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Already played & supported by Laurent Garnier, Patrik Skoog, Marko Nastic, Jamie Behan, Patrick Lindsey, Martin Landsky, Ramon Tapia,

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records' softer, more melodical and experimental side. Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time!

Maik Richter was born 02.02.1987 in Karl-Marx-Stadt / Chemnitz / Germany. He lives in Switzerland since 6 years.
In 2005 Maik Richter gets his first appearances as Live-Act... Professional Music Production is the order of Maik R. The project is going to professional song composition but in which live performance will remain further a component. The sound of Maik R budges to minimalistical domains - the contrary to beginning of its musical representation. Gentleless and deep pressure sounds are significant for Maik's musical interpretation - the music should be stimulating you for dreaming. For new inspirations Maik R. leaves himself by other artists and external influences (e.g. society, nature) to enrich.

Known from his debut on Orbis Records, Grg is back with his typical warm & analog sound, we appreciate very much!
Born and raised in the GDR, today East Germany, Grg started making music in '94 using analog Equipment.
early 1995, he already played live-sets with 2 friends as Ensemble Acid Paul and later as "grg" on his own. He released on TeKknik Experimental and EAP records.
Still producing with the amazing MPC3k, he never focused on one single Genre. "it's just Electronic Music" he told us. A modest guy.

This EP contains a full side of each Artist.
The A-Side, by Maik, shows you how beautiful and wide dub can be. If you're fan of dreamy dub, you'll love this for sure!
The B-side is a melodic beauty. No words needed. Grg pur sang!
"Leidenschaft" is very dreamy soundscape based on smooth dub rhythm. Gentle, Subtle. Amazing. An ideal track to open or close the dancefloor. A secret weapon for laid-back moments with friends and a good glass of red wine.
"Klangbaum" feels like a statement. Deep, Dark, Swiss dub. Great stuff if you like the deeper side of dubby tracks.
On the B-side, "Chroma": a track that starts as a very basic yet surprising arrangement evolves in a very clean and sharp gentle melodic danceable track. Works on the floor as well in the background having dinner with openminded and electronic enthusiastic friends.
The second track "Fuer Pe Mi" could be categorized under trance, but it isn't. It's just an amazing track full of warm feelings. A track Grg wrote to celebrate the love between his and his wife. We're very honored he's willing to share this track with the rest of the world. Big respect.

After teasing its release at SXSW recently, Kaytranada presents his highly anticipated debut album '99.9%' via XL Recordings. The album finds the Haitian born, Montreal raised producer delivering on the promise of his early self-released EPs and remixes. Since the age of fourteen, when he first began to DJ and when his brother introduced him to music production software, his output has been relentless. He explains, after he showed me the basics, from that day on I couldn't stop making beats,' pumping out a handful of tracks per day for the next couple of years.
Single releases like 'Drive Me Crazy' with Vic Mensa and 'Leave Me Alone' with Shay Lia soon spread his name like wildfire. With that release Kaytranada cemented his reputation and his sound, an undeniable swing of the drums comparable to Dilla's, a signature soulful touch in the melodies and a healthy dose of funky basslines.'99.9%' continues that tradition and new track 'Bus Ride', which features acclaimed percussionist / producer Karriem Riggins as well as rising Toronto vocalist River Tiber, demonstrates that Kaytranada has stayed within his canon while demonstrating growth on the new album.

Run your everyday marathon with the new Rubini's creation: from the frantic streets of Tokyo to the illusory stillness of Paraná's riverside. If you can't get physical, treat yourself with a sonic race.

Our sixth release marks the closing of a circle: Lucky Charmz—the man of our first release, Follow Me To Flottbeck Falls'-EP—returns to deliver his second full length effort. LHLT006 is the U Still Coming Over'-EP, a long overdue follow up to his first EP: More than anything else, it's a fresh slice of summer groovers. Opener Faceless Goat' instantly delights with it's majestic opening chords, only to unleash a smashing grandeur of sample fun and lustful grooves. It's a no-vocals-required anthem, rich in texture and yet subtly enchanting. While Faceless Goat is probably best enjoyed blasted out to vast, scenic landscapes on mediterranean costs from the terrace of a ancient estate, it is also tried and tested for Vorzech', houseparties and—of course—any club scenario (it won't fail you). We cannot help but to notice that Latency Jam''s stoic groove recalls the jungle books's march of the elephants, it's spacey synth madness points to outer space and, well, did we mention that It's super funky Yes, it's a funky spacewalk towards jupiter with your awesome, intergalactic elephant friends. Sonically charming with it's rapid fire hi-hat's, bubblegumspongecake melodies and zapping space laser's, that've all trickled out of a Nord Lead Young Lucky once laid hands on, Latency Jam' will also never let you down. On the flip we find Waffle Cut', yet another sun-oozing Lucky Charmz tune. Captivating trickle-down arpeggios radiate warmth, while soft pads sooth you into hypnosis. It's a bit like staring at the big yellow in the sky for too long—you get all frizzy, drizzy and a little silly.

Raime's second album, Tooth, arrives June 10, 2016 on 2xLP, CD and digital formats. The widescreen melancholia of their 2012 debut, Quarter Turns Over A Living Line, gives way to an urgent and focussed futurism, in the shape of eight fiercely uptempo, minimal, meticulously crafted electro-acoustic rhythm tracks. The DNA of dub-techno, garage/grime and post-hardcore rock music spliced into sleek and predatory new forms.

No let-up, no hesitation. Needlepoint guitar, deftly junglist drum programming, brooding synths and lethal sub-bass drive the engine. The production is immaculate, high definition. No hiss, no obscuring drones or extraneous noise: the music of Tooth is wide-open and exposed. The seeds of its supple dancehall biomechanics can be found in the self-titled 2013 EP by Raime side-project Moin, an ahead-of-its-time synthesis of art-rock and soundsystem sensibilities, but Tooth pushes the template further, binding the disparate elements together so tightly that they become indistinguishable from one another.

If Quarter Turns was an album that confronted total loss and self-destruction, even longed for it, then Tooth is the sound of resistance and counter-attack: cunning, quick, resolute, calling upon stealth as much as brute-force. At a time when so many pay lip service to experimentation without ever fully committing themselves or their work to it, Raime return from three years of deep, dedicated studio research with a bold and original new music: staunch, rude, and way out in front.

Heavyweight soul providers Fat Freddy's Drop are about to take flight once again with the worldwide release of new album Blackbird on 24th June 2013. Blackbird is the third full-length release from the New Zealand band and will see Fat Freddy's Drop exceed half-a-million album sales worldwide, the result of playing over 800 shows in their career-to-date, clocking up 412 appearances in Europe, 27 Australian Tours and over 300 shows in their homeland.

Fat Freddy's Drop celebrate a decade of European touring by releasing Blackbird in East London. The already sold-out show at Village Underground attracted over 4,000 hopeful ticket ballot entries in just 24 hours for only 500 lucky spots.

Featuring nine tracks, Blackbird was written and recorded at Bays, the band's own studio, which was one of the last vinyl pressing plants in New Zealand and then an apostolic church. Fitchie says, 'What you hear on the album is the sound of Bays, the room itself, the vibe of the place and the performance we can get out of the band in there.'

'Blackbird is truer to FFD's musical philosophy than anything else we've done', says Chopper Reeds. 'The song structures are open and unruly - just like our live shows - whilst we've pushed ourselves to deliver rich and deeply layered arrangements that showcase Joe Dukie's exceptional voice. We feel totally at home melding together this unholy mix of disco, rootsy dub, blues, soul and electronic funk - it's what we do.'

Fat Freddy's Drop have released two studio albums, 'Based On A True Story' (2005) and 'Dr Boondigga & The Big BW' (2009), two live albums, 'Live At The Matterhorn' (2001) and 'Live At Roundhouse' (2010) and a stash of limited edition vinyl singles, including the now legendary 'Midnight Marauders' and 'Hope For

been to long' - the well remebered chorus of a successfull parisian duo´s single hit comes easily to mind while thinking of the latest internasjonal release. after a long hiatus - which feels like surely way long - we restart with one half of the formerly well known milanese pair - boogie drama - and it´s very own lele sacchi. deejaying since 1995 sacchi has been and is still one of italy´s and especially milan´s musical icons - at least for electronic and alternative worlds, presents himself in his signature style. high on the heals of the success with rebirth´s smash Lele Sacchi Vs Blonde Redhead - You're Only Kosmiquest' is dark and cryptic, with a mean but very neat and elegant bassline plus an unmatched groove and feel for the floor. this time well balanced with a tad into psycheledic strinig heaven, wich combined with electronic effects is his ultimate kosmische' quest. the whole thing is contered by an airy and superbright no less danceable ' lauer version' and a fantatsic relaxed italo take on kraut which can propably be non done much better than byprins thomas walking on that lunga strada' !

he second time around: fred p aka fp-oner is back on mule musiq with another record that demonstrates the many cosmic qualities of his deeper shade of soul.
it is the second part of a trilogy that features his detailed sonic landscapes that are full of mystery and power. while his last fp-oner album 5' was leaning more to the jazzier, relaxed and atmospherically side of his artistically deep house expressions, the runner-up grinds even deeper into spherical worlds that enhance deep meditative highs.
they are not made for club use only. in fact all eleven compositions work also massively without big speakers. again the new york city native that is working on his very own music for almost 20 years produced a journey inwards that is compelling, mesmerising and enchanting.
you find cosmic dust in it as well as dark entropies, percussive power, sweet seducing melodies and rolling bass power that shakes your inner and outer profoundly. the tracks are listening to names like awakening co creator', alternate reality' or adjusted perception' and the album title 6' stands for a meaning,
that fp-oner describes like this: 6 represents the number of man and his or her limitations, weakness and imperfections.
this body of work examines and looks towards one awakening. adapting to a new way of being creating an alternative and reaping a higher state of mind and being. enhanced by love and serenity, satisfaction and joy.'
all tunes are produced around the world, as he is a guy who never stops feeling in sound. that is why he caries his studio around to get up in the middle of the night or right in the morning after a sweaty party to transfer his emotions directly into sound. the result is massively powerful music with slow, intimate passages for treacly melodies, stirring synth-lines and little rhythmical quaintness.
an almost lyrical house journey that works like a musical sculpture in which organic machine grooves float along keys on air. the evolution of the each track is impeccable and their power grows with any new listening session. fp-oner himself characterizes his art like that: 'my music is designed to enhance deep meditative, or altered states, to allow the listener to personally connect to the creator of all that exists in the universe.
my music style is to first create a foundation using cyclic, polyrhythmic music, then build several layers of improvised leads and rhythms that allows you to transcend time and space... we have memories of past lives that reverberate in our hearts like echoes from ancient caves'.
there is nothing more to add, except that those who do not know fp-oner so far should know that he danced in his younger years in legendary new york city clubs like the red zone, sound factory or tunnel to dj sets of larger-than-life selectors like david morales, frankie knuckles or danny tenaglia.
during those nights he learned that sometimes less is more. and that he should rather listen to your heart and soul, then to the susurrus of the music market. most of the eps and albums that he produced under his other monikers like fred p or black jazz consortium have been released via his very own label soul people music, which exists since more then ten years.
as fred p he also dropped 12inches on jus-ed's underground quality imprint as well as on toshiya kawasaki's mule musiq label. for the latter he now is working on a trilogy under the fp-oner alias. this little paper introduces the second part of it. the final one will hit your heart and soul in an unwritten future. whatever circumstances of life will be around by then: you can be sure that fp-oner will transfigure them into a dynamic emotional and spiritual terrain.

Last year saw the mysterious Garage Shelter make their debut appearance on Skylax, and little is still known about them! All we know is they are back with some freshness on the Skylax Classic sublabel.
First up is Bring Back Love, a track that will sink its claws in with that infectious vocal sample hook. Sticking with the old school sample vibe is the Lonely Heart dub of Attempt; it's a bit more mellow but still has plenty of groove in it. Friend of the Garage Shelter, DJ La Foudre, appears over on the B side with It's Alright (Signal St Mix). Still on that catchy sample tip, it features one of the grooviest bassline and funky guitar pairings I've heard in a long time. Next up, Perception 66 is a smooth house affair from yet another friend, Asa No Hikari. Rounding out the package is Garage Shelter's own You (Still), a dreamy pad-driven track that may indeed be the pick of the release. While we don't know much about Garage Shelter, we can't help but look forward to what they come out with next!

'Nothing' is Kode9's first solo album and is about nothing. The album throws horror soundtracks, sampled library and j-pop records into a no man's land between grime, early dubstep and Chicago footwork. Mostly instrumental, it zigzags between hypnotic, downcast loops, growling drones, and jagged cut-ups of androids gone haywire, threaded through twitchy, transatlantic rhythms and sub-bass inaudible through your laptop speakers. Building slowly, but more upbeat than previous albums, many of these tracks have more in common with Kode9's recent singles from the last few years than they do with his two previous albums with collaborator The Spaceape, 'Memories of the Future' (2006) and 'Black Sun' (2012). Yet 'Nothing' is haunted both by The Spaceape's presence (he died in 2014 after a prolonged battle with cancer), on 'Third Ear Transmission', a communiqué from a zone of digital immortality, and his absence, on 'Void', whose spaces were originally intended for the vocalist, and 'Nothing Lasts Forever', which closes the album with a 9 minute silence. Now confirmed for release as a double-LP, the initial run will be a limited edition pressing on glass-effect translucent vinyl, housed in a high quality gatefold jacket and inner sleeves displaying Optigram's remarkable artwork to its fullest effect. Also included is a complimentary mp3 download code.

25 years old, born, raised and based in Berlin, but all at home in the club. Nitam's debut Retold EP (U-TON 06) already set the tone in 2015, and here we are three catalogue numbers and 14 months later with his second 12 release on Unterton taking a similar line as his debut four-tracker did: new varied sonic themes with an overall fresh sound. Although still being young of age, Nitam outlines once again his interest in dance music from the late 80s and early 90s, presenting himself schooled by classic Detroit House as well as Chicago Acid House, but all without limiting himself to a restricted pallet of styles or catering towards musical expectations.

A1 starts off gently with Keen Insight' and its almost romantic, dreamy and hazy vibe - a mellow, melody-driven and emotional listening piece in the vein of Nitam's initial track Retold'. The following Perception' on A2 is a more functional and club-enabled cut, taking shape with an Acid-informed bassline, moaning syth pads plus claps and percussion here and there.

The flipside begins with Influx' featuring a springy, muffled yet muscular kick alongside a rising synth line. What at first feels like a tool track soon evolves into a more complex song format once the sustained string and oscillating melody kick in. The EP is rounded off by the eponymous Cancellate' and its almost Dubstep-like, placid rhythm progression and drive while being dominated by ceremonial synth pads and wraithlike keyboard speckles.

U-TON 09 once again shows the versatility of Nitam as a producer, a talent that is also being reflected by his ever-increasing interest in DJing.

Killekill catalogue number 025 is a jubilee release:
It's KILLEKILL MEGAHITS II !!
But it's not only a jubilee release. It's also milestone and turning point in the Killekill history, because with this release Killekill closes one chapter, and opens up another.
We are constantly getting too many demos full with good music in way too many different styles to squeeze them onto one label. So finally we have come to the point where we will start a line of new labels with different profiles to give ourselves the opportunity to feature even more daring artists and release whatever we like in the most suitable outfit for it.
So far, there is this compilation, which has been carefully compiled for your pleasure. Label regulars such as Cassegrain & Tin Man, Furfriend, Alex Cortex or Eomac have delivered high quality stuff of all kinds, but we are also introducing a lot of artists who will feature on the coming labels:
Umwelt with his epic and dramatic electro, who will release an album with us later in 2016, Dez Williams with his genre-crossing sound which works on every dance floor plus Power Vacuum's Bintus who delivers his portion of electro/acid madness on Record 1.
Record 2 features the legendary Detroit Grand Pubahs, who present their electro outfit Techmarine Bottom Feeders, The Fool's Stone, which is a new project by Hard Ton, electro legend Adriano Canzian and italian queer artist Brigida plus London's underground hero Jerome Hill, who lets it jack and roll with his Memory Machine.
On Record 3 Kamikaze Space Programme surprises with some bell-driven percussive techno and what can we say It is with great pride that we include the acid techno epos by none other than the legendary 'Prince of Techno' Blake Baxter.
This compilation is a trip through a big musical universe. Enjoy!

SHMLSS consists of Bart and Michiel, two young Dutch guys who connected with each other through the Disco sound they both love. Always searching for those rare gems in dark, dusty old record stores, they often come home with the same records. Their dj sets are diverse and they have developed a particular sound. Resulting from the interesting mix of their personalities you can expect Disco cuts, Africa beats, Ambient stuff and industrial House grooves. Always carrying the latest (or oldest) vinyl's, they always find a way to surprise the audience and themselves with quality disco minded music for open minded music people.
Disco selectors at 22TRACKS Amsterdam , Releasing on Special Edition , Disco Deviance , To Rack & Ruin , Paper Disco , Because Music..

Our next release is by a young Brussels based artist that will be a new name to most of you.
Foreign Material has been into music since his youth. After studying percussions at the Conservatory and graduating in history, his interest in dark atmospheres led him to techno music. The spirit of his music is a mix of ancient myths and futuristic visions. Conceptual music, both mystical and cosmic, with a link between past and future. Here's what he had to say about his EP:
"'Omega System' is a journey to deep space and beyond, to the unknown destinations allowed by the mythical and mysterious Omega relay that's been turning around Omega's red sun since ages. But beware, the path that you will follow is dangerous and nobody ever came back. Some say that you will find death. Others that you will find great treasures. But some wise people think you will finally find Truth."
On remix duties are label friends Hiver, also known for their residency at Milan's Dude Club. Whereas the original tracks are more deep and floating, the Hiver remixes will be of high interest to many a dancefloor, you can trust us on that one.
First pressing on marbled vinyl.

DJ FEEDBACK
Early support from
Sven Väth: Nice spacey sounds !
Len Faki: awesome deep down grooves! beyond omega system are great. thX Len
Ame (Kristian): thanks
Marcel Dettmann: thx
Nick Höppner: I'm really into Hiver recently. Remix 2 is beautiful, will play for sure!
Locked Groove: great stuff
Baikal: remixes are nice especially 2
Pablo Bolivar: Serious tracks here, Hiver remix 2 is my pick!
Bruno Dietel (Radio Fritz / BLN.fm): Hiver Remix 1 is my favourite!
Tomaz (22tracks): love both hiver mixes
Deg (Fuse club): Thanks Tom !

Cyclo is relaunching with an absolute classic track from its extensive back catalogue. Produced by Derrick Carter & Chris Nazuka the Chicago house classic Rednail Kidz "Do My Thing" was an underground smash when it was first released at the end of the 90's. Clubs nights such as Space at Bar Rhumba rocked hard to the incessant groove of this track. We have included a remastered original with 3 remixes:The Nacho Marco remix takes "Do My Thing" into big room territory. Nacho works closely with Roland and on this remix you can witness Big 303 lines and huge bass that will rock most discerning floors.Hallo Halo (Jon Dasilva & Jonas Nilsson) remix the track superbly and add their trademark warm tech sound.Mystic Bill creates a stunning, deep, Chicago inspired, sonic journey of a remix where less is, most certainly, more. Your Only Friend (AKA Tres Manos) adds some warm acid lines and some extra synths for his remix (digital edition only).
We hope you will enjoy these tracks as much as we are !

Following the great ep from Doomwork, Italy strike back with the duo Reform! Two guys who joined their mind together to create music, testing new electronic paths, playing with external machines to creates their own sounds, after only one release and one track on a compilation you can see that the duo have a lot to say into techno.Reform bring here with 'Chaotic dimension ' a very complete release who take from techno madness with chaotic dimension to deep techno for extremis passing by a super funky vibe for dancewear with this vocal who drives you, to end with treasure who deliver a mind blowing experience.

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

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

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

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

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

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

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

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

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

During their European tour earlier this year, Canadian duo Jokers Of The Scene stopped over for a couple of days at Club Bizarre studio in Northern France. The two pair of producers locked up and came up with Betaville and Breakwater, two killer lo-fi and spaced out tracks. Betaville is a fuzzy dream that will make you dance in slow motion with your head in the clouds. Boasting a strong melodic and nostalgic feel, it unfolds its warm analog synth pads, old school sequences and drum machine to psychedelic effect. Imagine Boards Of Canada wanting to make you dance.. Even slower is Breakwater, a dirtier, chunkier track that ditches the softness of Betaville in favour of a more 'in your face' bass line and all together rougher attitude. It chugs along to old fashioned beat box claps and percussion and quirky synth melodies. Lastly Betaville gets the Timothy J Fairplay treatment of being violently pulled apart and chucked in all corners. Reminiscent of early Chemical Brothers music, a heavy beat slaps over agressive drugged up analog sound effects while a repetitive, haunting melody screams on top and reverberated vocals whisper in your ears. Scary.

The Roundtable & Northside Records are pleased to offer this long awaited and special Record Store Day reissue of this highly collectible Australian rare groove LP.
If you can imagine the gathering of a group of Australian session musicians channelling the sounds of Herbie Hancock Headhunter's and Marc Moulin's Placebo, recording an album out of hours at a TV studio and then releasing a privately pressed hard hitting jazz funk record then what you have is Arena, one of Australia's most revered and scarce rare groove records.
This was the name given to a pick-up group of session players led by Ted White, a veteran of the British big band jazz scene (an associate of Ted Heath and Basil Kirchin) who had immigrated to Australia in the 1960s to work in the burgeoning television industry. This one-time studio project (recorded only to test out the facilities for a new studio) barely yet thankfully saw an LP release in 1975. Pressed in minute quantities only with limited distribution, the album was subsequently forgotten and obscured by time, only to be resurrected in the 90s by DJs and collectors seeking out lost and rare records.
The album has since become one of the country's most celebrated and collectible jazz funk recordings and has proved to be a pivotal point in Australian jazz, marking a shift from the modern jazz and R&B sounds of the previous decades to the cross pollinating electric jazz funk of the 70s. Characterized by the heavy use of electronically treated saxophone, psychedelic guitar, Moog and spacey Fender Rhodes, the album is a classic of the genre.
While acknowledging the often compiled and sampled breaks track, The Long One, the complete album offers much more, exemplified by its complicated and obsessive jazz rhythms, abstract and middle-eastern horn lines and pulsing electric funk.

Matt Karmil is a British musician currently residing in Sweden. '++++' is his third album, following 2014's PNN debut '- - - -' and IDLE033, released on Bristol label Idle Hands earlier this year. His output also includes a variety of singles for labels such as New York's Beats In Space Recordings and Stockholm's Studio Barnhus.
On this new album, Karmil can be heard exploring the concepts of impossible objects, reflection, symmetry, infinity - perspective, truncated and stellated polyhedra - hyperbolic geometry, tessellations and lost love. While making the music that constitutes '++++' he interacted with mathematicians George Pólya, Roger Penrose and Harold Coxeter as well as the crystallographer Friedrich Haag, and also conducted his own research into tessellation.
The result is '++++', Karmil's most clever, strange, emotional and fun work yet, a testament to his breadth and depth as a musician. Did we forget to mention that he's an awesome party dj

We here at L A MISSION like to whip out our politics in public. We kinda get off on it. And so we're especially excited to slip you B EANER' s first solo outing on the label . From track titles to sound samples to magazine articles to packaging, this record / magazine / performance package highlights im/migration, the brown experience, and stripped identity. La Mission knows from brown. The collective is run by a crew of devastatingly handsome deviants whose racial identity is, well...it's complicated. We've lived our lives being neither white enough nor brown enough to fit neatly into racial categories. And so we took some time out from our usual exploits (like our MultiDirectional Playground Tire Swinging' orgies and Elected Candidate/Dead Pig/HungerGames slashfic) to focus on brownness. People started talking about cultural appropriation' when Miley Cyrus started twerking. We couldn't throw shade fast enough. But cooptation and exotification runs rampant in all genres of music-including dance music. We here at La Mission feel pretty fucking awkward about it. We've seen queerofcolor culture turned into whitedudebro business ventures. And as brown folks with stripped and fragmented identities, we're never sure of what culture is ours to use and abuse, anyway. Can we honor our own roots if they're messy and broken When we're inspired' by the music of other cultural groups, is that solidarity or stealing Nothing we have is whole. We can only work with the fragments we have at hand, well aware that there's unfinished business... BLACKMOUTH is the live version of the classic soul/disco sampling house tune. Take the work o f o t h e r s w h o c a m e b e f o r e y o u a n d t u r n i t i n t o a d a n c e a b l e j a m . G O T B L U E S u s e s t h e w o r k o f a b l i n d 1930s blues bongo player to form a weirdo repetitive rhythm tool: another example of using a forgotten artist for one's own gain.

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

Utterly magnificent, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty TK Records at the height of the Miami Sound. Beautifully presented... the LPs with a 12"-square, full-colour, sixteen-page album of photos and original artwork. Check!!
A&R was co-ordinated by Gospel legends Ira Tucker — from the Dixie Hummingbirds — and Ralph Bass, veteran producer with Savoy, King and Chess. The label was run by Timmy Thomas, who had recently smashed with Why Can't We Live Together, for another TK spin-off, Glades. Operations were overseen by Henry Stone himself, unlikely King of Disco, who had recorded a young Ray Charles, and pushed forward James Brown. They drew in artists from all over the US, from St. Louis, Columbus, Memphis, Brooklyn, Cabrini Green in Chicago: unknowns like Camille Doughty, reluctant to jeopardise her job at GM ('Generous Motors') in Detroit, and huge-sellers like the revered Brooklyn All Stars, who started out on Peacock in 1958.

Choral belters, deep ballads, harmony quartets, epic city-blues, gritty funk, powerhouse female soul... Killer-diller Philly like a scorching version of Harold Melvin & The Blue Notes' Wake Up Everybody, and Jean Austin's raw Spirit Free, co-written by Ronnie Dyson, produced by Jesse James at Future Gold. Chicago Sound like The Fantastic Family Aires — named after the family's furniture store on North Cicero, but reminiscent of the Staple Singers at their best — through to the full-blown glory of The Fountain Of Life Joy Choir, led by Marvin Yancy from The Independents, and featuring Natalie Cole... Singers like Versie Mae Gibson, from the Jordans, by rights up there with Irma, Etta and Ree... Bangers 100%-guaranteed to find their way into Theo Parrish sets, and mortal delirium for the prissiest of soul and gospel purists.

Fill Spectre is a 25 years old Producer, DJ, Radio Host, Self-taught musician and sound engineer from Montréal, Québec, Canada.

Fill's love for left-field music and metal brings a special ingredient to his tracks that are to leave you reckless when listening to his beats. Discovered by Joe Nice in early 2015, he got into the scene with a splash. Signed on GourmetBeats first, Banana Stand Sound with his dance-floor wrecker ''Battle for Spice'' and now onto well-known established Encrypted Audio, Fill Spebctre music is one which we can't categorize as of yet.

2016 looks like a promising year with loads of forthcoming material and the search for a new sounds. Keep watch!

By all accounts, Whiskey Disco has matured. Each release unique, but compiled meticulously to meet some of the highest standards in the edit community.
WD45 continues the trajectory with 4 tracks combining equal parts soul, boogie and disco. Rastanils cuts up cheesy obscurity to reveal heavy disco vibes—this edit was smashed by MCDE at numerous festivals in 2015. Next up, the 'intriguing' Corsican Brothers reappear after a 5 year absence from Whiskey Disco with a sliced version of I Like It, beefed up bass and space on the platters with a touch of dub. Side B exemplifies the weirdness only a b-side can... Albion's Disco Chopper is a stretched and phased party jam that DOES NOT Stop.
Move to the inside for the lengthy and epic Big Time, a 9 minute exploration into rocking disco roots, courtesy of the eponymously named Blaxploitation movie from 1977.

Black magic, what is that supposed to be A spell that seeks to do harm to others Usually yes, however Taron-Trekka are animated by the best intentions, rather aim for the magic of the night and as always want to merely destroy the dancefloors of this world in a symbolic way. In fact, nobody has comes to grief with the four tracks of their "Black Magic EP" (the last part of their "Magic" triology) - nevertheless, they possess a certain magic.

However, Taron-Trekka don't make jumbo jets disappear, they don't walk through the Chinese wall or initiate other cocky tricks à la Copperfield. They are more like thimbleriggers. Or card jugglers. You know, those guys who surprise you when you least reckon with it. Those who have already outsmarted your mind when you were still thinking that it was just about to really begin. Taron-Trekka have the groove and cast a net of loops, which magically creates a tremendous energy. Loops with which the smallest shift can open up worlds. Worlds, which admittedly appear accessible, but are hardly decipherable. This way, tools become magical tracks. Furthermore, house becomes a music, which brands itself to the last corners of a soul. Just like the trick that you haven't understood until today.

A1 Black Magic Taron-Trekka's ride through the night starts funky and dry with the title track of the EP. The effects bleep here and fade away there, however over distance a magical pull develops. A pull that can only be escaped from with great difficulty.

A2 Monofile Regarding "Monofile", Taron-Trekka conjures a groove as selfwilled as enchanting by initially making vocals and keys appear on a dead straight beat and then letting this very same one stumble over itself. At the right moment it engenders at least as much "Ohs" as "Ahs" in a club, you bet.

B1 Red From black to red, from night until morning. For exactly this moment "Red" was made, which brings every last person to the next afterhour with its swing and depth.

B2 Distance Entirely against its own title, "Distance" may indeed affect one deeply. Namely then, when one wants to delve into funk as subtle as extensive. That is Jan Jelinek at a gallop or SND with more punch. Both are fantastic

It's time for another limited release from Absys Records. This time we're offering a brilliant EP by Hatti Vatti & Lady Katee - a duo recognized well on both Polish and global electronic music scene. You can be sure about the quality of the release - after, all Hatti Vatti is a producer recording with e.g. Synkro, and his tracks have been remixed by Andy Stott and ASC, for instance, Lady Katee, in turn, is known for her vocal endeavours as part of her post-rock band called Little White Lies. 'Farba Wszystkich Zdarzen' labelled as ABSLTD006 is a pink-coloured 10inch vinyl EP containing 4 tracks, constituting a smooth combination of fresh electronica, characterized by a mixture of depth, subtlety and gentle sound of contemporary electronic music and a delicate layer of vocals. As a whole, the EP seems to be hitting the rather more positive, upbeat notes, but still far from simplicity or tackiness, which is an undeniable asset, especially in terms of escaping the ever-expanding mainstream. Interestingly enough, the title track - 'Farba Wszystkich Zdarzen' (check out the official video! (youtu.be/2vCu5wKYXeI) - is the only track recorded by the duo, where you can hear Lady Katee sing in Polish. A small tribute to the duo's motherland, if you may.

Michael Ludwigs, 45 RPM Audiophile — 'Atlantic 75: Genesis, Bad Company, Phil Collins Against the Original Pressings.' YouTube video.

On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with some familiar patterns emerging, wrote Rolling Stone's John Milward.

"First, there are the dramatic rock dirges that use drums as a lead instrument; 'I Don't Care Anymore,' with Collins' one-man band playing alongside Daryl Stuermer's atmospheric guitars, wins in this category. Then there are the buttery ballads, of which "Don't Let Him Steal Your Heart Away" is the best by virtue of a Beatles-like melody that buoys Collins' anonymously sweet voice. Both of these styles were already Genesis staples; it was Collins' uptempo soul tunes on Face Value and Genesis' Abacab that surprised old fans and found new ones. 'I Cannot Believe It's True,' with Earth, Wind and Fire's Phoenix Horns casting out clean lines, clobbers the other soul contenders on Hello, I Must Be Going!, especially his remake of the Supremes' 'You Can't Hurry Love.' Collins took the golden-oldie route on that song and the result isn't soulful, it's superfluous. Despite its trend-bucking boast of an 8-track recording, the album's rich luster is of the old classical-rock school. In fact, the LP sounds like stripped-down Genesis, ornamental but not too ostentatious. — John Milward, Rolling Stone (3 Stars)."

This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Hello, I Must Be Going! was a triple-platinum-selling hit in the U.S. for Collins in the 1980s and it stayed on the U.K. album charts for more than a year, peaking at No. 2. For the fans it is a drummer's album, a record that expresses rage and desperation as well as loneliness and longing. Not an album for every day, but one that really speaks to you when you need it, wrote Martin Klinkhardt.

Following Secret Chapter, Architectural's debut LP, and the release of Amour in 2015 with the Dutch imprint Wolfskuil, we are delighted to bring you release number 7 which continues a saga of EPs that are very effective on the dance floor without renouncing to their atmospheric and experimental roots. Presented in an elegant 10" transparent vinyl, its two tracks, 7.1 and 7.2, share the limelight and will both leave the dance floor in ruins.

In 7.1 Architectural goes back to his roots with marked low lead lines that star in a very intense episode. The resulting sound is dense and compact, and connects the American essence and feel to European abstract futurism. Many will define this track as pure Architectural.

7.2 is not suitable for heart patients. Its intense and rhythmical bassline can put the listener in a hypnotic state for several minutes waiting for something to happen. The repetitive rhythm from the start is so strong it becomes strongly addictive. The track evolves towards an end worthy of a terror movie, where the snare provides an aggressive beat complemented by striking atmospheres.

Both tracks are the perfect weapon for any DJ willing to put to the test the best sound equipments.

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.

The Europe-centered techno scene might be thinking: Where is techno in a city as vast, dynamic and electric as New York It's alive and well, and keeps growing through aptly-named NEW YORK TRAX. Founded in 2015 and based in Brooklyn, NEW YORK TRAX is an outlet for New York music, by New York artists, in New York city.

NEW YORK TRAX storms out of the gate in 2016 with a crushing release from none other than RICHARD HINGE. Mr. Hinge, a pioneering proponent of NY techno since the early 90's, has outdone himself once again with this no-compromises gem, plumbed from the depths of his hardware based Brooklyn studio. Having taken a hiatus from production since his seminal releases on Conrail, Sonic Groove, Hidden Agenda, Disko B and Path Records, Hinge triumphantly reclaims his seat at the table of NY techno greats with this 12'. Only available on NEW YORK TRAX.

Changes' is a track which sounds like changes. Steadily and intently, it evolves and progresses until it breaks the surface and becomes part of your reality.

Ever had voices in your head Auditory hallucinations Well, you like techno, so likely the answer is yes. Now, imagine those voices over a heavily distorted beat. Unless you're headstrong, Voices in my head' might be your worst nightmare, but given the right dance floor, time, and space, serious damage can be done in the best possible way.

Movement', a deep and dreamy affair, rounds out the EP. Here Hinge has no mercy and he wakes you up from that sweet dream with a short rain of intense hi-hats and throbbing subsonics.
Here Hinge has no mercy and he wakes you up from that sweet dream with a short rain of intense hi-hats and throbbing subsonics.

With the inaugural release "Show Yourself", Xosar introduces her new label Gyrocyre. When people on our planet hold built up psychic tensions under the skin, the energy gestates in a womb-like growth until it's ready to burst through the flesh manifest as a creature called a Gyrocyre. Many people opt out of ever letting the beast emerge, happy to function at levels they can predict without having to face the challenge brought on by the Gyrocyre. It grows heavy and bloated with untapped potential. Those who embrace the change slice through the flesh and let it out. It fuses with the host, covering his or her skin like a mask. Depending on the nature of their heart, it gives them tools to save or destroy the world. We invite you to embrace the change and let your Gyrocyre out.

The second outcome on Retrograde signifies the first release of head-honcho Marlon Hoffstadt on his and Natureboy Gold's new imprint. After a short timeout the young Berlin producer presents his new work on this four-tracker in collaboration with Chicago House Music icon and pioneer Paris Brightledge, accountably for releases since 1987 on substantial labels such as DJ International Records. He recently delivered the vocals on Paranoid London's killers 'Paris Dub 1 & 2'. 'Smile' the title track of the EP, highlights Paris' ability to hypnotize the dance floor with his unique voice combined with Marlon's production smoothness. With 'Smile' Paris displays: 'torn from the angst of my soul concerning the tragedy of love and life lost'. 'Smile' got a special treatment by Detroit's very own Kris Wadsworth. His Venus Rx Remix lived up to its name and has some 'pretty nasty analog stuff going on' to catapult yourself right into the atmosphere. The B-side 'Lies' discusses how coming from the streets doesn't always allow feelings to be displayed in life or in love. It's a percussion driven, 303 based club workout. No rest for dancers on this one. Remix comes from label artist Matteo Luis, providing a more synth accented version, introducing an engrossing sound that will be continued on his upcoming RTGD 003. The EP is Paris' and Marlon's first collaboration and we can already promise it won't be the last one on Retrograde. Every copy comes with a full cover artwork by Hermann Reimer.

For the second release, the artist Kaelan joins the ranks of the squad of Shaw Cuts with the EP 'The Silent Swordsman'. Equipped by his sharp stabbing weapon and a mysterious fighting technique taught by the head chief of the Sun Moon Sect Master Wu himself, Kaelan strikes out to hunt. Not hectic but silent, so watch your back!
The chase starts off with 'Latch', a straight techno banger with swirling chords and thrusting percussions that can easily slice the villain's face into pieces. Bloodbath.
'Claw' already gives hint to another weapon of Kaelan just by the track's name. Filled with filtered moving chords and vigorous and intense drums, this tune would be the perfect soundtrack for the final fight between two kung-fu masters, surrounded by befogged dead bodies lying on some mossy floor.
On the B-Side, Farron bolsters up the silent swordsman with a more break-beat orientated version of 'Claw', filled with energetic clap combos, subtle pads and big bass drum hits.
The whole EP is topped off with the track 'Hasen', a beautiful journey into ambient music with a touching atmosphere.
Mission completed. The carnage continues

Welcome to the new output of HueHelix. For our 4th vinyl release, Tomohiko Sagae represents his interpretation of HueHelix along with an awesome Makaton Blood Alone Mix. Tomohiko mixes several elements up including: dark, dirty, strong, harsh, distorted, funky, rocking aspects. No matter what BPM you play, all tracks keep the unique groove and atmosphere that only Tomohiko can create. Makaton completely reconstructs 'Abducted' to make it extraordinary crazy. Stay tuned for the next vinyl releases, you won't be disappointed.

ARTS is a Collective of very blessed artists, this time is the prime debut of the best youth talent i discovered
long time ago, Farceb is coming from Argentina, He is Young more then what you can imagine,
I never found any artist with this quality in this early stage. 4 Cuts to dominate the Floor.

Erased Tapes artists and friends Ólafur Arnalds and Nils Frahm have separately carved out a musical career that defies genres both with their unique live shows and a loyal fan base that's always eager to hear what their prolific output will bring.

Their latest collaborative 2-track release 'Life Story Love and Glory' is a live improv affair on two pianos, recorded in 2012 at Nils's Durton Studio in Berlin. Fans may wonder why they have waited until 2015 to release these tracks, but having revealed a new website you may think this may not be the end to their musical story this year.

We would meet in Reykjavik or Berlin with the intention to share some days off work, hiking, swimming or eating pizza. That is great for a couple days, but after a while we would always end up back in the studio, fiddling with synths or pianos.' - Nils Frahm.

You can hear in the beginning of 'Life Story' how I have already started playing the piano whilst Nils is still moving microphones around and preparing everything. It was all kept in! - Ólafur Arnalds
'Life Story Love and Glory' will be released as a 7' on Erased Tapes - exclusively through record stores only on August 21, 2015 ahead of its digital release later on - as an ode to this classic and beloved format.

We're really excited to release our first 7"! We've been sitting on this Carisma 80's synth boogie track for a few years, waiting for the right partner to come along and finally found one in the shape of 'Breathe', an electro ripper featuring our old pal, Alejandro Paz on vocals. Both tracks bookended our Boiler Room Upfront mix last year and we've been asked about them ever since. Now you can enjoy them too.

Dear Vinyl Enthusiast / DJ,

The tracks on this 2 X 12" received some special individual treatment which I hope you'll enjoy listening to or playing in your local disco as much as I did making the. Box Saga has been a firm favourite of mine for a good 20 years already and although it's baggy pants and loose groove is exactly why I love it so much I thought it would be fun to do a slightly different take on it.

Ü is a recent fave of mine but as the record is super long and has a very DJ-unfriendly ambient intro, I gave it a couple of chops and hope you're brave enough to bring it to the dancefloor where it belongs. The tracks by Joachim Holm & Alejandro Mosso, Actress, Hieroglyphic Being and Blacknecks are all quite sparse to begin with and with the approval of all involved you can now smile or cringe at these "Versions" where I "join the band" on some of my recent favourite records. Thanks to the artists and labels involved for letting me use their music.