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Munich based pair Jorkes are something of an enigma, having appeared on the scene recently with a fully formed sound and a desire to let their music do the speaking for them. Musically the duo seem to be operating with few boundaries, looking to express their emotional states through their music with scant consideration for styles or genres. This latest release sees Jorkes team up with fellow Munich resident and vocalist Karol Schmejchel to deliver a slice of evocative, slo-mo nu-disco. The release kicks of with the original mix of 'Thank You', marrying chugging drums and warm bass with stirring pads and the emotionally charged vocals of Schmejchel. It's a perfect track for dark backrooms and home lounging alike. The remix comes from Manchester trio Menage a Trois who deliver a sonical beautiful reworking built around heartwrenching keys and heavily reverbed guitar parts. Simple understated drums carrying the record along as their vocal treatment soars towards the heavens, this is sublime stuff. The vinyl release will also feature an exclusive instrumental of the Menage a Trois mix for those who like things a little more stripped back. In keeping with Jorkes' creative outlook, and following on from their previous release, there will be an exclusive music video of 'Thank You' forthcoming which is likely to set pulses racing once again! Thanks for purchasing a real copy!

* Manchester's Walton returns to Tectonic following last year's explorations in grime flavoured house/techno offshoots on the killer 'Bulldoze EP'. This time Walton leads with a dance floor crushing anthem that cruises a cool line between grime and tribal dubstep. Featuring a looping Riko Dan sample, 'Gunman' sets a stone cold tone from the offset, hi-hats setting up the groove before a grime flavoured melody cuts in preparing you for the drop. When the bass and drums come crashing in they bounce off each other to produce a disorientating tribal rhythm that will set the dance floor alight!

* Flip for a slower, more gentle mood with 'Caught In A Trip'. Rolling at 126bpm, 'Caught In A Trip' builds around a developing melody played on a glockenspiel-esque instrument, backed with tribal percussion and a driving kick pattern. Ethereal in mood throughout, this one provides a lighter moment for the dance floor.

So kam die Postmoderne über uns und machte aus vormals ehrbaren Kulturschaffenden Werksarbeiter, denen alle Schrauben abhanden gekommen schienen, im besten Fall. Mit minimaler Eigenleistung (nimmt man die unbeabsichtigten Fehler in der Produktion mal aus), aber bei maximaler Entgleisung entstand ein gänzlich neuer Berufszweig. Der grundsolide Werksarbeiter, mit Gema Anmeldung im Griff und guten Draht zu seinem Steuerberater. Um die quietschfidelen Arpeggio Terroristen soll es heute mal nicht gehen. Unsere Protagonisten dieser Geschichte sind andere. Wahnwitzige, Soziophobiker, Menschen mit gebrochenen Lebensläufen statt Joghurt im Rucksack, emsig agierende Mitstreiter mit Tupperdose in der Tasche für die Frühstückspause, willens den Kampf der letzten Kulturoffensive zu Ende zu bringen, samplen, pitchen, alles zerhacken und zu undefinierbaren Fetzen von Funk wieder zusammensetzen. Ausgeglichen vom Duft der Natur ankommend denFortschritt definieren wollen und den Strom in die Maschinen juckeln. Ästheten der Fehler waren geboren. Losgelöst vom Fließband. Hart & tief wird geackert geschwitzt, gebimmelt, der Filter aufgedreht, der Schmutz schaufelweise rangekarrt, bis die Stufe der Erlösung erreicht wird oder eben halt auch nicht. Das Leben ist nun mal kein einziger Orgasmus und der Funk entsteht in den Pausen wie die Befriedigung der Gier und der Besitz des Moments, weil das Leben ist doch nur ein Wimpernschlag und wir immer nur einen Abgrund entfernt von Weltekel oder Erlösung.

Many of you will remember Manuel Göttsching by his Masterpiece E2-E4 and know the fact it got sampled by far more than once. Think Sueno Latino' to start with... and the plethora of further re-recordings by Derrick May, Joe Claussell, and a bootleg by Carl Craig that prove how Now' and Iconic Manuel´s Work is. The 2006 edition Joaquin Joe Claussell meets Manuel Göttsching' is the first attempt to bring these once illegal mixes finally to a broader and wider audience. It comes with 2 very rare and first time officially released tribute mixes of 1970´s Göttsching Classics, carefully remodeled by Joe Claussell (21.12 minute Deeper Distance' plus 10.17 Minute Ain´t No Time For Tears"). The last words, however, are left to MG himself, with Shuttlecock", a final eighteen minute excursion, which has Manuel improvise over a soft carpet of delayed bell sounds, before the guitar fades away and the track deepens and thickens, like a dark river sweeping along ever more motives and harmonies. A perfectly balanced collaboration released on both CD and LP. Consisting of 3 concert recordings which were originally released on the 6th CD Album Private Tapes : Tracks 1 und 3 were recorded at Bataclan in Paris, 12/1976, Track 2 in Berlin 8/1979

Kanzleramt presents 'Consistency Remixes', a three track remix EP of as-yet unreleased Ray Kajioka originals, hinting at new material on its way soon from the Berlin-based artist and Kanzleramt mainstay.
The EP will land on vinyl in September of 2016 and features remixes from Detroit legend Rolando, as well as The Persuader (aka Jesper Dahlbäck) and Kanzleramt label-head Heiko Laux.

Quintessentials is very happy to present their 50th release! To celebrate this, we invited some buddies to bring the deep beats. And damn they did! Mat Chiavaroli, one of your main artists who is getting stronger and stronger, opens this jubilee release with upbuilding powerful tune, just the tune the get Quintessentials 50 started! Great to see profilic dutch producer Nachtbraker (Heist, Quartet Series) on the label too. We love his style and he will soon be as popular as Ajax Amsterdam! His subtle and dirty "Bronco" fits in perfectly. The definitive club tune that grooves and grooves and grooves comes from Ponty Mython (Dirt Crew). Alexandr is a cool guy and this is defo a cool tune. Last but not least is Soul of Hex (Freerange, Vicario). Our mexican friend is going very raw this time. Yes, why not call it electronic body music (remember)! As we are gentlemen, we added a Quintessentials sticker in the vinyl edition. Go and get it!

"Hepta" is the greek word for the number seven. Significant, full of knowledge and symbolism; these metaphoric fields are associated since the beginning of Ownlife. It is also the title of the new release on the platform. This time, as it happens regularly since its creation, signed by the ideologist, Leiras.
Another four tracks that anticipate some of the sounds that will appear in future deliveries, entering into unexplored lands until this date.
The record opens with an homonym track. Synths with pure voltage nuances around layered kicks that characterizes this perfect cut for long mixes. "Nubian Legacy" combines the oneiric landscapes with the ambient and techno in an unprecedented way for Ownlife.
On the "B side", we can find the atemporal functionality of "Neopagan" to the cold and physical techno of "Hepta End" whose final part leaves open the continuation of this chapter.

Chicago Basement Trax returns with an homage to the king of the raw himself Ron Hardy. Those that experienced Ron Hardy first hand will tell you there was a vibe like no other. A minimal space with strobe lights and a bangin system. If you put your hands on an EQ or isolator as a DJ thank Ron as being an innovator of this creative style of frequency manipulation. Not only did Ron drop the bass, he dropped whole songs to expose the beautiful crispy hi hats, vocals and then romanced you with the piano before slapping your whole body with the beat. This ep does it's job to take you there, just close your eyes and blast off!

For his next release on Soundway Records,
Los Angeles-based Dexter Story hooks up with long time friend and compatriot of music, the saxophonist, jazz composer, producer and band-leader Kamasi Washington. A fierce, rumbling electro Ethio-Funk groove provides the platform for an intense and powerful interplay between Washington on tenor sax and Todd Simon on trumpet. An instrumental cover version of Tilahun Gessesse's 1970s cut of the same name, it's Story's homage to the oppressed Oromo people of Southern Ethiopia. Backed on the flip by the one cut from Story's 'Wondem' long-player that did not make it to vinyl when the LP version was cut, Nia Andrew's
sublime and atmospheric collaboration on Eastern Prayer
will keep all those happy who grumbled at it's exclusion
from wax first time around. This is a record that no lover
of Ethio-Jazz, Afro-Beat or Funk should be excused for not
owning.

we are very pleased to announce the 2nd release of auntie flo on mule musiq.
"reverence" is african taste very deep tech house.if you like culoe de song or mr raoul k,
you will love this song.
"drum meditation" is more dj tool edit and "synthapella" is nice sound effect tool.

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!

Boris Werner returns with 'Daymare Dreamer EP' featuring collaborations with noisemaker 'Gretz & Rival of Mars' as well as 'Cinema Royale' and two fresh solo tracks 'Dance of the Hump Back Whale' and 'Frustration (No Strings Attached'). This EP by Werner, known for his infamous 23 hour DJ set in Amsterdam, kicks off with the title tune 'Daymare Dreamer' riding it's way in at 7min40secs in total for a breezy welcome of classic Werner style house beats. This opening track bubbles with roots influence that fans will be familiar with as well as some slick vocal slices drifting in and out. Having previously realised mixes and podcasts alongside the likes of beat creators and funky jammers such as Dj Buck, Lazare Hoche & Malin Génie, William Djoko, and Dj Deeon this new release comes after many live shows and events including his live set from an old wine bodega. His summer calendar is booked up with international tour dates at some of the most spot on locales for dance floor showdowns. This wealth of tour experiences, inspiration and excitement can be felt from the jazzy Dance of the Hump Back Whale' through to the funky pulsations of 'Frustration (No Strings Attached). 'King Hassan a track created with 'Cinema Royale' features superb 80s style house/electro cow-bell samples, mysterious murky baselines and forward motion keyboard funk.

THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL's long career. The trio of dance oor-oriented records formed by 2012's The Inertials, 2014's Polyphonic Beings and now THE ASSISTENZ are sensual pleasures rst and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world's clubs has been put into the creation of sounds that interface with the nervous system and emotional re- sponses with extraordinary immediacy. But there's much more too: together with the more ab- stracted album Eselsbru¨cke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named - but also the nal piece in this bigger puzzle, which unlocks untold secrets from the previous three records.

There's a deeper history, of course. CRISTIAN's productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has in uenced too. In fact, as you listen to THE ASSISTENZ, you realise that there's no point making comparisons with other elec- tronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music - dub, electro, acid, funk - owing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but some- what skewed vision.

CRISTIAN's understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specif- ic frequencies that make up speci c sounds and produce speci c effects on the human mind and body. And as a result, his own sound synthesis - increasingly done via the Kyma programming platform - is more and more able to reach beyond the 'synthetic' and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ's ghostly centrepiece 'Barefoot Agnete', in the alien radio signals of 'The Merman's Dream' or even in the subliminal 'aaah's hiding in the background of the noisy 'Vessels', but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.

And it's not just the boundary between human and non-human, or that between acoustic and synthetic, that get blurred to the point of non-existence. CRISTAN's creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised criti- cal faculties and go with it. Sometimes that can take you to places where darkness and physical- ity close in on you as on 'Vessels' or 'Telemorphosis', or into haunted spaces on the edge of the void like those of 'Snowcrunch' and 'Barefoot Agnete', but even in those, there is euphoria. And in the voluptuousness of 'Hold' or the body-rocking funk of 'Cubic Haze', all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.

So many of the science ction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where ma- chines learn, where images can't be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN's experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn't just ex- periment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.

Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans. Videos directed by Tillmans will be released for Device Control and Make It Up As You Go Along - Salem Remix.

Recovering from the gray decay of the winter here in Berlin, we are more than ready to push forward farther into the future. In order to do so the powers at Chronicle have aligned a new musical offering to test the palate of those who know, and those who care. We are pleased to present six tracks from the prolific Arnaud le Texier, who has made waves for years with his Children of Tomorrow imprint and renowned taste. From cosmic interludes to heavy hitting transcendence, Arnaud manages to showcase all sides of his production skills as they translate into a compelling and emotive narrative. Among them stands a tribute to one who was lost along the way that we simply do not want to forget. Only rarely in this life do we stand witness to gures that make a true impression, an imprint that continues to leave a mark long after the original has passed. Max_M was one of these gures, and it is through his music and immensely dignified curatorial prowess that his legacy will live on. Arnaud's poignant tribute stands as a personal note amongst an EP full of forceful techno suitable for deep space exploration.

REPRESSED !! Available for the first time in 25 years Death Waltz Recording Company are immensely proud to be reissuing the score to Twin Peaks an era defining TV show and Soundtrack. Freshly re-mastered for this re-release and approved by both director David Lynch and composer Angelo Badalamenti.I'm glad that after 25 years, Death Waltz Recording Company has re-released the original soundtrack for Twin Peaks for a new audience to enjoy. This is my defining work as a composer and I'm happy it will get a fresh listen; Angelo Badalamenti 2016
Artwork by Sam Smith
Layout by Jay Shaw
Director approved artwork
Sleeve notes By Angelo Badalamenti
Vinyl re-master by Tal Miller
Laquers cut by David Cheppa at Plush Vinyl
180G damn fine coffee colour vinyl
425gsm Gatefold sleeve housed inside a bespoke white die cut outer jacket with white spot varnish finish, complete with obi strip.

Finally, Justus Köhncke is unveiling new tracks! His first release since »Justus Köhncke & The Wonderful Frequency Band« (KOMPAKT, 2013) is both daring and serious. Five songs in German, interpretations of material by Howard Carpendale, Juliane Werding and Nik P. plus English-into-German translations of two pop classics (»Twist In My Sobriety« by Tanita Tikaram, »Captain Of Her Heart« by DOUBLE). This is not an ironic joke about seemingly ›stupid music‹ or ›Schlager‹: Köhncke embraces these five compositions and turns them into his own. They transmutate into his very own vision of ›nu-german comps-soul‹ while retaining Justus' unique sound. The EP will be released digitally and as a limited vinyl 12" on the Berlin-based label »Martin Hossbach. We cry, we sing. Alone.

Next installment of Rex Ilusivi archive uncoverings - This time a live concert from SNP (srpsko narodno pozoriste / serbian national theatre) in Novi Sad, Serbia. Again it's a sublime masterclass in layering and mixing from the much revered King Of Illusion. TIP!
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'To this day Rex Ilusivii remains an enigma of the global music culture, caught between late cold war electronic spheres, classic and the power of found sound. A musician from the Southeast European counterculture, whose art today seems to be the worldly intelligence of the modern age. Listening to the early music of Mitar Subotic sounds like catching the future even tough you know here sounds the past. How can somebody be light years ahead of most of his contemporaries in terms of individuality and uncompromising vision, creating such musical narratives with a feeling for outernational space' It must have been the signs of his time in Yugoslavia, that lead him to compositions in which two or more antithetic forces fight each other for the cause of an unheard harmony that melts industrial, sample art, Musique concr'te and ambient. His 'Koncert SNP' from 1983 demonstrates his ingeniousness to the core ' about 38 minutes of experiment and appeal that move playful between demonstrative frankness and seductive sensuality. You hear pulsating synthesizer bliss, widescreen sample art full of Bosch-like images and elusively drama catchiness that absorbs deep. So deep that words can't express their meaning. Only notes can spell out the score. Listening to his live recording several times without a break reveals also a story arc of literary transcendence. And as transcendence is something beyond speech, the music of Rex Ilusivii can't be narrowed down in phrases. Only one thing must be recommended: surrender to it and it will surrender to you.
Michael Leuffen in June 2016

Vinyl Only

Anunnaki Cartel is up next with another release from label co-owner Chris Mitchell. This is his follow up to the Din Gir Dialectic EP that was released last year. Remnants is a more introspective outing with a sobering feel. These are heady selections for a darker floor, and will satisfy those DJ's who want to inject this into their sets.

Deep'a & Biri's Black Crow Records further expands its horizons with its seventh release, welcoming another new artist to the family following appearances by 2030, Aril Brihka, Hakimonu, Luke Hess, ROD, Inland and Markus Suckut. The Analog Roland Orchestra's label debut follows the widely acclaimed 2030 EP and shares with it a widening of the label's sonic scope to once again showcase Deep'a & Biri's desire to reach beyond techno and explore ambient and cinematic musical textures. Michal Matlak's Analog Roland Orchestra finds the Poland born & Berlin based producer in the conductor role among an array of classic electronic hardware, taking on the role of shaping & directing a free flowing sound that moves across genres, whether in a studio or live setting. His previous releases for labels including Ornaments, Rotary Cocktail Recordings and Pastamusik have seen the project indulge in an array of sounds across the techno spectrum. 'Aftermath II' is no different, moving from the classic roots techno sounds of 'Plant' and 'Father Detroit', through the dub excursion of 'Urei Dub', to the cinematic, Boards of Canada & Tangerine Dream-recalling pair 'Her' and 'Aftermath. For those with a taste for electronic music's widescreen possibilities, TARO's arrival on the Tel Aviv imprint will be a long term favourite.

What's in the du name 030303 records asked three of their favourite prod'ucers with matching names to du an ep together: Ann Harbour's D'Marc Cantu and Mark du Mosh & Paul du Lac, both from the dutch harbour city Rotterdam. The result is dynamite! A1"Mine Motion" is a monsterous jacker in the rawest form how only mr Cantu can du! On the B side Mark du Mosh takes off with a flight to "Bermuda" with a hot & steamy roaring electronic beast sitting on the wing of the plane and causing some heavy turbulence. Fortunatly du Mosh keeps us flying high with some deep emotional synths. Last but not least Paul du Lac delivers a dark psychedelic techtool called "Beta Rhythm". A track that creeps under your skin as a virus, causing some serious haziness from noding your head. Be aware that this record will appear on vinyl only!

Death & Leisure.

The new label from Oliver Ho.

'....a place where absurdist melodrama meets vile electronics'

Following on from the bleak synth sounds explored with his Broken English Club project, Death & Leisure will push further inward and outward to embrace experimental industrial music in different forms.

The second release is from Zov Zov, Oliver's experimental project with Tommy Gillard which saw it's debut release last year via Shifted's label Mira.

One month after the release of 981 Mb RSD EP, we are glad to introduce you to the new Molecule's album: 60° 43' Nord (Deluxe Edition). Some would associate the sounds of the waves to heat and relaxation and rest assured, we're part of them. That being so, some others visualize the sea as a wide playground from which they can pick up the echos to turn them into a deep sound. That is precisely the case of Molecule who decided to record the wild voices of the Atlantic Ocean aboard a 90 metres long fishing boat. The result is made of powerful and danceable techno beats ("8 ZL 40), tracks that will take you directly to the Atlantic's depths ("Abysses"), and harmonious moments of time off ("Le Jardin' or Soleil Bleu"). The whole of the tracks is captivating and flows naturally as we listen to it. You'll find the song Hébrides, present on the 981 Mb EP, as well as the original version of Rockall that you might have heard already as a live version. If you never had the chance to jump onto a 90 metres fishing boat, take your chance, Molecule is inviting you to get on his... The CD included in the LP version features the 10 tracks of the album.

Very cool ep from Skatebard on Vivod ! A mixed bag from the prolific Norwegian producer showing us why he's still at the top of his game. Maskindans kicks things off with some speak & spell funk followed by Hissige Helger, a brooding Chicago style banger sure to tear up some discoteques across the planet.
On the flip are Langbolgen and Gloymde Skogar. The former is an acid style work out, the latter is more of a subtle, hypnotyizing opus. All very strong tracks. Don't sleep on this. They will go fast !

Dieser unerbittliche Underdog der New Orleans' Soul-Geschichte, bekannt für seine Arbeit mit The Meters und Allen Toussaint, wurde lange Zeit in den nördlichen Teilen der USA unterschätzt. Mit seinem neuen, rohen Sound, seiner sehr persönlichen Lyrik und als einer der tatsächlichen Überlebenden von Hurricane Katrina erzählt Soul-Sänger Willie West mit "After The Storm" die Geschichte von dem was passiert ist.

The sixth release from Hong Kong/Tokyo label Palms & Charms sees the return of Barnaby Bruce, and starts with a tale of daring escape.Hearing the approach of a loping synth, the protagonist checks the window: mysterious people are gathering outside his house! As a somewhat Gallic groove emerges, he and his girlfriend are in his car and heading south, driven on by the swing of the percussion. Will he find his deliverance On The Continent
Next up, Ruf Dug steps in with a spacious electronic reggae-esque remix, leading up to a killer piano line which pushes the groove straight onto the Autoroute. Ces't magnifique.
On the B-side, our erstwhile fugitive and partner awake by the side of a country road in southern France. A baguette, a bottle of wine and the sound of chattering insects. Oh, For The Cicadas!
As they head ever further south, they begin to reflect on what Other Worlds await them at journey's end. On the car radio a band plays a curious but driving blend of disco and percussion, with a distinctly house-influenced melody. Cette musique les deplace. Was it all just a crazy dream Grab your suitcase, head to the coast and pick up a copy of this limited edition record to find out...

In the follow up to their recent 10 Year celebrations - Aus Music present another landmark signing for the label as they triumphantly welcome long term friend Paul Woolford into the fold. Few artists can boast of a catalogue as consistent and as evolutionary as Woolford and his latest offering for Aus - as ever - lands right on the mark in delivering a beguiling trip split over two sides of vinyl. 'Heaven & Earth' is a rich and elongated House record that contrasts bright orchestral melodies with thick, tearing bass tones. Together - these two primary elements create a fervent sense of tension that no doubt will soundtrack countless memorable dance floor moments over the festival period.

After These Hidden Hands re-surfaced earlier this year with the collaborative single These Moments Dismantled featuring Lucrecia Dalt, Tommy Four Seven and Alain Paul a.k.a. Shards are set to release Vicarious Memories, their second full length LP, on August 8th 2016. Vicarious Memories builds substantially upon the sound forged with their debut album and brings a considerable new level of detail, complexity, and musicality, which ranges from flowing mellifluous grooves, somber drones, to the outright bizarre and unexpected. Although loosely an instrumental electronic album, the album makes extensive use of guitar and vocals and features prominent guest vocal contributions from underground Berlin based musicians Julia Kotowski and Ale Hop. The album's preceding single, SZ31X71, a track which features on the LP is out July 11th, featuring a remix by revered Tri Angle artist, Roly Porter. Vicarious Memories will be released via the group's own imprint, Hidden Hundred available both digitally and as a 12 vinyl LP featuring gatefold cover art by Norwegian illustrator Anders Røkkum. Vital Sales Points: - Upcoming press: The Quietus, Thump, I-D Magazine, XLR8R, Future Music, Boiler Room, Mixmag, Resident Advisor, Ransom Note, Tsugi, Rockerilla & more - These Hidden Hands play Berlin Atonal, August 2016

- You break through into that space, exactly how you were before breaking through. Don't
feel profoundly alone. You will see the light and enter the realms of higher consciousness.

Vinylmania: As classic disco came bounding through the late '70s and into the electronically orientated sounds of the '80s, New York was one of the undisputed frontiers for the latest developments in dance music culture, nightclubs and the art of DJing. At the center of this seminal time for vinyl culture was a store called Vinylmania, set up by Charlie Grappone in the heart of Greenwich Village, Manhattan, just as the culture of 12-inch singles and promo copies was taking hold. From supplying Levan, Tony Humphries and many more with the latest imports to championing the emergence of house music in the mid-'80s, Grappone and his staff played a significant role in New York's own dance music story. Through the '90s and up until closing in 2007, Vinylmania was a store that catered to DJs from across the complex mixture of racial, social and sexual demographics that made up New York and its legendary nightlife. Man Friday: As the NYC Peech Boys came to an end, Man Friday became Larry Levan's newest production project. Fronted by Kofi Morny and Brodie Williams, their dubut single 'Love Honey, Love heartache' was released by Vinyl Mania in 1986 with Larry Levan at the helm of the mix. Love Money: In the spirit of most dance music borrowing elements from other sources, 'Love Honey' was heaviliy inpired by another Paradise Garage & Loft classic from 1980 and its remix in 1981 by UK Outfit Funk Masters / TW Funkmasters. A dubbed out track big in the Jazz-Funk scene in the UK, it became a hit among underground Deejays in Both NYC & Chicago. Love Honey: No matter what list you look at. 'Love Honey' is always attached to Larry Levan's tenure at the Paradise Garage. All the elements of a Garage Track are here; Dub Echoes, Synth Basslines, Percussions that linger, FX -that one can only dream of hearing on a Richard Long System- and an Organ, because after all, they say the Garage was like going to Church. Remember when you'd buy a record after hearing it at the Club We miss that. As a result, We are proud to Introduce Get On Down Sound with the aim to bring back our favorite Dance 12's to a new generation of Vinyl-DJs. Re-mastered for optimal club use, these are official re-issues of some of Dance Music's most influential cuts.

Following on from this year's Hate/Love 12", E. Myers returns with more basement music in the form of 'Untitled'. The original will no doubt appeal to the House slickers that still like to go a little rogue.

For those who wanna get loose, turn to the 'Heat Mix' with it's sprinkling of Miami arriving at just the right season. Rounding it off, for those who always need one more, the 'Beat Mix' is a 4 minute drum middle of the night cap.

After spending much of the '70s humping his congos around New York as a session musician, Nigerian Aleke Kanonu pulled in some favours to record an album of his own. The result was Aleke, a criminally obscure Afrobeat/Funk/Jazz masterpiece featuring Buddy Williams on drums, George Davis on guitar and a cameo from Wynton Marsalis on flugelhorn. There are only four tracks on the album but they are all killers. N'Gwode sounds like Fela Kuti and Manu Dibangu hanging out with Bobby Womack, probably somewhere across 110th Street. 'Keep New York Clean' struts like Shaft after a successful bust. And 'Mothers Day' keeps things sweet and soulful, before Wynton Marsalis brings back the groove with his flugelhorn on 'Home Sweet Home'. Until recently you would have had to take out a second mortgage to get hold of Akele. And sold a kidney for the Happiness/Nwanne, Nwanne, Nwanne 12'' Kanonu released a year later. Thankfully PMG has re-issued the LP and the EP, with the CD version containing both. - Peter Moore,

Berlin-based Marlon Hoffstadt drops 'Coach Mike', the fourth EP on his own Retrograde imprint, featuring remixes from Massimiliano Pagliara and The Friend and following a hat trick of successful releases. The four-track EP is the sophomore release from Hoffstadt on his burgeoning label, which he co-founded with Natureboy Gold and Matteo Luis in August 2015. Previously featuring the likes of Kris Wadsworth and Tuff City Kids, Retrograde provides a platform for the artists to explore music alongside other forms of expression such as art, particularly surrealism. The vinyl sleeve artwork from the first four releases, when fitted together, completes the painting 'Interaction' by surrealist Hermann Reimer. With previous releases on FFRR and Play It Down, Hoffstadt boasts a sound that is both innovative yet authentic, and 'Coach Mike' displays the sonic alchemy that the talented producer, aged only 22, has already become known for. The title track starts as a grooving acid-based cut peppered with percussion before building up suspense to a surprising yet satisfying breakdown. This is his first release without vocals, allowing him to focus entirely on creating pure soundscape. Panorama Bar resident and Live at Robert Johnson mainstay Massimiliano Pagliara's rework of the A side is a Balearic-tinged affair, starting with a solid drum and building to a crescendo of bass, pads and synths, along with the analog synth elements for which he's known. This is an undeniable summer anthem that will captivate dancefloors across the world. 'Broncos' is a club track created for the floor. An acid bassline sits alongside industrial elements and stabbing synths.

Tobias. explores space and gasiform substances with his Helium Sessions on Ostgut Ton. Following his recent image and sound collaboration with visual artist Valentina Berthelon as Recent Arts, Tobias. now delves into the idea of music reminiscing gas leaking into space with four new tracks.
While we all agree that there can't be sound in a vacuum, Science Fiction taught us the opposite, that space can potentially sound hyperfuturistic, hostile yet exciting. And since the Chandra X-ray Observatory discovered the deepest sound in the universe near a supermassive black hole - why should analogue synth jams with the stars seem impossible
With Helium Sessions Tobias. proposes an acoustic representation of the gaseous state of matter in space. LAGEOS 1' on A1 already sets the tone with meandering drones atop a gnawing synth pad and distorted flickering percussion. The title refers to the satellite LAGEOS-1 which will continue to orbit planet earth in 5,860 kilometers altitude for another 8.4 million years (or 4,418064E+12 minutes) - we'll let you do the maths of how often the 6:03-minute LAGEOS 1' could be played until the satellite's returnal.
Nucleon' on A2 comes with a more dubby, deep and throbbing feeling, Helios' on the flip features epic noise textures with shimmering melodic synth leads and a multi-layered break beat vibe, while Spectrum V' on B2 closes this 12 with another dub cut, detailed synth explorations and alienated vocal bits.
Helium Sessions offers four new zero-g tracks from Tobias. spread out over 27 minutes on this extended EP, his third full-length album will be landing in 2017.

Shara music emerges with a concept that glitters by love for a very special woman named Sara. The producer of Barcelona Owen Ezard presents his new record label, Shara Music, and it starts nothing more , nothing less with this great piece of EP signed by the mexico-Italian couple Mijo & Rodion. A futuristic sound ep charged with hints Techno Latin and classical Italo influence also with the remixes included of "Chapo Guzman" and our great Damon Jee. Exceptional beginning for this label and where in addition They have prepared for us a lot of amazing references that will see the light as the year progresses. First reference Shara Music... SHM001 is coming up

(Frequency / The Nighttripper) Vinyl part 2 / 4 of the Orlando Voorn COLLECTED double CD what we believe is the best from the Dutch producer in his early days. This EP focuses on the early '91 rave side of Orlando Voorn. Classics!
Second Ep (of four) announcing the forthcoming Orlando Voorn COLLECTED double CD that will showcase what we believe is the best from the Dutch producer in his early days. This EP focuses on the early '91 rave side of Orlando Voorn and gather on one slice of wax 4 sureshot thrilling techno classic and moving warehouse tracks for the most hardcore djs.

They say all good things comes in threes, and with the marking of Nachtbraker's 3rd release for Heist, we can confirm this universal truth once again. Maurits Verwoerd comes back to Heist with more dancefloor muscle than ever before, and shows us great development of his sound: while keeping his unconventional drum patterns and love for the deeper side of house, he adds some filtered funk flavor along the way. 'Gotta act to react' drives on a saturated bassline, a hypnotizing guitar lick and some seriously loose hi-hats, but really delivers once those hard to place filtered hits come in. 'Pollo con Pollo' is potentially Maurits' most clear attempt at a straightforward groove, with a lovely dreamy guitar loop running throughout the track. Add his loose sense of arrangement and changeovers, and it's still anything but straightforward. The B- side gets nice and weird with 2 versions of Intermezz(l)ow, the one being a lovely textured interlude and the other a rough drum workout built around the same theme. When we asked Maurits who he wanted to have as a remixer, he suggested he'd do a remix himself. We knew better than to argue with him, and since he is who he is, we're not entirely surprised he came up with a great dubbed out acid-tinged flip of 'Gotta act to react'. This EP really shows Nachtbraker's steady rise and will most likely take him out of the shadows he so enjoys, into headline territory and we're glad to support him in this journey. Sincerely yours, Lars & Maarten

Matthew Dear's Audion project stands proudly at the intersection between art and hedonism, realised over a decade long dedication to powerful and relevant dance music. Growing out of the vibrant DIY Detroit underground, Audion and his contemporaries were free to feed off the energy reverberating from UK and European dancefloors, but singular in their desire to create their own sound and spirit. An Audion release is techno in it's purest sense - whether it's pushing the bombastic limits, spinning the dancefloor out of control or elegantly toying with just a few sonic elements. 'Alpha' is Audion's first artist album in 10 years and comes at the end of a period of fevered activity. The collective body of work standing as a marker in time and a defining moment in the life of the artist. Drowning out the noise of the outside world, 'Alpha' was a puzzle pieced together sonically in the shadows and wildly brought to life in a matter of weeks. The artwork for 'Alpha' has again been realised by Will Calcutt, Dear's long time collaborator, who has a visual plan for the music that matches the sonic vision, completing the final critical piece of the puzzle. Taken from the album, Gut Man Cometh and Destroyer get the remix treatment from UK producers Matthew Herbert and FOLD

MONDO DISKO club has been, for over the past 16 years, the flagship for discerning electronic music lovers and dancers in Madrid. With a loyal and enthusiastic crowd and a booking policy that combines a selection of solid resident djs alongside a list of high quality international artists, creating a record label seemed to be the most reasonable step to follow..

MONDO DISCOS is born as an extension of the club, with the sole intention of bringing to light musical projects that excite us, projects with which we feel particularly identified.

For our first reference, which we found particularly important as it will set the tone, we have a very special and mysterious proposal called MENTHO. This is the brand-new side project of a well known house duo that wishes to remain anonymous for now, and wanted to dig deeper into their more experimental side

Teo's Sock consists basicaly on a mix of electronic, experimental music, halfway between mental electronic vibes and instropected techno. Polirithmic and intrincate patterns with an afro sounding background, deep and moody synth work and an overall endless melodic vibe.

Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.

Entirely curated and compiled by Collins himself, his idea for the 'Take A Look At Me Now' concept is to examine how his songs have evolved over time, with the majority of the additional content throughout the series focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.

Collins returned to #1 in 2010 with 'Going Back' which represented his first studio album since 2002's 'Testify'. 'Going Back' was a personal labour of love project that found him faithfully recreating the soul gems that played such an influential role in his musical life.

The concept, he said at the time, 'Was not to bring anything 'new' to these already great records, but to try to recreate the sounds and feelings that I had when I first heard them.' That objective was achieved with the help of special guests including three surviving members of The Funk Brothers: Eddie Willis (guitar), Bob Babbitt (bass) and Ray Monette (guitar). 

'I decided to call this version of 'Going Back' 'The Essential Going Back',' he explains. 'In retrospect, I included too much music on the original version, and I believe that too much is not always a good thing. Hence this trimmed down selection of my favourite Motown songs.'