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Putting the foot to the floor French duo Haydee's "No Gouvernance" revs and rumbles like a cantankerous, clapped out engine. Rust breaks clean in huge chunks as screams and shouts punch through the thick drum fumes. Industrial legends Hunting Lodge follow in a similarly smog spitting motor, the drunken mechanical tirade that is "De Omnibus Dubitandum." Bass and beats crack and leak in this scarred proto-acid work from 1983. Newcomer Catriel drowns "nbdymksmefeellow" in a sludge of static, indecipherable words gurgle as percussion attempts to save this doomed victim. Giant Swan (Timedance) then take a piece of pipe to "Dare", pounding it with heavy blows, forcing confessions through verbal assault before leaving it more bloody pulp than track. Finally Gotshell (Blueprint) closes with a rumbling double brewed remix of "De Omnibus Dubitandum. A 12" that'll leave speakers blown and listeners in need of a tetanus shot.

Spin your ears back to 1989 and enjoy the debut album of Coldcut once again! The bouncy good-time cut-up party people got started with What's That Noise, a particularly lively swirl of breaks, acid house and hip-hop. The guest vocalists on the album includes Lisa Stansfield, Queen Latifah and Mark E. Smith. Reissued by Sony.
11 track album on standard black vinyl with download code insert

2022 Repress

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

* Includes a DIN A2long poster inside the 12" sleeve with edition number and music download code

* Rogue Style 1 EP is an international homage to b-boy culture, where the worlds of breakbeat music and breakdance collide. Sinistarr (USA), Kiat (Singapore), Kabuki (Germany) and HomeSick (Canada) are connected in many ways, now they lay bare their hip-hop roots and give something back with a fresh take through the eyes of drum & bass and juke/footwork. Here is what they have to say:

Sinistarr: "As a teenager I grew up as a b-boy, dancing anywhere I could: schools, parks, festivals, you name it, my crew was there with cardboard and a speaker. I eventually got deeper into DJing and making music and learned to bring a sound that's not just for the crowds and the purists, but also for all the dancers!"

Kiat: "Hip Hop has taught me to keep evolving, to explore new forms in all my art. Progression is the key to evolution. -- I met Sinistarr online thru myspace and we had a musical connection which led to our first collaboration 'Black Diamonds' which is still one of my personal favourite tunes I've been fortunate to be part of it's creation. With Kabuki, i've always been a fan of his work since his 'Makai' alias on No U-Turn, despite meeting him only recently thru the label.I've always known him to be constantly progressing his ideas in his music which I respect alot."

Kabuki: "B-boy culture has always been a strong influence on how I pursued my art, mainly because of its DIY ethos and attitude of perfecting your craft. Incidentally these were also the aspects that drew me to Jungle when I first discovered it in the nineties. -- I'm happy to rub shoulders with Kiat, Sinistarr and HomeSick on this release, as I'm a fan of their music foremost, but also because we became friends through the music."

HomeSick: "I was only a child in the 90s and as a result I feel like my understanding of b-boy culture was experienced second hand thanks to 90s/early 2000s hip hop music. I appreciate the parallels I can see with footwork culture, particularly the similarities to the community mentality of break dancing. -- I know Sinistarr through booking him for our local party night in Alberta, Canada called Percolate. Our city must have left an impression on him because a year later he made the move here from Detroit. Had the pleasure of hosting him as a room mate for a little over half a year, the home was a very potent creative space during this time. Kabuki hit me up a few years ago and we very quickly got to sharing tracks and collaborating together. Mans a master of production and a super important part of the global scene."

The idea for a reminiscence of b-boy culture stem from label owner Booga:

"Why am I interested in this so much I grew up in East Germany and as the movie "Beat Street" premiered in 1985 over here I was age 13 and blown away by the energy, the music, the wit, the style - everything in this movie was better than everyday life in Leipzig. So I started saving for a cassette recorder and taped music shows from West German radio and prepared tapes for school disco gigs to the hope somebody would do the "robot" to Arthur Baker "Breaker's Revenge". Unfortunately that never worked out hahaha. But I was hooked since then and as the wall came down in 1989 I travelled to West Berlin just to buy the Beats, Breaks and Scratches 1-4 vinyl box by Simon Harris. The fascination for breakbeats never stopped and before I discovered Jungle around '94 I was down with the British cut up house thing from the likes of Marrs, Krush and Coldcut as another form of breakbeat music. The "do it yourself" spirit from hip hop culture inspired me to start a local website called breaks.org in 2000 to locally promote the drum and bass scene with emerging producers, djs and mcs for a wider audience and I threw in some interviews with Storm, Kabuki, Rob Playford, Klute and John B. That turnt into a multi author blog called itsyours.info in 2004 which still exists - that is where I had the pleasure to introduce Kiat and Ash in 2007. All these years I was listening and playing drum and bass tunes when the occasional "bboy tune" came up, some were obvious like Alex Reece "B-Boy Flavour", Lemon D "B Boyz", Commix "Change" and some were not so much self-explanatory like Digital & Spirits "Phantom Force" and the remixes by T-Power & Codeine or Fracture's Astrophonica Edit - but I felt the hidden force of breakdancing nevertheless. With the Rogue Style series I have the first class opportunity to ask established and new Defrostatica artists to present a current interpretation of b-boy culture. This is a dream coming true."

Breakbeat Paradise Recordings is pleased to welcome back the Laptop Funkers for another set of high-octane fun & funky breakbeat. This 8-track album is a symphony of samples and breaks designed for you to Feel The Goodness. Following up on the successful vinyl release Ready to Rumble from 2013 the Laptop Funkers is back in better shape than ever!

Almost instantly after Ready to Rumble was sold out and a repress was demanded , tunes started coming in for what quickly turned out to be a full album release. Now after tweaking and perfecting these jams for over 2 years we are ready to present you with Feel The Goodness - a 12" vinyl filled to the limited with the finest beats and breaks this scene has to offer.

The Laptop Funkers ( the alias used by producer and sound designer Nuno Soczka for this breaks project ) is an elusive underground act that only emerges when there are some fresh choons to showcase. The influences are not hard to discover and Laptop Funkers has no problem in taking us back to the glory days of Big Beat with tunes that would make even Fatboy Slim and The Chemical Brothers feel envious!

Some of the biggest grooves you've heard for a while can be found throughout this ruthless funky album : from the soul-gospel flow of the Feel The Goodness tune to the bouncy brass works on Ain´t Nobody Like We , the ghetto drops on Incredible Funk and the contagious funky groove of Soul Power , from the pump up energy on I Can Keep It Going to the laid back soulful vibes on Where The Funkers At , the b-boy banger attitude of Got The Party Rockin and the chemical psychedelics of The Temple.

8 golden joints of epic sampling inferno that'll be sure to keep you entertained from start to finish. Comes in a full-color front-and-back cover 12" vinyl package with custom illustrations by the talented Cristiano Suarez.

As so many times before BBP is here to provide the b-boys and girls with some proper breaks to keep the party going...,

Elon make with the DIY vibes on the smart EP. Fans of Live Jam releases, listen up! On the title track sharp cuts, tight bursts of sound and loose percussion combine into a complex rhythm that is kept in check by a nice tumbling bassline. Jazz breaks hit the speakers with Got Ya, Tiger! Like a night out in Soho in 1962 brought back to life on an MPC. The bruising bassline just shouts 'Dance Or I'll Kick You In The Guts". Alex Celler's Broken Circuit Dub of Got Ya, Tiger! ramps up that kicking a notch. All those bruising elements are still there, but the guy grinds those jazz breaks up in his big metal jaws and spits out a gobful of twisted future. And you're gonna like it! Elon team up with Stefny on Téo, which finishes the EP. And you can feel her effect - she clearly loves a cheeky little synth line, because there are plenty of them here... squalking, meeping and dooping in perfect harmony to create a nice trancey brainfeeder. Nice.

We’re extremely proud to present Leaving Time, a new EP by Christoph de Babalon. The EP has all the menace and grit that the Hamburg-born, Berlin-based producer is known for, but packs a potent, dance-ready punch that breaks new ground.

Leaving Time begins with the snarling subs ‘The Upper Hand’, and momentum builds through the panoramic breakbeats of ‘I Trusted You’ and dubwise groove of ‘Steps Into Solitude’ to reach the symphonic release of ‘Got to Let Go’.

This record encapsulates everything we love about Christoph’s music – it’s doom-laden, introspective and crafted with intent.

In short, it’s CDB on a 140 / fwd tip - fuck the chairs!

About Christoph de Babalon:

Christoph de Bablon first became known for his work on Alec Empire’s Digital Hardcore Recordings in the early 1990s and has championed a misanthropic take on drum and bass that has stood the test of time.

A punk-influenced fusion of jungle, breakbeat and dark soundscapes, his signature sound has become the stuff of legend – Thom Yorke once said Christoph’s pioneering debut album 'If You’re Into It, I’m Out Of It’ was the “most menacing record” in his collection.

After a brief hiatus composing music for theatre (we’d like to hear what that sounded like), recent releases on labels such as A Colourful Storm, V I S and AD93 have sparked renewed interest in the German producer, and with much excitement from his loyal following of die-hard supporters.