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Children, the one and only instrumental song that breaks all the rules, created by Robert Miles. The netherlands producers Tinlicker signed the new remix of Children.

Bio:
Tinlicker are Utrecht based duo Micha Heyboer and Jordi van Achthoven who have been crafting their computerized soul together since 2013. Before joining forces, they individually honed their skills as part of world renowned drum 'n bass act Black Sun Empire (Heyboer) and as producer, songwriter and music editor for many artists (Van Achthoven). Their previous experience was apparent from day one of their collaborative project, resulting in an impressive
string of highly mature and deeply emotive tracks. Since starting working together they’ve quickly become a household name in the world of electronic dance music previously releasing on Armada,
mau5trap, Anjunafamily and Astralwerks. They have released their first full length album 'This Is Not Our Universe' last fall and released their remix album this past spring from the likes of Dosem, Joris Delacroix and Grum.

Spirit Of House’ is a jackin' 90’s Chicago inspired groove. It’s an uplifting, dance floor ready track from two of House music's finest. Those unmissable vocals from the legendary Gene Farris add a stamp of old authenticity – he’s a bonafide Chicago legend, who’s contributions to the House music scene are undebatable. He’s been pushing musical boundaries for close to three decades, working with world-leading labels and artists such as Relief, Dirtybird, ViVa Music and Defected.

ATFC is a longstanding label favourite and household name in the scene. He has 3 UK top 40 hits under his belt and has remixed tracks for the likes of P Diddy, Missy Elliot, Simply Red, Faithless and Dido. He’s entered Pete Tong’s Essential Mix hall of fame - and the BBC Radio 1 tastemaker himself described ATFC’s productions as ‘verging on genius’. This collaboration is a match made in heaven.

‘Spirit Of House’ is a deeply playable, feel-good House record from two of the most established producers in the scene.

‘R U’ features a catchy piano hook, tough drums and that deep, powerful vocal from Gene Farris himself. It’s a stripped back, gritty house cut and we're proud to be giving it a home on Toolroom.

Whilst sampling can be a sticky subject in dance music, 'Tech House Kinda Thing' is a fine example of how digging deep and being creative can be hugely rewarding. The vocal sample on this record is from another house titan; Harry Romero. This was taken from an event promo video that Harry recorded himself and posted on his Instagram page. Being the creative soul he is, ATFC heard it, sampled it, brought the idea to a Toolroom writing camp last November, and voila, this record was born! The record itself is an energetic club workout, produced with the detail and finesse you'd expect from such a legendary producer such as ATFC. With driving rhythms, off beat quirky stabs and that unique, spoken vocal, this really is a special record!

‘Not Enough’ is an uplifting, funky, feel-good tune. It oozes that ATFC warmth and the vocals from Mia Mendez add some serious sunshine vibes! Her voice is super powerful and within seconds of hitting play on this record you're whisked away to a sun drenched terrace!

Once again Scottish heavyweights Duellist and iFormat join forces this time for Manchester’s finest, Drøne.

Their track, Rabid is a journey through twisted synth lines, driving
percussion and punishing kick drums. It relentlessly pounds your brain for just under 6 minutes and doesn’t let up. You have been warned.

The remix package is equally as impressive.

Japan’s takes the track in another direction entirely. Reducing everything down to the bare bones, yet creating something destructively complex. Half time kick drums and a wall of building noise await here.

LA’s AXKHAN is up next, cranking up the intensity with his ferocious take on the original. Dark and menacing from the off, AXKHAN at his finest.

Last by certainly not least is rave behemoth D.Carbone. Peak time warehouse techno is where D. Carbone excels, and that’s exactly what he delivers.

Since the February release of Suddenly - Dan Snaith aka Caribou's critically acclaimed seventh album - tracks from the album have been remixed by Four Tet, Morgan Geist and Floating Points. Snaith follows up with a new EP of remixes by four exciting new artists - Shanti Celeste, Kareem Ali, Logic1000 and India Jordan - each with their own unique takes on standout tracks from the record.

Two stone cold Roy Ayers classics get the South Street Disco official reissue treatment, one side the feel-good disco-tinged, jazz funk fire ‘Running Away’ and the other the smooth groove, love letter funk bomb ‘Love Will Bring Us Back Together’. Melting hearts, melting minds, is there a better Valentines gift out there then two slices of joy from Roy?

From hip hop to house, ‘Running Away’ has been a favoured sampling treasure since it came out in 1977. Co-produced alongside Edwin Birdsong and William Allen, joyous vocal harmonies dance around grooving basslines, strutting guitar riffs and Roy’s warm soothing tones. Top it off with some trademark vibes and it’s a one-way ticket to happiness, pure sunshine smiles all round.

Flip it to find ‘Love Will Bring Us Back Together’. Straight up seductive business co-produced by Carla Vaughn. It’s silky, it’s smooth, it’s everything you want it to be and more. Clavinet wizardry, buttery Rhodes layers and fiery vocals. Loved up funk at it’s best.

Christian Smith returns for his first solo release on Drumcode since 2016, re-contextualising a classic vocal work.

The Sweden-born journeyman has been friends with Adam Beyer since dot one. In the rare instances he has released outside his own label Tronic, Drumcode has received the fruits of his studio labour. Besides the recent contribution to this year’s A-Sides Vol.9 compilation, we haven’t seen a stand-alone Drumcode release from Smith in four years, when his excellent ‘Force Majeure’ stood as one of the year’s label highlights.

‘Your Lovin’’ is his fifth release on DC, taking inspiration from a ‘90s D&B classic. Driven by a Minimoog bassline and hypnotic arpeggios, Smith, a renowned perfectionist, made six versions before settling on the final cuts. The original is stripped back and searing, perfect for late night moments as restrained vocal grabs add colour to the techno palette. The ‘Ombi Dub’ is a straight-up propulsive tool that hits you straight between the eyes.

Das Belfaster Duo Bicep veröffentlicht sein heiß ersehntes zweites Album, „Isles“, auf Ninja Tune!

Zwei Jahre in Arbeit, erweitert „Isles“ die kunstvolle Energie des 2017 erschienenen selbstbetitelten Debütalbums von BICEP und vertieft gleichzeitig die Klänge, Erfahrungen und Emotionen, die ihr Leben und ihre Arbeit beeinflusst haben. Sie beschreiben „Isles“ als „eine Momentaufnahme“ ihrer Arbeit in dieser Zeit, wobei die Stücke so konzipiert sind, dass sie sich in ihren verschiedenen Durchläufen von der Aufnahme bis zur Live-Show und darüber hinaus entwickeln.

Der weltweit beliebte Sound von Bicep entstand, als ihr eigener rasanter Aufstieg im Musikbusiness begann. Nach dem Start ihres legendären FeelMyBicep-Blogs im Jahr 2008 entwickelte sich ihre simple Website, die stets neue Italo-, House- und Disco-Juwelen aus der Musikgeschichte präsentierte, zu einem durchschlagenden Erfolg, der regelmäßig über 100.000 Besucher pro Monat verzeichnete. Nachdem der Blog ein Plattenlabel und eine Clubnacht hervorgebracht hatte, wurde das Duo mit begehrten DJ-Sets, die die musikalische Vielfalt ihres Blogs widerspiegelten, auf die internationale Bühne gehoben. Nach den Erfolgen mit Produktionen für Throne of Blood und Aus Music wurden Bicep 2017 bei Ninja Tune unter Vertrag genommen, wo sie im darauffolgenden Jahr ihr umjubeltes, selbstbetiteltes Debütalbum veröffentlichten, das einen Top-20-Einstieg in die britischen Charts erreichte und in der Groove schaffte, was in der langen Geschichte des Magazins noch kein Release bewerkstelligen konnte: sowohl die Kategorie „Album des Jahres“ als auch mit „Glue“ die Kategorie „Track des Jahres“ zu gewinnen. Titel wie „Opal“ - und der bald folgende Four Tet-Remix - sowie die eben erwähnte Lead-Single "Glue" mit dem von Joe Wilson entwickelten Video wurden 2017 zu Meilensteinen der elektronischen Musik, wobei letzteres vom DJ Mag ebenfalls zum „Track of the Year“ gekürt wurde.

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

Anané Electrifies With New Version of Dancefloor Classic “Get On The Funk Train”

Known worldwide as one of the New York City’s most vibrant, charismatic and talented producer / DJs, Anané is uniquely positioned to bring light to the 1977 Number 1 Disco Hit “Get On The Funk Train,” originally released by the Munich Machine and produced by the renowned Giorgio Moroder

In addition to being a singer Anané is also DJ with residencies in New York, Ibiza and Naples. She knows how to move the dancefloor and how to elevate the mood of the room from first creating the vibe to getting the crowd into a groove; ultimately taking the dancefloor into full fledged party mode. Her strong and distinctive character can be traced to her experiences growing up in Cabo Verde’s capital city of Praia located on the island of Santiago during a time of extreme political strife, and to her many years of working hard to establish herself in the always competitive music industry. It takes a lot to tackle a classic and make it uniquely your own, but that’s exactly what Anané has accomplished with this fresh and vibrant new version of “Get On The Funk Train.”

With her wealth of talent as a performer, Anané is also highly accomplished as a record label owner. Her Nulu and Nulu Electric imprints over many years have been the source of some of the most played and sought after club bombs in the Afro House genre that is currently in vogue with DJs around the world. Her Nulu Movement line of merchandise represents the stylish, cutting edge fashion vibe of her NYC residency at Le Bain in the Standard Hotel, with designs created by Anané herself.

As befitting an artist so well respected and admired in the community, the producer and remixer team behind this project consists of several of the most legendary and successful producers in the industry. The recording was originally produced by Grammy Award winning producer / artist Louie Vega, one of the world’s premier producers who has the rare distinctive of attaining massive success in multiple genres including House, Freestyle, R&B and just recently he has been focusing on revitalizing the great musical genre known as Disco. The production includes live strings arranged by two of the most highly accomplished members of NYC’s storied musical history Patrick Adams & Leroy Burgess, and electric guitar by Carlos Alomar, formerly David Bowie’s music director. Remixes were supplied by Todd Terry, a man who is known as one of the original New York City based producers who help create the House Music genre that we know today, and by the recently formed production team of Michael Gray and Mark Knight, two of England’s most respected and successful producer / DJs. These two stars of the industry have generated a uniquely groove focused remixer style that has had DJ’s worldwide eagerly waiting each new production.

Mennie returns to INFUSE with his latest EP ‘Pressure Disco’, backed by a remix from London’s Laidlaw.

A resident at Florence’s iconic Tenax, with releases via the likes of Rawax, Moscow Records and Adult Only in the past few years alone, and regular collaborations with close friend Julien Sandre, Italian talent Mennie continues to evolve and develop as an exciting name within the European house circuit. Having debuted on the label last November to remix Wax On Mare St., early December will now welcome a return to INFUSE as he delivers three fresh original productions via his latest EP ‘Pressure Disco’, whilst welcoming a label debut from London event regular and BEEYOU Records boss, Laidlaw.

Opening cut ‘The A Track’ offers a up a fun-filled yet slick production as off-kiltersonics, funky samples and snaking basslines go to work, whilst title cut ‘Pressure Disco’ travels down a hypnotic and wandering spiral of crisppercussion, hazy synths and eerie melodies. On the flip, ‘Jam’ welcomes the introduction of swinging drums in abundance, whilst glitchy flourishes and twisting synths go to work, before closing proceedings via Laidlaw’s lively interpretation of the title track – delivering an impressive combination of twisting electronics, infectious bass stabs and bubbling core grooves throughout.

Repress!

A MAJOR EXPLORATION OF TOKYO'S CUTTING EDGE 80S SOUND THROUGH THE MUSIC OF CULT JAPANESE LABEL NIPPON COLUMBIA AND ITS BETTER DAYS IMPRINT, SELECTED BY BRITISH RADIO PRESENTER AND DJ NICK LUSCOMBE.

‘Tokyo Dreaming’ is a superb selection picked from the highly collectible Nippon Columbia label and its Better Days sub-label. For the occasion, we’ve teamed up with journalist and Japanese music expert Nick Luscombe who was granted rare access to the much-guarded Nippon Columbia's vaults for a masterful selection encapsulating the fascinating sound of Tokyo in the late 70s and 80s. The selection mixes electro, synth-pop, funk and ambient and features such artists as Ryuichi Sakamoto, Mariah, Shigeo Sekito, Juicy Fruits, Hitomi "Penny" Tohyama and Yumi Murata. The tracklist includes many sought-after rarities and hidden gems which have never been released outside of Japan and the set has been newly remastered by Nippon Columbia. The album has been designed by famed London-based designer Optigram and is annotated by Nick.

Nippon Columbia, one of Japan's oldest music labels is also one of its most collectible thanks to its sub-label Better Days which, in the late 70s, became a hotbed for Tokyo's new generation of pop artists eager to experiment with ambient, electro and funk. Armed with a string of new Japanese-made synthesizers and drum machines that would soon take the world by storm, they made cutting-edge music, which has since become highly sought-after by a new generation of Japanese music lovers. Nick Luscombe, who has long been a leading advocate of Japanese music from this era, has handpicked a selection of some of the sharpest music released on these labels at the time.
According to Nick, “Tokyo Dreaming is a look back to an incredible era of Japanese music, that still sounds and feels like the future. It was a moment when brand-new music tech from Japan helped forge new ideas and experiments that permeated pop, soul and jazz and helped create new forms of music including electro and techno. The perfect meeting point that would help create a new soundtrack for modern living.“
?The selection starts with "The End of Asia" by Ryuichi Sakamoto from his 1978 ground-breaking debut "Thousand Knives Of" (reissued last year by Wewantsounds). The track became a staple of Sakamoto's and YMO's live shows and was even re-recorded by the group for their 1980 album 'X Multiplies'. The track is followed by Mariah's cult Armenian folk flavoured synth pop classic "Shinzo No Tobira" (1983), which first spread outside of Japan when the Scottish DJ duo Optimo started playing the track regularly at their shows.
?Chika Asamoto's "Self Control" (1988) and Jun Fukamachi's "Treasure Hunter" (1985) are perfect songs in the synth-pop canon, while Yumi Murata's rendition of Akiko Yano's "Watashi No Bus" and Hitomi "Penny" Tohyama's "Rainy Driver" both from 1981, move closer towards the slicker, funkier sound of City Pop.
?'Tokyo Dreaming' superbly showcases the breadth of 80s Japanese music and the way electro pop was a playing ground for musicians to experiment with many styles, as showcased by Akira Sakata's dub-enfused "Room" from 1980, Kazumi Watanabe's discoid "Tokyo Joe" (1980) and Juicy Fruits' "kawai" robotic Techno pop song "Jenie Gets Angry".
?The selection flows effortlessly between many shades of synth and ends with two cult classics in the form of Yasuaki Shimizu's "Semi Tori No Hi" and Shigeo Sekito's ambient-jazz masterpiece "The Word II" from his highly sought-after album "Kareinaru Electone (The Word) Vol.2" which, although recorded in 1975, perfectly announces the synth revolution to come. Tokyo Dreaming showcases the groundbreaking sounds of a city turned giant sonic lab which was restlessly inventing the music of the future.
Nick Luscombe is a highly respected and in-demand music influencer who discovers great music from all over the world and shares it internationally through his many radio shows and DJ sets. He has been in charge of music selection for various radio programs since 1999, and from 2010 - 2019, was the DJ for the popular BBC Radio music program "Late Junction”. He has also curated and presented music shows for Monocle and British Airways radio stations. He has worked as both Chief Music Editor at iTunes and Director of Music at London’s Institute of Contemporary Art, and is the founder of MSCTY.

Superlux Records continues its release schedule this December with a debut EP from Taymor Zadeh. The four-track Life Goes On EP includes three originals from the UK-based artist, as well as a special remix from One Records co-founder, Subb-an. Speaking on the production process behind the EP, Taymor describes how “ Life Goes On was made using a tb303, roland mc505, a 909 which I borrowed from a good friend, some vocal samples from old tape recordings and a load of imagination.”

The A Side gets underway with Bubbleworks , and Taymor’s “imagination” is plain to see. It’s a no-nonsense club-ready cut, with thick hats and an up-tempo lead bassline residing next to an array of bubble-sounding pops throughout. That same late-night feel continues into Life Goes On , as eerie vocals flitter between pulses of acid and punchy, whip-like drums. On the B Side, Gekula takes the lead. Fast-paced with clear minimal influences, we’re graced with eight minutes of dancefloor-geared delight as distorted voices reside atop a driving kick-hat backbone, before Subb-an’s remix continues in the same vein, taking us deep into 5 AM territory with glitchy synths and plenty of dark, low-slung percussion.

With an ethos of quality over quantity at his core, Taymor Zadeh has carved out a bespoke sound within the electronic music sphere. In recent times his releases have been welcomed by Stephane Genacia’s Highpath Records as well as Luca C’s See Double imprint, a testament to his keen ear for production. Berlin-based Subb-an is a leading figure in the UK minimal scene. As co-founder of One Records, 2020 has seen the label celebrate ten years of releases with a two-part vinyl sampler, including tracks from the likes of Anna Wall, Matthew Johnson and more besides.

For this occasion we have an original song by the well-known artist The Hacker, who this time signs it with his alter ego Amato in which he has already published on labels such as Pinkman, Return to Disorder (Helena Hauff), Cititrax….

The rest of the Ep is completed with three remixes. One of the increasingly powerful Years of Denial that have made a voice adaptation. On the other hand, there are the world-renowned Spaniards within the Esplendor Geométrico industrial scene. And to finish a remix of Orlok 101 with a more track-focused theme.

The above references have already been supported by artists such as Dave Clarke, Phase Fatale, The Hacker, Lokier, NX1, Unhuman, Alienata, Reka, and many more.

After the great success of the first two releases of the RE-TOUCHED SERIES, Conform Records continues its journey by giving us a new gem to collect. Gaetano Parisio seems to have no intention of stopping and calls other 5 legends to get their hands on tracks of his label's catalog. The third release contains four tracks plus one digital only bonus with heavyweights Deetron, Steve Bicknell, Ken Ishii, Oscar Mulero and Alexander Kowalski all stepping up.

Once again Swiss legend DEETRON, through his class, hits the mark. His Vesuvius edit of Gaetek's is a slamming track with driving drums and worms synths that bring it into the present day with a real sense of style.

STEVE BICKNELL is another techno legend who runs his own 6dimensions label. His edit of a track from Gaetano's Ritmatica goes as usual directly to the point. Steve stays true to the original sense of the track by masterfully adding his "Lost" touch through reverbs and percussion.

KEN ISHII, a true Japanese techno titan, incredibly manages to bring color and life to Gaetek's Advanced Series Vol. II. The result is amazing! The track is a dance floor killer. Its vintage charm is the key!

The Spanish Maestro, OSCAR MULERO, brings his dark and hypnotic style to the original Gaetek track. His Ømre Edit totally distorts the original one using percussion and filters giving that hypnotic flow for which the Madrid artist has always been known and respected throughout the techno underground scene.

To close this majestic EP ALEXANDER KOWALSKI, the backbone of the German techno scene, through his incredible talent creates a true masterpiece. His edit of Gaetano Parisio's Quake is undoubtedly something special. The syncopated rhythm and the addition of synths, create a third millennium atmosphere. His crystal clear talent as a producer is captured in these 6.25 mins.

Lovers of true techno will not be disappointed. This is for sure!

Group Rhoda, the solo project of Mara Barenbaum, returns to Dark Entries with ‘Passing Shades’. An integral member of the Oakland electronic music scene, Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. This is the project’s fourth LP, and the third time Barenbaum has collaborated with Dark Entries; previously on the Max & Mara LP ‘Less Ness’ in 2013 and the Group Rhoda LP ‘Wilderless’ in 2017.
Passing Shades is an investigation of the metaphysics of loss and the transitory nature of the material world. But it is not a grim collection; over 8 songs, Group Rhoda diverges through synthesizer-laden symphonics, four-to-the-floor inflections, and cosmic musings. Barenbaum’s striking voice and singular songcraft guide us through this labyrinth. Arpeggiated waltz “Flow” channels wisdom sought through martial arts; “Earthly Ark” sets a Margaret Atwood poem from the God Gardener’s Hymn Book to somber electronics. The vocoded canticle “Nevermore” is dedicated to the memory of a beloved cat. ‘Passing Shades’ is both mystifying and revelatory. Folk forms are echoed only to detour into the alien. Each song functions as both a fragment of a larger puzzle and a koan unto itself.
‘Passing Shades’ was mastered by George Horn at Fantasy Studios. The sleeve was designed by Eloise Leigh, and features a hazy, clouded sky. The back cover uses a photograph by Harry Crofton. A postcard featuring a poem by Barenbaum is included, as well as a digital download.

Trends come and go, but our SPEICHER series has never been shy of releasing futuristic, renegade TRANCE. Though the hallowed grounds we inhabit may be on pause, we are always slaves to the rave.

Welcome the debut from SYCUM. An alias from a legendary Berlin musician who needs to remain faceless in order to let the music speak first. So let us dive in….

“The Dream” whispers to the early days of UK rave. Ecstasy encoded transmissions are sent via a galactical groove, set out to space amid a constellation of euphoric sounds that make shapes. “Decoded” is built on the foundation of relentless progression – layered with synth built sorcery of the most profound kind.

Trends kommen und gehen, aber unsere SPEICHER-Reihe hat sich nie davor gescheut, futuristischen, abtrünnigen Trance ans Tageslicht zu bringen. Auch wenn die heiligen Stätten, die wir normalerweise unser Zuhause nennen, zurzeit geschlossen sind – wir bleiben dem Rave Untertan.

Wir heißen das Debüt von SYCUM willkommen. Es ist das Pseudonym eines legendären Berliner Musikers, der gesichtslos bleiben muss, um zuerst die Musik sprechen zu lassen. Tauchen wir also ein…

"The Dream" flüstert von den frühen Tagen des UK-Raves. Ecstasy-codierte Übertragungen werden über einen galaktischen Groove gesendet, der sich inmitten einer euphorischen Klangkonstellation in den Weltraum begibt und dort Form annimmt. "Decoded" steht auf dem Fundament unerbittlicher Progression – Schicht um Schicht baut es sich auf einer Synthesizer-Zauberei der tiefgründigsten Art auf.

2020 sees Jazz & Milk celebrating its 15th anniversary! Since 2005 the label, founded by Dusty, offers an experimental playground for international artists that share a passion for organic and soulful dance music. Many legendary club nights and over 30 releases later, Jazz & Milk has become a household name amongst the eclectic music imprints. The focus has always been to transcend genres, including a broad spectrum of styles ranging from jazz, soul, brazil, afrobeat to house, broken beat and electronic music.

For this very special occasion, the label presents six exclusive tracks by the likes of Steve Spacek, Àbáse, Sam Irl, Feater, Bongani GiveThanks and Moe Fabrik - the club focused collaborative moniker of Wayne Snow, Ziggy Zeitgeist and StyleBoi 92.

With this compilation project, Jazz & Milk is not only celebrating an illustrious 15 years of operation. The label also wants to take the opportunity to highlight the importance of 'community', at a time when racism, greed, injustice and a deadly pandemic are jeopardizing our ability to harmoniously exist with one another.

Peace, Love & (Comm)Unity!

This music was composed for SKALAR, an audio-visual kinetic art installation by light artist Christopher Bauder & Kangding Ray SKALAR is a large-scale art installation that explores the complex impact of light and sound on human perception. Created by light artist Christopher Bauder and musician Kangding Ray, this monumental artwork is a reflection on the fundamental nature and essence of human emotions. By combining a vast array of kinetic mirrors and perfectly synchronized moving lights with a sophisticated multi-channel sound system, SKALAR offers an audio-visual narration of radiant light vector drawings and multi-dimensional sound in enormous pitch-dark spaces. SKALAR is an intense journey through the cycle of basic human emotions. Everchanging tonalities trigger the full spectrum of emotional experiences using light, sound, and motion. The feelings of awe, surprise, exhilaration, and anticipation of having one’s senses overwhelmed are created, explored, and repeated in cycles throughout the piece, providing a collective, yet highly individual emotional experience. Light and darkness as endless cycles of day and night define our perception of time and influence our emotions. SKALAR is a central piece within light artist Christopher Bauder’s body of work, reflecting his deep fascination with light. In this gigantic installation, light is treated as a solid material that can be dimensionally sculpted and shaped, evoking abstract emotional associations. Intertwined with the tireless exploration of textures, rhythm, and sound design by musician and composer Kangding Ray, the silence of darkness is filled with iridescent forms of spatial light and sound. The original composition is spatialised in 360° over a 12 channels sound system, this stereo version has been mixed and mastered to convey a similar sense of space.
As of the release of this record, SKALAR has been presented in Berlin (Kraftwerk) in 2018,
in Mexico City (Frontón) in 2019 & in Amsterdam (Gashouder) in 2020. Fore more information about the piece and its concept, please visit skalar.art

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the 60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South african artists, as well as, of course, his wife Letta.

Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus’s African compositions for the scores to Roots and Spielberg’s adaptation of The Color Purple.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

The Afro-Cuban grooves of “Mamase” open the record. Continuing where Listen To The Wind left off, this is another horn-heavy call-and-response ode to a positive life. Life as an invitation to party, to take part, to “get involved”. But only if you’re willing to let in the transcendent power of music. “There’s gonna be a Mardi Gras, there’s gonna be a carnival; there’s gonna be a jamboree, there’s gonna be a bacchanal”. Who can resist that? Vibrations everywhere.

It’s followed by the joy of “Aida”. Gleeful, dayglow keys and synths *just* on the right side of mid-80s sleaze are accompanied by a killer bassline, slick, skipping drums and proud horns. Infectious funk.

The tempo is taken down a few notches for the powerful “Nomalanga” and the lamentations of a heartbroken man who must leave his wife Nomalanga and their children to join the fight against apartheid. It’s an emotional song, no question, but it doesn’t bring you down. The uplifting music and optimistic vocal delivery from Caiphus and his backing singers in the second half offer hope.

Breezy drums and contemplative keys act as a backdrop for the stunning backing vocal harmonies in the intro of “Moshanyana”. This gives way to stuttering beats, a bassline to die for and Caiphus giving it his all, over guitars, marimba and synth strings. Another slo-mo winner.

Side two opens with “Dial Your Number”, an uptempo English-language boogie-funk workout, complete with mid-song cutaway to a random telephone call. Whether or not this propels the song into “key track” status, we’ll let you decide.

What’s not up for debate is the brilliance of “Matswale”. This was a hit in South Africa in the mid-80s and you can still hear why. It might just be our favourite Caiphus hit. Wow. This is some damn fine breezy, beautiful, emotional pop. The restrained playing, the guitar licks and the gentle keys are out of this world. The beats? Thundering, direct and slick. The singing? It’ll give you goosebumps. As for the sentiment? This is Caiphus singing to his in-laws about their daughter’s adultery, begging them to intervene and help him save his marriage. Not your typical pop single story-telling!

The ferocious “Ndi-Kulindile” closes the set with a nod to the coming sound of the States. The hard-edged, electro-influenced drum patterns and bouncing, elastic bassline are something of a departure from the album’s predominant sound, yet one wonderful constant, Caiphus’s exceptional delivery and his sparring with his backing vocalists, is satisfyingly present and warmly deployed.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The stunning sleeve has been restored, with its painting of a dream-like cosmic vista, as a lone figure takes in a scene that’s part distant planet, part urban sprawl. One listen and you’ll be transported.


Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

One listen and you’ll be transported.

Berlin-based, Dutch-born Steffi possesses near-boundless prowess. As a DJ, she’s proved her effortless mastery of disco, house, electro, and techno; as helm of labels Klakson and Dolly, she’s long maintained her status as tastemaker; as a producer, she has graced us with three solo LPs and numerous 12”s. Dark Entries is now honored to unveil the debut of her project Crushed Soul, a moniker she had used only once in 2013 for an Ostgut Ton compilation track. The mutual esteem of Steffi and DE has been previously fruitful, with Steffi providing a remix for Cute Heels’ 2016 EP on DE, but this is their first full-length collaboration.

The Family of Waves EP represents both familiar and novel pastures for Steffi. While her love of electro and classic Detroit techno have been oft-evident, here we witness the darker shades of new wave and industrial creep to the forefront. This turn for the twisted feels not just natural, but predestined, an inevitable succumbing to morbid forces. But Steffi also views Family as “a playful association...a mix of my past and new modern waves". There is a kernel of whimsy, even joy, lurking within the record’s temporal jumblings. The A-side opens with “Gravitational Field”, which juxtaposes its gnarled bassline with unearthly percussives and a recurrent resonant gong. The wild sonic palette speaks Steffi’s singular voice. “Scalar Property” continues the paranoid propulsion with an unhealthy dose of what can only be described as Metroid-funk, its staccato bass jabs interlaced with ghastly vocal pads. The B-side contains a diptych of slower tracks that juggle reference points both retro and futurist. In “Family of Waves”, a churning EBM-esque bassline battles acerbic yelps. On this track, the collision of past and present is most pronounced, as if A Split Second were covering Mike Parker. “Diffusion of Heat” closes the EP with what feels like a perfect synthesis of Steffi’s musical passions: funky, warbling chord stabs; intricate rhythmic diversions; the ecstasy of repetition. Here, disco, new wave, and techno marry harmoniously, if only to inform us of the disharmony of our present.

All songs have been mastered for vinyl by George Horn at Fantasy Studios. The sleeve and accompanying postcard were designed by Eloise Leigh using video art stills by Goldenliustra.

Repress

Techno Letfield legend. Peder Mannerfelt returns, this time in original format, with the second version of a track called The B. The first version probably never existed. As you will hope that this one never existed too while your brain is melting in a Swedish oven spiced with hoovers and sub bass.

Hard to deny the back and forward energy between the Copenhagen scene and KAOS. Repro is back in the show. The moment of impact is a heavy trip on high energy mode. Please wear your helmets.

Dirty Rocking Bassline is most probably one of my (and SPFDJ) top 3 most played tracks ever. That would be a reason to be more than excited to welcome directly from Devon (UK) to Darc Marc. But you wanted more: Running With The Devil has been another sure hit in your TRACK ID?? requests in the last months. Free-party rooted, hyperdrive, sexy, dark, fast... And now you believe.

The hardcore-IDMish dystopia from Uncrat closes poetically this new issue, giving more meaning than ever to that mighty quote that once a wise friend of mine said at an after and that I take now as life motto.

#TOOMUCHISTHEMINIMUM

Italian Duo Souldynamic have been turning the heat up considerably over the last couple of years. Releasing a steady stream of original track, remixes and their well loved disco reworks they have popped up on some of the most respected labels out there from King Street and Tribe to BBE. Consequently their remixes have adorned the releases of some of the most legendary performers from across the electronic scene including Louie Vega and Dennis Ferrer.
Their latest release the ‘West Side of Afrika’ EP see’s them land on the irrepressible Samosa Records. They are having a glorious couple of years with one sell out chart topping release after another so it’s a well made match.

Comprising four tracks of afro centric house music it’s a wonderfully warm and inviting release if you love your percussive African disco.

Lead track Guinée fuses easy going percussion with an effervescent bassline and a wonderfully expressive vocal. It’s a track which is easy to get lost in, one for those communal loved up dancefloor moments.

Faranah is a more laid back affair again leading off with layers of percussion its swirling dual vocals and brass stabs give it tons of feel-good zest

Over on the flip Bamako is the deepest cut on the release. It’s pounding bassline cuts through the speakers, creating immeasurable straight to the dancefloor energy. Wonderfully succinct playing and a ridiculously hooky vocal top matters off perfectly..

Final track Beyla is the perfect way to see the release out. Energetic brass stabs power the track. Couple those with some brilliant looped up percussion and it’s a track which will fit a variety of situations from the more laid back to the peak time. Indeed the percussive break down midway through is worth buying two copies for.

Another powerful release from the Samosa stable!

History _ its evident that Developer has been unstoppable over that last decade, but it‘s been an even longer time ago that Developer got his start as a DJ back in 1992 where he started djing in the backyard party scene then moving to a residency on 88.7fm Radio then eventually becoming a fixture in the Los Angeles underground warehouse scene playing alongside many of the worlds techno elite and organizing events throughout the 90s into the 2000s. In 2009 Developer retired from events and then converted Modularz from event organizer group to a techno label and began releasing his own music eventually making his way into europe and onto the world. The Album _ Sangre Por Oro, which translates to Blood for Gold, is a full-bodied album, with each track highlighting the different complexities of where techno can go and take you. The whole-room experience that he creates through his tracks high- lights his ability to unify techno lovers, all under one roof.

- Pullproxy Germany

Straight out the gate, Nas dropped a classic. Since the release of the seminal ‘Illmatic’ album in 1994, critics and fans have been wondering if Nas peaked too early and if anything in his subsequent catalogue could be held up against this masterpiece. To be fair, it’s hard to follow up something this flawless, a project that allied his most insightful, pitch-perfect heartfelt rhymes with the work of the best hip-hop producers on the east coast.

DJ Premier, Q-Tip from A Tribe Called Quest and Large Professor all take their turns on the album, along with the unsung L.E.S., but it’s Pete Rock in his prime who provides the stunning backdrop for the cinematic ‘The World is Yours’. It’s a perfect nugget of a single, weaving in the brashness of Scarface, the repetition of a snatch of T La Rock’s early Def Jam gem ‘It’s Yours’ and piano courtesy of Ahmad Jamal’s ‘I Love Music’ from his own timeless ‘The Awakening’ album (1970).

Presented for the first time on 7”, the vocals of the album version and the instrumental on the flip provide the perfect opportunity to enjoy and compare the work of two masters at the top of their game. Pete Rock’s seamless weaving of disparate samples into a compelling whole, the then little-known Nas’ statement of intent. With a maturity beyond his tender years, Nas put himself straight at the top of the pile, this Queensbridge chronicle hinting at the ambition and greatness he harboured within himself.

LIMITED EDITION CLEAR VINYL REPRESS X 300

The iconic Derrick May on absolutely killer form here, "Sinister" is a must have rare Detroit Techno classic, hands down. Originally released on KMS off-shoot Pheerce Citi well over 20+ years ago.

Every track on this EP is essential, this is the sound of Detroit being beamed back at us from the mists of 1988! This records has long been sought after by Techno fans worldwide and is at the top of many peoples want-lists. Now's the chance to own a piece of history.

Buy on sight.

Re-mastered, re-pressed and re-issued in conjunction with Pheerce Citi.

History _ its evident that Developer has been unstoppable over that last decade, but it‘s been an even longer time ago that Developer got his start as a DJ back in 1992 where he started djing in the backyard party scene then moving to a residency on 88.7fm Radio then eventually becoming a fixture in the Los Angeles underground warehouse scene playing alongside many of the worlds techno elite and organizing events throughout the 90s into the 2000s. In 2009 Developer retired from events and then converted Modularz from event organizer group to a techno label and began releasing his own music eventually making his way into europe and onto the world. The Album _ Sangre Por Oro, which translates to Blood for Gold, is a full-bodied album, with each track highlighting the different complexities of where techno can go and take you. The whole-room experience that he creates through his tracks high- lights his ability to unify techno lovers, all under one roof.

- Pullproxy Germany

The third reference of Nöle's Label BARRO will be out in February 2020.

This time, with a 6 tracks various artists compilation:

The Horrorist, legend amongst lengends, brings us a hypnotic and trippy story very of his style.

Millimetric, one of the highest French Electro's representatives, delights us with a booming dance floor focused track.

VCO a.k.a Artik, Tresor's resident, debuts in the label with his first production.

Exterminador has recently published an EP in Marcel Dettman's new label (Bad Manners) and he has created another dancefloor designed bomb for our reference.

Orlok 101, a regular in BARRO, joins us once again with a track filled with touches of Electro, EBM and the Sound of Valencia.

Least but not last, Nöle, boss of the label, closes the compilation with a hard and speeding electro-techno-rave track.

The previous references have been supported by artists such as Phase Fatale, The Hacker , Lokier, NX1, Unhuman, Alienata, Reka, Years of Denial and more!

Continuing a run of highly eclectic and quirky but consistently individual releases (most recently GAMING's internationally lauded Scenes From A Deserted City 2x12" LP, out Nov), the Hobbes Music label is very excited to welcome Jacksonville aka Yorkshire-born, Edinburgh-based artist Chris Lyth, to the fold. He has carpet-bombed the last few Hobbes Music events at Edinburgh's Bongo Club with his excellent live sets and the release has been in the pipeline for some time.

The 'FON' EP (caps intentional) combines a love of classic electro and techno with dub reggae, sound system culture, the UK's contemporary bass scene etc. Mastering was done by Optimum in Bristol, who did a really lovely job, with loads of width in the mix.

This release follows Jacksonville's 'Machines Of Loving Grace' EP which dropped in November via Inner Shift. He has a pedigree spanning some 20 years plus via releases for the likes of 2020Vision, Hizou, Doppler, Thug, Plastic City, Leftroom, A.E.R, Shanti and Dan Curtin’s Metamorphic. This record's a bit of a departure for him.

While we're deeply saddened by the knowledge that there's no chance now of us ever hearing Andy Weatherall play it out, we're kinda heartened by the idea that he would have probably dug it.... RIP.

Drumcode starts 2020 with a sterling EP from genre hero Thomas Schumacher, his first on the label after a long association with Adam Beyer. No ifs or buts, if you’re a techno fan, Thomas Schumacher holds a place in your heart. His 1997 classic ‘When I Rock’ still gets rinsed, he has a vast body of stellar work on his influential former label Spielzeug Schallplatten, including a release from Adam Beyer, and he continues to deliver pin-sharp productions via his Electric Ballroom imprint, including a scorching remix of ‘The House of House’, the 1994 classic from Cherry Moon Trax. The rework was first played by Beyer at Time Warp and has been a 2019 highlight.

He first contributed to Drumcode in 2018 with ‘The Unseen’, a stirring contribution to ‘A-Sides Vol.7’, setting up a maiden EP with ‘Crimson’. Crimson’ is crafted around two minutes of tension-building synths, before a beat finally appears and a rasping deep bassline commands the dancefloor. ‘Feist’ is a no-nonsense brain melter, as 303 arpeggios bloom and recede, creating a thrilling rhythmic intensity throughout lastly ‘Anker’ brings the rave with eagle-eye focus, unleashing a wall of fierce acid to round out off the release.

“Adam and I have both been producing and playing techno since the early 90's. I have deep respect for him as a person and artist. It’s an honour to have the opportunity to collaborate in this way.” – Thomas Schumacher

Intriguing times out there! Much confusion, much uncertainty
and a little bit too much of everything. Even music. And
recording mediums. Greta probably wouldn't approve of
cramming your little apartment with thousands of vinyl discs
that will go to waste at some point. And honestly, does the
world even need another record label? The answer is no.
Except this brand new imprint right here is aiming to put things
a bit into perspective. Bisiesto, meaning leapyear in Spanish
will only issue its releases on every 29th of February. You
know what that means - one release every four years. Less
pollution, less redundancy, essential material that had its time
to ripe, plus it's a fun idea, too. Bisiesto is run and curated by
Carlo and will emphasize on the physical release on vinyl in
limited editions of 366 pieces, hand numbered by the man
himself. Bisiesto #1 is due with four jams by the label honcho
that showcase his variety in an unprecedented manner. The
laid back electro- and e-funk-induced groove of "Momo" opens
that spectrum, maintaining Carlo's unmistakable feeling for
soothing harmonies. "Casiopeia" brings in a bit more of his
signature sound, building up a straightforward feelgood
housetune on thick kickdrums, slapping hihats and energizing
vocal cutouts. You can sum this bad boy up under: Carlo on
top of his game. The following "Tengo" has been released
previously, but appears here in a completely new mix, letting
this bouncy, yet deephouse-tinged piece shine in a slightly
different colour. Closing off is "Domingo" a rather percussive
affair, bringing in some tribal grains, a funked up bassline and
an irresistible breezy disco feel.

Soul Jazz Records' are releasing their long-out-of-print album 'Hustle! Reggae Disco' in a new expanded 2017 edition which now features five extra tracks. This ground-breaking album features non-stop killer reggae versions of original funk and soul classics in a disco style. Reggae disco updates of seminal classics by Anita Ward ('Ring
My Bell'), Chaka Khan ('I'm Every Woman'), Michael Jackson 'Don't Stop 'til You Get Enough,' Sugarhill Gang ('Rappers Delight' here performed by Derrick Laro and Trinity for producer Joe Gibbs) and more, all showing the hidden but inseparable link between the dance floors of New York, Kingston and London.

New bonus tracks to this collection include Derrick Harriott's funky take on Eddie Drennon's 'Do It Nice and Easy', the classic disco reggae of Risco Connection's take on McFadden and Whitehead's 'Ain't No Stopping Us Now' and the London rare groove lovers rock take on Barbara Acklin's soul classic 'Am I The Same Girl'.
'Hustle! Reggae Disco' has been one of Soul Jazz Records' best-selling releases since its first release 15 years ago (and subsequently featured heavily in the early Grand Theft Auto games!). This new edition comes complete fully re-mastered and with all original titles plus new tracks. This new expanded edition now comes a triple album (+ download code), CD and digital album.

'The effect of American R&B and soul music on Jamaican reggae is well documented, but the story doesn't stop there, for disco (and more so now for rap and hip-hop) have also been subsumed into the reggae mix, and while one might suspect that the resulting hybrid would die of its own implausibility, the feral mix of disco with reggae rhythms is so darn infectious that it hardly matters. Once you take your brain out of the frame and just let your feet go, this collection is a dancer's delight all done up in full-blown disco style, but with huge dub-style rhythm tracks ... if you're looking for an impossibly infectious dance collection, this is
it.' All Music

The Liverpool-based DJ and producer ASOK returns to DVS1's Mistress Recordings with his most diversified EP yet: "Mistress 14" unfolds ASOK's raw, analog-heavy sound aesthetic full of broken kick drum patterns, stepping basslines, and lush synths.



With 25 years of record collecting, DJing, and promoting parties around the UK, there is little of the dance music spectrum that Stu Robinson has not been involved with. The Liverpool-based artist has amassed a fine understanding of a wide array of scenes, styles and sounds from drum & bass to electro-funk, disco to house and techno – underpinned by a love of breakbeat. The music under his alias ASOK is an amalgamation of this diversity that has found favor with labels like M>O>S, Lobster Theremin, Crème Organization, and Mistress Recordings.



"Mistress 14" opens with "Space Rockets" which is a nod to his breakier love affairs without using actual breakbeats. While second track "Is Anyone" displays his take on classic Chicago House with a little Roland JD-800 euphoria thrown in. On the flip, "Last Refuge" explores driving, rhythmical techno with ASOK's typical ravey pad-like break in the middle until "The Alchemist" closes the 12-inch by laying more focus on melody and texture with a growing, always changing bassline and an ethereal synth that carries the track's energy. The digital bonus track "Apano Sin" concludes the package with a scruffy somewhere in between everything vibe.



ASOK about Mistress 14:



"Mistress 14 is probably the most important EP I have ever made in terms of showing all the different things I am into. I’m difficult to pin down because I’m not really a techno DJ, or a house DJ, or anything like that. I like all forms of electronic dance music. As a DJ, I mix up old and new, familiar with unfamiliar, playing everything from Italo disco to really dark high-bpm breakbeat. As a producer, it’s not easy to put an EP together that covers a little of everything, yet still sounds cohesive. Especially considering that all my tracks were recorded in long live takes, then edited down with no ability to change parts. Sometimes that requires some pretty heavy editing, but that’s one of the good things you get when making music this way. I’m in control of the creative process, rather than feeling like some kind of colored block administrator drawing blocks out on arrangement view of my computer."

Following the tragic passing of Philippe Zdar last summer, Ed Banger and Glitterbox Recordings have come together to release the final collaborative Cassius production, with the blessing of Hubert Boombass and Philippe’s family. This special vinyl only release features their remix of Fiorious’ powerful call-to-resistance anthem ‘I’m Not Defeated’, a record that captures the energy of historical protest songs, and inspired remixes from Honey Dijon and Catz ‘N Dogz with critical acclaim. The B-side has been specially etched, and the release will be limited to just 2000 pressings, making this a true collector’s item. Described by Fiorious as “an inspiring eight-minute tour de force and the most bittersweet gift to all of us,” all profits from the 12” will be donated to Rainbow Railroad, a Canadian charity working to help the LGBTQ+ community escape persecution and violence.

Speaking of the record, Ed Banger founder Pedro Winter said “Zdar played me the remix while we were heading to the last gig we would ever played together. He knew he and Boombass had delivered a banging remix. The original song was already one of the strongest of the year and adding Cassius’ powerful groove, hypnotic drums and these unifying chords would make this remix an instant classic.”

We are proud to release ‘Fortunate Isolation’ the sophomore album from Borusiade. Born and raised in Bucharest, Romania, Borusiade aka Miruna Boruzescu started DJ-ing in 2002 as one of the very few female DJs in the city’s emerging alternative clubbing scene. Influenced by a classical musical education, a bachelor in film direction and fascinated by raw electronic sounds, Borusiade first combined these universes in the construction of her DJ sets and starting 2005 also in her music production. A sound of her own has slowly crystallized, often dark with poignant bass lines, obsessive themes and by all means melodic. She has released EPs on labels like Pinkman, Unterton, Cititrax, Correspondant and Cómeme, who released her debut album ‘A Body’ in 2018.

‘Fortunate Isolation’ is perhaps Borusiade’s most personal release to date. Eight songs that capture a bystander witnessing the world as it undergoes drastic changes. We have disconnected ourselves from ecology, humanity, preservation, care for what surrounds us, for what is still alive. Borusiade adds, “| know that this place, our home has went through so many other extinctions, but | believe things will find their own way on this planet only once we are gone. Entropy creates a time-line but also a transformation - a new beginning.” The album’s sound is gloomy and powerful mixing sonic film sequences, rhythmic excursions and soothing yet obsessive vocals that touch one’s deepest senses. Lyrically the songs tackle themes of forgotten memories, spirituality, mortality, and destruction. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in a jacket designed by Eloise Leigh with decaying daguerreotypes against a rust color palette and includes an insert with lyrics.

180g White Vinyl

* Following on from the hugely popular ‘Klavirni’ (Emika’s first solo piano album in 2015) her second installment of piano solos are a magical cluster of melodies, dreamy effects, obscure production mistakes with tape echo’s and other old analog gear.

* The pieces were recorded during the time she was pregnant with her first child Silvy, to whom she has dedicated this record ‘To Silvy who heard it first from the inside’.

* The collection of ‘Dilo’s’ which means moment in Czech, were recorded ‘in a state of ultra hyped up creativity combined with a massive fear about losing my identity or creativity as an artist once I would become a mother’ - says Emika about the album process.

* A truly personal affair and in keeping with the original style of the first Klavirni, all the Dilo’s were recorded improvisations by the composer on her home piano, this time in Berlin.

* Dilo 7 from the first album has been streamed more than 15 million times on Spotify and there will also be a ‘Red Edition’ repress of the album on vinyl.

* This release marks the 5 year anniversary of Emika Records, celebrating 5 years of independence since her days with Ninja Tune.

* Dilo Variations EP (not released previously before on vinyl) will come with the anniversary releases on a cute little 10’’ with updated artwork.

* This is also the final release in her Emika Records catalog before starting a new venture in 2020 with more details to follow later in the year.

* ‘Klavirni Temna’ which means dark piano in Czech, explores the relationship between dark and light, good and evil, death and rebirth.

* ‘Music is a powerful and sometimes unexplainable force.’ - Emika

RX-101 has quietly been making waves in the IDM/electronic music underground for the past few years, through a series of archival releases — material recorded in the late-90s, but previously unreleased until Suction Records began compiling and releasing these records in 2016. What’s truly mind-boggling about RX-101’s output is the sheer quantity of stunning, top-drawer material that Dutch producer Erik Jong recorded over the period of just 3 years, 1997-1999. Many have suggested that the whole thing is a publicity stunt — some insisting that this is all new material masquerading as vintage, while others have proposed that the material may in fact be a secret alias for Aphex Twin to release gems from his own legendary ’90s audio archive. RX-101 has absolutely nailed the sound, and quality, of early-90s AFX/Rephlex, that much is true. “Serenity,” this latest full-length RX-101 release, is no exception.

Just as RX-101’s last album, 2019’s Dopamine, concentrated on one hallmark of Aphex Twin’s sound — the smooth melodic techno of his Selected Ambient Works 1985-1992 LP — so too does Serenity reference another classic early-Aphex era, but this time it’s a completely different beast. Don't let the title fool you - Suction Records' latest dive into RX-101's 1997-1999 tape archives is not all lush, serene melodies. On Serenity, scorched, crunchy jackhammer beats combine with emotional, plaintive pads, delivering a classic set of vintage-Rephlex-style bliss, à la AFX, Caustic Window, and Cylob. It was Cylob who coined the term Industrial Folk Songs for his classic 1995 LP, and that release is clearly a blueprint for RX-101’s latest collection.

Standout cut Hearts Utd., featuring a stunning music video by Aidan Fantinatto and I Dream Of Wires’ director Robert Fantinatto, not only nails the magic of AFX’s trademark, irresistible jackhammer-beats-meets-plaintive-melody device, it arguably rivals the master at his own sound. As a whole, what could be a harsh and monotonous collection is lifted by RX-101’s subtle diversity and skill, particularly in his ability to create eerie, evocative moods, with gorgeous melodies that speak volumes of emotion.

After a couple of great remixes for Noir Music Robert S (PT) delivers his first solorelease on the label and I am proud to present these three
amazing originals and two remixes courtesy of Drumcell and The
Advent. Robert and I have been compiling this release over several months and put together what we felt was a really strong 3-tracker. We have been testing the tracks in the clubs around the world making sure we had compiled the perfect release and we are both super happy with the end-result. On top of that we reached out to Drumcell and The Advent for remixes and they both delivered fantastic takes on the “Exoplanets” track.

'GO Wax' is a vinyl only record label designed to show off the underground sound that is the life and soul of the Game Over X One Night Stand parties in Ibiza.

The first release welcomes Salty Nuts & BE9 rising star Fabe who has been one of the all stars of the Game Over parties this summer -
The A-Side is straight club cuts designed to blow minds, while the
B-Side shows off the trademark Fabe groove which has made him one of the biggest names in the scene throughout 2019.

Vinyl Only.