in Rotterdam in order to pursue his career - he vowed, however, to bring Bitori across to Holland at a later date to record an album.

In 1997 the time was ripe to immortalise the sound Bitori had shaped over a time span of four decades. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, "Bitori Nha Bibinha" was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde´s No.1 interpreter of Funaná.

The success in Cabo Verde was phenomenal and Funaná rapidly gained the recognition it deserved, especially in urban dance clubs. Bitori´s songs quickly became standards - classics known and loved throughout the country. The musical success, however, was solely limited to the Cabo Verdean islands - until now!
Analog Africa is proud to contribute to the worldwide promotion of Funaná - the once forbidden sound of the Cabo Verde archipelago - by releasing a worldwide re-issue of Bitori and Chando Graciosa´s legendary recording.

The release will herald Bitori´s first European tour taking place during the summer of 2016. Watch this space! And listen!

Fresh off the heels of the success of their 'Waiting Ground' EP, the boys in black, Frank & Tony, are skating back onto the scene with another four track summer stomper, 'Under the Jaguar Sun'. The A-side starts things off with the titular track, a rollicking deep house number primed for sunset raves. A bouncing and lush bass line is the back bone of the track, as crisp hi-hats, distant, yearning pads, and shimmering bells propel dancers forward into eyes closed euphoria. Things ramp up quickly into peak-time ecstasy on the Breakaway edit of Solo Andata's A Ballet of Hands.' A whirling dervish of delicate music boxes, bowed guitars, delicate music boxes, and distant horns swirl around and weave in and out between a skipping drum pattern, pushing and pulling alongside a gruff and stuttering bass, perfect for those late night rooftop ventures. The B-side takes listeners into early morning after hours territory, starting with the groovy Difficult Loves.' An airy and luscious double bass keeps things bouyed as introspective pads shimmer alongside pillars of aquatic synths. Backed by a classic, shuffling NY House drum groove, this one is best served late into the evening. The boys wrap things up on a high note with the latin vibes of Sargasso.' Crisp tambourines keep things light as dense kicks and a bass line deeper than the deepest canyon pull dancers deep into the floor with a warm embrace. The star of the show is the bouncing and earnest synth line, which is partnered up with a pair of playful toms in a game of cat and mouse, making this track a weapon anywhere you place it in a set.

Britsh quintet Me and My Friends are set to release their captvatng and mesmerising second album,
Hide Your Way, on Soundway Records this summer. A unique and singular blend, it's the sound of Eng-
lish folk colliding head-on with the golden-era music of 1970s West Africa and the West Indies.
Towering vocal harmonies, soaring cello and clarinet lines, colossal basslines and drum paterns
combine on an exquisite rollercoaster-ride of the emotons from euphoria to melancholia and back
again.
Bound by a mutual love of the sun-drenched vintage sounds of afrobeat, soukous, highlife and roots
reggae, the UK-based 5-piece re-invent these infuences around the instantly recognisable voice and
fnger-style guitar of songwriter and singer Nick Rasle. The band's sound involves a meetng of diverse
musical backgrounds: Fred Harper's gospel-infuenced drumming and James Grunwell's deep basslines
provide the bed for Sam Murray's growling clarinet tone and Emma Coleman's strident cello and faw-
less ear for vocal harmony.
Having enthralled festval audiences across the UK with their breathless live show, Hide Your Way sees
the band embarking on a deeper exploraton of the playfulness and rhythmic agility which has come
to defne their sound. A rich and varied pool of musical ideas sits alongside a plaintve lyricism, as the
songs tell tales of regret, corrupton, loss and deceit. The result is something fresh and original, mar-
rying the emotonal vocal power of folk music with early jazz and delta-blues singing and the driving
rhythms of West-Africa's golden era and the heart and soul of the great roots-reggae songwriters.

Some believe that the environment in which you make music - from the studio space, to the location itself - has a profound effect on the creative process. Immerse yourself in the world around you, the theory goes, and it will shape the music you make. Listen to Gorthleck, the third album from veteran downtempo alchemists Benjamin Smith and Paul 'Mudd' Murphy, and you can almost visualize the craggy, windswept and breathtakingly beautiful environment in which it was made. Reconvening after a near seven-year hiatus last summer, the duo headed up to the Scottish Highlands to spend a week recording in the surrounds of Gorthleck House, nestled on the shore of Loch Mhor in Inverness-shire. Earlier this year, they returned to the same venue, with its' stunning views of the tranquil loch and rocky, wooded hills rising in the distance, to complete the nine-track set. Certainly, the immersive environment and famously changeable weather seems to have inspired the longtime friends and studio partners. The album's epic centrepiece, the nine-minute Mhor', sounds like an emotional love letter to the body of water they strolled alongside every day. Its' undulating synthesizer line - reminiscent of classic Tangerine Dream and the Orb's A Huge Ever Growing Pulsating Brain' - mimics the slow ebb and flow of water across the loch, while Smith's shimmering guitar lines mimic the glint of sunlight reflecting off the surface. Elsewhere, the audio references are a little more subtle, but no less relevant. The hazy jazz guitars, twinkling pianos, rich grooves and fluttering clarinets of Nether' sound like the perfect accompaniment to a single malt whisky-fuelled sunset session at the water's edge, while the quietly foreboding aural textures, layered guitars and urgent electric violin of Enos' evoke memories of watching storm clouds gathering behind distant Highland mountains. The same could be said of Mr Coats' - a track arranged in steamy Mexico, and blessed with all the humidity you'd expect from such an excursion - while you can hear gale force winds whistling around the rafters on Dogwood'. As for Errogie', it's as bracing as a crystal clear morning in the Highlands, chilly, but hugely life affirming. The duo's previous two albums, 2007's Blue River and its' 2009 follow-up, Le Suivant, were both hugely evocative, but neither captured a distinct a sense of time and place quite like Gorthleck. Listen carefully, and you could almost be there with them, watching the sunrise and sunset.

After making some massive claims regarding electronic music last year which caused a stir in the dance music community, Mat Zo had a lot to live up to with his long awaited second album "Self Assemble". What didn't help was the fact that his first album, "Damage Control" was critically acclaimed by many within dance music and is now considered a modern-day masterpiece with mesmerising tracks such as The Sky and the massive Easy with Porter Robinson.Blending genres and sounds in a way only Zo can achieve, this record flows incredibly well as the tracks move from one to the other almost telling a story of the different styles of electronic music. At times the album is reminiscent of Zo's incredible Essential Mix from back in 2013 in the way that it progresses and constantly surprises the listeners. A lot funkier than Damage Control, it's no less incredible.
Beginning with the beautifully atmospheric "Order out of Chaos" which starts with an absolute wall of sound that boggles the mind in how Zo even went about designing something so complex, this sets the tone for the rest of the record in a cracking way. The melody soon crescendos and we're introduced in to the meat of the album with "The Enemy". Bringing out all the good funky vibes on this track, again Zo exhibits his insane production talents which are a staple of the album. Featuring vocals from the wonderful Sinead Egan, this is a great uplifting tune that'll no doubt have you dancing in your chair or in the club.
'Sinful" acts to continue the funky good-time vibes and transports us to a cool summertime drive. It has us yearning for happier times and again the guest vocals from I SEE MONSTAS go a long way in getting across this happy vibe. Featuring an uplifting almost french house inspired bassline and squelch synths that wouldn't look out of place on a Daft Punk or Madeon record, this is another stunning track from the record. "Patterns Emerging" feels like a bridge into the next section of the album and is unfortunately short. The orchestral element really brings out the emotion on this track and we only wish it was longer. "Killing Time" has those classic chopped up vocals that Zo uses to great effect and some nicely programmed drums that could be a nod to the drum and bass he used to put out under MRSA.'Smacked up on Jack" features some cool middle eastern sounds and a wacky vocal sample that helps to progress the album and keep the listener interested, again though we feel like it's a bit too short and are left wanting more. The next tune "Ruffneck Bad Boy VIP" is an absolute mammoth and one of our favourites off the record. Opening with an immense rhodes melodic sequence and after some nice vocals, the track rips into the electro house and dubstep infused banger that it really is. Some dirty, dirty sound design and drum production will have the dance floors going wild and shows us again why Zo is so good, it's a far cry from the funkier elements of the earlier stuff on the album and shows how Zo can show off a range of electronic sounds. "Lights Out" is a straight up hard hitting electro banger with an infectious vocal sample that only needs to be heard to be understood. Not much more needs to be said about it! Coming into the last section of the record, "Soul Food" returns us to the groove with an astonishing house beat and bass line that have us questioning how Zo makes it so hard not to smile listening to this album."Stereo no Aware" starts sounding like it's taken straight from a space movie epic and soon transforms into a goose bump inducing melody with a driving growling bass line that bring back the epic dubstep we all used to love a couple of years ago. Skrillex eat your heart out. Finishing off this record on a more emotional note, "Too Late" starts off like a guitar ballad and then transforms into something totally different. Egan's melancholic vocals enhance this track to great effect and is all backed by Zo's lovely downbeat production until we're treated to a monster of a climax around half way through the track which will surely blow the cobwebs right off you. Zo says goodbye to us with the phenomenal "The Last Transmission" and what a way this is to close out an incredible sophmore album for the English producer. The melancholic piano chords are a subtle and pleasing way to close out this journey of a record. Mat Zo really has outdone himself here and we're really looking forward to hearing some of these bombs dropped live. Surely a contender for album of the year at such an early stage, yet again it's only the best delivered by Mat Zo.
Latest album, Damage Control was Grammy-nominated for Best Dance/Electronic Album last year

We've had our eyes on Obas Nenor for a while and after his disco-meets-Detroit affair on 'Mahogani', and some great releases on his newly started own label 'Nenorian music' and 'Sol Power', we're happy to share his work for Heist with you. 'The Ceaper Buing EP" features 4 original cuts and a remix by Swedish "Mr. Tophat" that navigates somewhere between really weird, and really groovy. If you've seen any of his studio videos, you'll see he's has a great mix between live instrumentation, and sampling on his MPC, and each track on this EP has so many great elements working together, that it will be hard to pick a favourite. "The doors" has a great filtered funk loop going on with some roughed up disco percussion, whereas the Tophat remix twists and turns the original into somewhat of a tribal(ish) drum workout that is probably best enjoyed in a really really dark room. "Glimpse of light" has some really interesting sampling going on with a feel that is almost 'rock', but gets more and more disco with some lovely synth work as the track progresses. As a counterpart to the first part of the EP, 'Wacky' slows things down to give you a summery, afro inspired track that we forced him to send us after we saw a short clip online of him jamming away on his Korg x-911. UV lights is a somewhat special track for us that you wouldn't expect on Heist at first, but makes for a great addition to our musical world. It's perfect 'hands-in-the-air' end of the night material, with a serene and emotional vibe that is really hard not to love. Altogether, it's a great EP that we're really happy to share with you. Sincerely yours, Lars & Maarten

+ Downloadcode!

The first Late Night Tales release of 2016 is a very special project by Sasha.

Imagine listening to music inspired by Frahm, Richter and Steve Reich, but made by one of the UK's leading house and techno DJs. Away from the hubbub of the club, the craziness of Ibiza, there's a contemplative side to everybody. Forget the beats and the sweat and the billowing anthems; this quiet, undulating, at times pastoral piece is less about songs and anthems and more about texture and atmosphere. 'Scene Delete' is a side of Sasha you've never heard before. I love post-minimalist modern classical, I love to listen to something completely different that's quite hypnotic as well. It almost purges the system.

About three years ago, my collaborators David Gardner and ThermalBear and I wrote a song called 'Bring On The Night'. I sent it to Ultraista and within a few days she sent it back with this amazing vocal on, with Nigel Goodrich playing keyboards. We tried to do club mixes but we just couldn't get it right. So it sat there doing nothing.

Tracks like this kept building up, until finally last summer my frustration boiled over. We'd made so many tunes that I couldn't remember the names of half of them: What was that thing with a bass sound and a string line It drove me mental. At the same time as we were logging these tracks, I was listening to the Jon Hopkins' Late Night Tales and I thought a lot of the music we'd been working on was in the same vibe. So I sent the music over to Late Night Tales and they really liked it.

Initially, I thought we'd just do a Late Night Tales compilation with maybe a few pieces of my own music. But as we went through everything we'd worked on in the last two years, we realised we had about 50 pieces of music. So we started editing and compiling: 'Scene Delete' is the end result.' - Sasha, January 2016

Think of 'Scene Delete' as somewhere between a mix album, an artist album and a gentle stroll through the soundtrack in your mind. Make sure you switch off the lights before you enter.

Here we are, finally ! After numerous months of hard work,
today is the release day of " Good Vibes "
from SoulChef on Délicieuse Records !


This is definitely a 2.0 project : a beatmaker based in New-Zealand, a french label, some french scratches, some english, north american, swedish emcees, etc. it's a countless number of emails that allowed us to release this beautiful project that you can listen today.


We're so f****g happy to finally be here ! This album sounds old-school, but it's message and conception are definitely modern. Enjoy, Love is the Message !


Soulchef revives with Good Vibes the original spirit of Hip Hop.


The New Zealand beatmaker gives new life to this still living memory that we're honouring on Delicieuse Musique since our inception. Taking us back to our classics, Soulchef shines a new and personal light on hip hop : the result is positive, groovy and true to its initial roots.


Good Vibes is the result of an exchange of more than 18 months between the producer, the label and various rappers. The album is a mapping of a league that helds the oldschool hip-hop standard : there can be found a whole bunch of more or less notorious MCs on it from Declaime to Croosh, a young talent spotted on Soundcloud.


Gathered around the unifying aura of Soulchef, Delicieuse Records decided to step out of its usual field, offering to its public its first Hip Hop release.

Awaking from the dreamstate of Gryningen's hazy library inspired 10", we find Aficionado's expert selectors well rested and in the mood for a dance.
Utilising their extensive network of global connections, Moonboots and Boardman enlist Hungarian producer San Laurentino to raise spirits and pulses with a deep and diverse collection of body movers.

Perfectly conjuring the nostalgic melancholy its title suggests, opening track 'First Love' takes us by the hand for one last dance under the stars.
Cinematic pads sweep around a snapping drum pattern as a signorina from Rimini embraces a Basildon boy, seeing out the summer season to the hair raising chords and spine tingling sequences of a San Laurentino's masterpiece.

While that holiday romance might have come to an end, 'Back To The Stars' leads you off in search of new experiences. Emotive pads, undulating bass sounds and celestial keys vie for attention while the solid kick, intricate percussion and lively hats play out a swaying rhythm. Then all of a sudden the track changes tack completely, tripping out to a modular melody and sinuous techno bassline before reaching a soul soothing conclusion.

On the B-side 'Long Way Home' lulls us into a false sense of security via a gentle drumbox bossa, before thick bass stabs and a tough new beat rhythm take control of our bodies. Once again San Laurentino packs the track with atmospheric chords but this time adds delicate guitars and subtle piano, balancing the steely rhythm section with deep emotional resonance.

Closing the EP with unrivalled sophistication, 'Amici' sees San Laurentino drop the tempo and concoct an irresistible low slung groove before expanding our minds with wavering pads, hypnotic chimes and misty synth vox.
The perfect finale to an EP certain to leave you misty eyed on the dancefloor. Officially Aficionado

Out with a bang, 'Blitz Magic' is the final release in the Jose Padilla 'Too Many Colours' campaign from International Feel. A carefully curated project, from the selection of producers working on the album (Mark Barrott, Wolf Müller, Tornado Wallace, Telephones, I:Cube and Dream 2 Science), superior productions and remixes to boot, through to the beautiful artwork. Now it draws to a beautiful close. 'Blitz Magic' a Telephones production is the perfect club track to follow the wondrous 'Lollipop'. The original of 'Blitz Magic' is a lovely balearic ride that feels the influence of the all time classic 'E2E4' or in turn 'Sueno Latino'. It has now been placed in the hands of Tambien and Deetron for remix duties. Tambien are a trio from Munich. They are the Bartellow and Public Possession pair Marvin & Valentino who have released on various labels but in recent times ESP Institute and their own Public Possession. They create that intriguing mix where intelligent meets club music such as their Jil Thunder Light Remix. Deetron is an awardwinning Swiss producer and DJ that keeps his soul in Detroit and his heart in warm techno. This sound is perfectly shown in his stripped down remix cleaning out the drums and taking it back to pure club values. As Autumn arrives it feels the perfect time to release this third single from Padilla, the last in a beautiful string of releases that for International Feel have perfectly encompassed the Balearic sound as it is now. Play loud and you'll get the benefits.

José P adilla is loved by many for his work soundtracking sunsets at the Café Del Mar and compiling the seminal Café Del Mar compilations which sold over six million copies. His fans are wide and varied, on one end of the spectrum you have Madonna or Karl Lagerfeld, and on the other DJ legends such as Harvey and Andrew Weatherall. His new album ' So Many Colours' was released on International Feel earlier this summer to great acclaim and is regarded as the most forwardthinking Balearic album of the year.
FEEDBACK
I played it loud, Tambien mix is beautifully bizarre. - Mark E
Deetron mix is magical - a organic knights of the jaguar .. - Terry Farley
Simply brilliant. Loooove both mixes. Thanks a lot - Laurent Garnier

Alex from Tokyo presents new label world famous debut release from Tokyo Black Star - Edo Express EP out in October, 2015


Paris-born, Tokyo-raised, New York-based international eclectic French DJ, music producer and sound designer Alex from Tokyo is very excited to announce the October 2015 launch of his record label 'world famous" with a new Tokyo Black Star EP (the first release in three years)!


The four different straight up house music club tracks here on the "Edo Express EP" showcase Alex from Tokyo's versatile and funky DJ style and come from a very special fun jam session that took place in January 2015 at Isao's Tokyo Black Star and phonon studio with the help of their great musician/analog equipment otaku friend Kenichi Takagi leading to Kenichi san officially becoming the third Tokyo Black Star member, bringing along some of his favorite old, new and handmade (modular) synths into the mix.


The stunning artwork for the release is done by long-time collaborator the very talented New York based Japanese artist Tomokazu Matsuyama, who has been creating the Tokyo Black Star visual identity since their first release on Innversions in 2005.


Working in harmony with music partner and sound/mastering engineer Isao Kumano in Tokyo, Alex from Tokyo formed Tokyo Black Star in 2000 while remixing Big Moses feat. Jan'elle's house classic "For you" for Kerri Chandler's label Bassmental records. Since then Tokyo Black Star has released five EPs including the first-ever release on high-profile Berlin label Innversions (the "Psyche Dance EP," 2005) and their full length debut album 'Black Ships' (April 2009, also on Innervisions), an EP on DJ Deep's Deeply Rooted House label and remixes for artists like Tony Allen (P-Vine records Japan, 1999), Carl Craig (Psyche 'Neurotic Behavior' on Planet E, 2011), Phenomenal Handclap Band (Tummy Touch Records, 2013), Bing Ji Ling (Lovemonk), and Kuniyuki (mule music), and among others.


Always looking for new challenges and sonic adventures, in the summer of 2010 the Tokyo Black Star duo were joined by top Japanese audio professionals at Isao's studio in Tokyo, leading to the creation of a new 'revolutionary' audio brand called phonon , which makes exceptional pro-audio equipment for studio and DJ use.


Tokyo Black Star's last release, in 2013, was a special musical contribution called "X" for a unique celebratory 10th anniversary compilation for Yohji Yamamoto and Adidas fashion brand Y-3. Alex from Tokyo co-directed the exclusive compilation


world famous will be presenting a wide range of dance floor and eclectic music by Tokyo Black Star, Alex from Tokyo's collaborative projects with other artists and his affiliated japanese and international connections! Mastering for all releases will be done by Isao Kumano.

The Summer of Sangaile is a rare film that takes you by surprise with the honesty of its performances, the poetry of its narrative, and the crispness of its cinematography, which captures the beauty of the girls and the unique Lithuanian scenery equally well. Writer/director Alante Kavaite uses transfixing imagery and exquisite casting to bring to life her distinctly layered story of young love and big dreams. The end result is a rapturous film experience. The Summer of Sangaile won the 'World Cinema Dramatic' Directing Award at Sundance Film Festival - the worlds most important independent film festival and is featured globally in theaters over this summer /autumn. The Directing Award: World Cinema Dramatic was presented by Taika Waititi to: Alanté Kavaïtéfor The Summer of Sangaile / Lithuania, France, The Netherlands (Director and screenwriter: Alanté Kavaïté) - Seventeen-year-old Sangaile is fascinated by stunt planes. She meets a girl her age at the summer aeronautical show, near her parents' lakeside villa. Sangaile allows Auste to discover her most intimate secret and, in the process, finds in her teenage love, the only person that truly encourages her to fly.

"...don't ask if there will ever be a Volume 2. We don't know yet. What we do know is that if we ever come across a similar tour de force as Don McCaslin's composition, Praise Poems, then there will certainly be one..." These were the final words of the sales notes for Praise Poems Volume 1 - which we proudly released earlier this year. And indeed, since then, we have discovered a tune which led us to continue to curate this series of obscure, soulful, jazzy and spiritual sounds from back in the day. The song to which we refer to is Abraham Battat's jazz-samba masterpiece, Fly Away. Fly Away is a righteous combination of sonorous jazz guitar, crackling drums and warm acoustic piano. Floating through the tones as if in a private concert for you in your very living room, it is an earnest, honest vocal performance bringing a rainbow message of freedom and liberty to the world. This is the standard by which we judged the entirety of this compilation. Though they may be known in some circles, selections by Richard Martian, Larry Covin, and The Gingerbread Express are in the same category of pure beauty. Of course, good luck finding a copy of Larry Covin's Masquerade or the Portis Brothers' Summer Love. The single hit you receive while doing an online search is the exact same copy from which we took the master. To find a needle in a haystack is a cakewalk compared to turning up a copy of some of these gems to be found here.

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.

'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.

Soul Deep has established itself as one of the hottest labels bringing quality Drum & Bass to all D&B lovers. The label features a number of talented artists and a diverse sound, with songs from many different styles of Drum & Bass. Whether it's deep, liquid, jazzy, or atmospheric, Soul Deep is committed to releasing timeless songs that satisfy the Soul.
dRamatic (V RECORDS / LIQUID V / CHRONIC / GOOD LOOKING / INNERGROUND / INGREDIENTS / FOKUZ and many more) brings the funk on this latest vinyl release. Signature amen breaks laced with pure funk and heavy basslines. Cool and effective on the dancefloor, summertime fav!
Malaky & MsdoS (FOKUZ / PRESTIGE, and more) step in for the flip. Reminiscent of the wellknown Goodlooking sound, this one is another perfect anthem for the summer festival spirit. Pure funk!

Visibility Is A Trap is the new EP by Dalhous, comprised of four originals together with a masterfully understated Regis remix of 'He Was Human And Belonged With Humans'. The EP heralds the arrival of the Edinburgh-based project's sophomore album, Will To Be Well, due out on Blackest Ever Black in early Summer 2014. Dalhous first announced its existence in 2012 with the Mitchell Heisman 10', and last year released its debut full-length: An Ambassador For Laing. Both Visibility Is A Trap and the upcoming Will To Be Well LP reflect writer-producer Marc Dall's continued interest in the language and imagery of self-help, R.D. Laing and the anti-psychiatry movement. Though recorded after Will To Be Well, the tracks on Visibility Is A Trap at first appear to have more in common with the blue ethereal drift of Ambassador. While 'Information Is Forever' and 'A Change Of Attitude' are firmly in the ambient mode, 'Active Discovering' fizzes with arpeggiated energy, and a battery of percussion disrupts the calm surface of 'Sight Of Hirta'. Something is up. All is not as it seems. The Regis remix of Ambassador highlight 'He Was A Human And Belonged With Humans' finds Karl O'Connor in unusually pensive mood. In fact this near-beatless, dubwise version is unlike anything he has put his name to before. Discarding the rhythmic skeleton of Dalhous's original, he gives their weeping saxophone more space to roam and resonate, adding off-beat, sleep-deprived keys, murmured vocal fragments and swells of sub-bass pressure. It could be construed as a love letter to his former home in West Berlin; certainly it evokes and effortlessly updates the drugsick grandeur of later Neubauten or Low side 2.

We call them the rat pack of our beat scene. With all diversity in sound, the three producers are unified in their love for dope beats and high-proof drinks, both catered and consumed with style and expertise.

Suff Daddy, the globetrotting gin connoisseur and minimoog player with domiciles in Berlin, Düsseldorf and Sydney. He has released three solo albums and has worked with artists like Miles Bonny, Fleur Earth, Ta-ku and Elzhi. After a one year stint in Sydney, he returned to Berlin this spring.

Brenk Sinatra, the Wien-Kaisermühlen homeboy, Westcoast rap fanatic and producer of the forthcoming MC Eiht album. Last year Brenk released the critically acclaimed S3 album together with US singer Miles Bonny and has laced beats for an armada of MCs from both sides of the Atlantic.

And last but not least Dexter, the Stuttgart based trip maker and platinum producer with a day job as a pediatrician. This June Dexter released his second solo-album 'The Trip' a homage to the psychedelic rock era and one of the most innovative and genre bending hip-hop albums of 2013.

All three first met at the Hi-Hat Club, the producer series that we started a couple of years ago with the goal to push and celebrate the art of beat making. With their respective volumes 'Suff Draft' (Suff Daddy), 'The Jazz Files' (Dexter) and 'Chop Shop' (Brenk Sinatra) each of the guys put the instrumental hip-hop thing on a new and different level. None of their beats need a MC to be complete, they are full songs in their own right.

The official birth date of the Betty Ford Boys was the 2012 Beat BBQ in Cologne where Dexter, Suff and Brenk performed together for the first time. Right after the now legendary gig, that was ended by police forces Suff Daddy left for Sydney so that most the recordings for the Betty Ford Boys debut album took place in the cloud. Right after his return to Berlin, the Boys jumped on the bus and played their first club tour which finished with a gig at the Splash Festival.

On August 30th, the Betty Ford Boys release their first album 'Leaders Of The Brew School' on Melting Pot Music. The record combines the best of three worlds and has a surprisingly chilled Westcoast vibe. It's perfect summer music, it's edgy and relaxed at the same time and keeps you thirsty for more ....

Steve Lee's (The Project Club) ABOVE MACHINE label returns after 003's massive 'Love Disguise' from Vendetta Suite

This fourth release comes courtesy of acclaimed Italian duo Almunia
Their celebrated output through Paul 'Mudd' Murphy's Claremont56 label, including the recent superb Pulsar LP has seen the their blissful & uplifting Balearic sound
expand and evolve beautifully.



One Time is a gorgeous slice of the same, and conjurs up gentle sea breezes and long summer days perfectly


The ever essential Craig Bratley, whose All Ears distributed Magic Feet label has provided some of our best output, alongside recent hit 'Obsession' on Weatherall's Bird Scarer imprint takes charge on the flipside here.
Craig takes the melodic motif's and vocal parts and weaves a trademark synthed out & acidic chugger of epic proportions. Sure to be belting out across the Adriatic this summer
Andrew Clarke - whose been making an impact with a selection of cuts on labels like Audio Parallax & Chopshop - wraps it all up with a truly amazing rework, managing to retain all the stunning musicality of the original, but elevating the elements to euphoric new heights.

*The product of a move from South Carolina to Berkeley, CA and the subsequent extended separation from loved ones, Toro Y Moi's third full-length, Anything in Return, puts Chaz Bundick right in the middle of the producer/songwriter dichotomy that his first two albums established.
*There's a pervasive sense of peace with his tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production and putting forth the impression of unmediated id.
*The producer's hand is prominent- not least in the sampled "yeah"s and "uh"s that give the album a hip-hop-indebted confidence- and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like "High Living" and "Day One" show a considerably Californian influence, their languid funk redolent of a West Coast temperament, and elsewhere- not least on lead single, "So Many Details"- the record plays with darker atmospheres than we're used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter's return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist's essence.
*Born and raised in Columbia, South Carolina, Chaz Bundick has been toying with various musical projects since early adolescence. Having spent his formative years playing in punk and indie rock acts, his protean Toro Y Moi project has been his vessel for further musical exploration since 2001. During his time spent studying graphic design at the University of South Carolina, Chaz became increasingly focused on his solo work, incorporating electronics and allowing a wider range of influences- French house, Brian Wilson's pop, 80s R&B, and Stones Throw hip-hop- to show up in his music. By the time he graduated in spring 2009, Chaz had refined his sound to something all his own. Music journals across the board touted his hazy recordings as the sound of the summer, and he released his debut album, Causers of This in early 2010.
*Since then, Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the Toro Y Moi oeuvre. The funky psych-pop of 2011's Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking Out EP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer/songwriter spectrum in which he's worked since his debut, and Anything In Return is another exciting offering that shows he's still not ready to settle into any one genre.

Moire Patterns sends his most essential of hellos to the world with his new release on Knuggles Recordings, featuring two delicious tracks on 12(vinyl only).
A: Warning Parrots
It's a Warning! Warning! Warning!
Moire Patterns with Nic 2Birilli welcome the summer with a Live Recorded Jam, inspired by their Mediterranean origins.
A balearic journey unto its own.
AA: Lofty Principle
Are you ready to elevate your principles Do you have the strength to carry on
Nikolaos' love of the raw & analog ways has created a piece of work with 808 garage elements that set off waves and twirl you into ecstasy.
Mixmasters will love this one.

the second part of the in-demand " Cero" by Galarude ( DJ Kent and homies from Sly Moongose and Tokyo No. 1 Soulset ) that had been a secret weapon of a selected few DJ glitterati since it's original Japan-only release in 2004 delievers another set of knockout mixes: Prins Thomas flatens the originals tribal elements with hard whiping beats and a forceful steamroller of a bassline yet keeps the headmessing ingredients intact with all those swirling, spinning soundparts that one can also enjoy in higher dosage with the "ambient miks" for daytripping on your homecouch. Tuff City Kids aka Lauer and Gerd Janson corrborate how they persistently tweaked themselves to the a-list of remixing teams with two expertly constructed, infectiously swinging house mixes that keep the acid purity level high and carry the promise of a neverending summer of love.

Borrowed Identity is based in the small city of Freiburg, Germany. However, his sound is BIG!
Being influenced by early Chicago and Detroit house and techno, he produces deep emotional compositions that move both soul and body. Je T'Aime is no exception. The four tracks included in the EP tell a story of autumn nostalgia for one special summer. The cure for the nostalgia is offered as well through the analog fatness of the bass lines and the sophisticated drum patterns and grooves.

While his debut album 'By Your Side"'s release was announced for September the 17th, Breakbot introduces the fruity 'One Out Of Two' featuring the faithful vocal performer, Irfane, embellished with remixes from DJ Sneak, Oliver and Get A Room!. The french TV show, Le Grand Journal, selected this track as the sound signature for the Cannes Festival. The vinyl includes also 'Program", a tiny biscuit sound, unveiled online on the occasion of his first live performance at the Coachella Festival. Breakbot's shiny funky pop will rock 2012's summer, waiting for the album and next live shows in festivals (Calvi, Dour, Les Vieilles Charues, We Love Green...).