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Record Store Day 2015 will see a special release from Gene Hunt directed and selected by label boss I-Robots.

The two track vinyl EP features unreleased material produced in the early years of the famed Chicago artist's career in the 80s and is dedicated to musical legend Frankie Knuckles who appears on the artwork in a rare picture with Gene Hunt from back in the day.

Gene has regularly produced and remixed for the label before now (including remixing Klein & M.B.O. 'Last Call' and on forthcoming I-Robots project 'Dirty Talk' ft. Donna McGhee) and has already assured his place in house history as a DJ headlining clubs like Warehouse and the Music Box as well as playing with the likes of Ron Hardy and Larry Heard.

As a producer he has been on top of his game for three decades and has released on legendary imprints such Rush Hour, Svek, Djax and many more, so is a true house icon.

His first cut here, 'Drive Yourself Nuts' is a classic bit of Chicago jack with prickly percussive patterns staying busy on top of punchy drums. Wonky bass, physical grooves and coarse claps all make this one a standout banger for the peak of the night.

On the flip of this special package, 'Wildside D Dubb' is a slow building, mania inducing tune with a lead synth line slithering about over dusty metallic drums. Eventually some acid bleeds into the mix and pans all around, adding a sense of scale to this heady, freaky, dance floor smasher. As ever, Opilec Music show others how it is done with this real and rare bit of true Chicago house history.

Today burgeoning band Drew X Hill announce details of their second stunning EP 'Bullets', revealing the first track by the same name, and the tracklisting for the EP in full.
2014 saw Groove Armada Deliver an exceptional Italo 90s piano house remix for 'Talk To You EP' which was heard at every festival and terrace during the summer...'Bullets' is slated for release in May on their label home of the forward-thinking Born Electric, which is headed up by DJ/Producer James Zabiela.
Lead track 'Bullets' is sparse, beautifully influenced by the likes of Royksopp, Moderat, Imogen Heap, Shlohmo & James Blake whilst Michele's vocal's are both haunting and compelling.
Hailing from Denmark and Cologne respectively, Michelle Drew and Philipp Hill's paths first crossed in an unlikely city on the South Coast of the UK. Their style is hypnotic, off-kilter and deeply rooted in electronica with the added edge of Michele's beautiful vocals; forming songs constructed from the heart that will later be complimented with some very special remixes made for the dancing feet.

Originally released in Japan only, back in 1979, Prone is considered by most aficionados to be Ned Doheny's crowning glory. Even better than the superlative Hard Candy. So quite why this AOR/soft-funk gem has not been available legitimately on vinyl for over 35 years is anyone's guess.

To celebrate 'Be With Ned' - the West Coast maestro's first ever tour of the UK and Europe in March 2015 - Be With Records proudly present the first ever officially licensed reissue of this forgotten-funk classic. What makes this release truly special is the inclusion of the full-vocal version of jazz-funk classic To Prove My Love. It's the version of Prone that everybody has been waiting for.

Produced again by the legendary Steve Cropper, Prone's super-smooth grooves showcase Ned's beautifully laid-back vocals, virtuoso playing and forever-wry lyricism. Aside from To Prove My Love, it boasts some of Doheny's most under-appreciated tracks: witness the slickness of Think Like A Lover, Guess Who's Lookin' For Love Again and Funky Love.

Pressed on audiophile 180gram vinyl and featuring the original artwork for both jacket and lyric-insert, this limited reissue is one to treasure.

FINA Records presents 'Tyranny of Fun', the debut EP from Slow Learner. The coining of the new alias 'Slow Learner', marks a new chapter and musical direction for an already established artist who is by no means new to the game. Preferring to start afresh and steer clear from associations, the somewhat reclusive figure from the South Coast is now focused instead on allowing his new output to speak solely for itself. And his debut release under his new pseudonym achieves just that. 'Tyranny of Fun' is an accomplished sonic offering that reveals a versatile sound characterized by original combinations of samples, depth and range. The EPs opener, 'The Skin Horse' is surely one for the after afters - a dark and off kilter growler of a track whose prevailing bassline and waltz time beat provide a brooding backdrop and relentless rolling nod to its intricate fusion of dissident chords, dusty synths and jazz stabs. On the flip side, an unpredictable 'Cupboard Love' starts muted and deep but soon surprises, opening out into a warm and progressive feel-good groove. Mixing things up again, Slow Learner impulsively cuts up the flow 4 minutes in with a funk-filled refrain, leaving the track dancing in and around dirtier disco territories. Last up, a made for vinyl 'Honey' goes deeper still; a delectably crafted down tempo offering whose syrupy vocals stir and evocative cross-rhythm synths, coupled with the vintage analogue percussion, ooze an unmistakable old 90's deep house sound.

Broken Arrows are the powerhouse duo of Londonís Bill Ambrose and Spruxx. United over an envy inducing collection of vintage and modern synths and drum machines. Broken Arrows are the sound of a slime coated pansexual Club DíAmore as populated by malfunctioning ED-209s getting real freaky. Taking cues from classic EBM, Minimal Synth, these three dark-fucking-wave destroyers are complimented by a remix from the one-man-brutalist-factory known as Drvg Cvltvre, taking the title track and twisting it into a reimagined 8-bit NES grinder / grindr. Including download code.

Buena Vista Social Club release 'Lost and Found,' a new rarities compilation packed with previously unheard live and in-studio material.

Coming almost two decades after the release of the original Grammy-winning, self-titled LP, the new album is a collection of previously unreleased tracks—some of which were recorded during the original album's sessions in Havana and others from the years that followed. Lost and Found is available to pre-order in iTunes and the Nonesuch Store (and outside of North America in the World Circuit Store) with an instant download of the album track "Macusa."

The studio tracks on Lost and Found were recorded at the 1996 Egrem studio sessions in Havana and during a period of rich and prolific creativity stretching into the early 2000s following the recording of the original album. Lost and Found also features live recordings from the world tours of Buena Vista's legendary veterans.

"Over the years we were often asked what unreleased material was left in the vaults," says World Circuit's Nick Gold. "We knew of some gems, favorites amongst the musicians, but we were always too busy working on the next project to go back and see what else we had. When we eventually found the time, we were astonished at how much wonderful music there was."

The original Buena Vista Social Club album became a surprise international best seller and the most successful album in the history of Cuban music. It was recorded for World Circuit Records by Ry Cooder over seven days in Havana in 1996, bringing together many of the great names of the golden age of Cuban music in the 1950s, several of whom were coaxed out of retirement for the sessions.

Beyond Time is the first album by acclaimed experimental group 23 Skidoo in fifteen years, released in a special double disc edition combining the soundtrack music to 2011 documentary film Beyond Time, and a DVD of the film itself.
Directed by Alex Turnbull and Pete Stern, Beyond Time is a journey into the life and work of artist William Turnbull, from his modest roots as the son of a Dundee shipyard engineer to his standing as one of the world's most highly regarded modern sculptors. Narration is by Jude Law. 'An insightful, irreverent documentary, yet with a palpable sense of purpose' said the Daily Telegraph, with the Guardian confirming that'William Turnbull helped change the way we see art today.'
The soundtrack music is performed by 23 Skidoo. Formed in 1979 as industrial, post-punk and funk genres coalesced, the group included Bill Turnbull's sons Alex and Jonny together with Fritz Catlin and Peter 'Sketch' Martin. As well as new music, the accomplished score features re-worked versions of older material. 'Johnny and I thought 23 Skidoo's anti-commercial tendencies came from a punk sensibility,' explains Alex. 'But it turns out we had a genetic predisposition to anti-establishment practices. Bill was a polymath at a time when that was a dirty word, shifting between sculpture and painting and putting both in a symbiotic relationship. Now crossing boundaries is everywhere: think of hip-hop. The name of the band referenced a William Burroughs short story. Burroughs used, as we did, cut-up techniques, collaging and sampling. We were oblivious to the fact that a lot of that aesthetic was in what Bill did until I made the film.'
Both the CD and vinyl versions of Beyond Time include a Region 0 NTSC format DVD of the documentary film (with bonus features), but feature different artwork. The CD/DVD package features a portrait of Bill by photographer Ida Carr, while the vinyl/DVD version features a detail from 05 by William Turnbull (oil on canvas, 1959) printed on matt reverse board.

IIB's latest release is an EP from The clandestino crew. First track is a slo mo cosmic melodic acid dub. A beautiful early evening trip. This is remixed by the Beat Broker who adds a few sublime uplifting west coast sprinkles. The first track on the B side is a solid disco tinged house beauty with synth stabs subtle acid undertones claps and a great sample. The final track is Beyond the Sun. A mellow eastern tinged sundowner featuring another great sample. This EP really captures the original IIB sound and philosophy. A real gem.

Roland Tings is Melbourne's jack-track anomaly with a penchant for acid coastlines and nebulous rhythms. Still fresh off 12 releases for 100% SILK and Club Mod, the Melbourne producer dropped the stunning 'Who U Love' EP with us last spring, to critical acclaimand in anticipation for his debut whoch is finally here now. and what we are truly excited to present. Forged by Melbourne's forward-thinking nightlife institutions, Tings made his debut with the Milky Way EP on 100% SILK - the enigmatic dance imprint founded by Not Not Fun's Amanda Brown. Having laid the groundwork of a raw-satin aesthetic inspired by that of Larry Heard and Robert Hood, his sound was solidified on the Club Mod-released follow up Tomita's Basement, featuring remixes from Future Times' Maxmillion Dunbar and Junior Boys' Jeremy Greenspan. Functioning as club-ready oddities with neon finesse, his releases thrive as rhythmic visions pushing dancers into his very own modular oasis. Having toured across much of Australia and Europe, he's backed up headline club shows with appearances at MONA FOMA and The Meredith Music Festival as well as support slots for the likes of of Tim Sweeney and Juan Atkins for Modular's Sydney Festival showcase. Now riding with a tight community of Australian producers enjoying recognition around the world, Roland Tings' custom texture continues to fold into a vibrant late-night fabric accessed around the world and you will see this reflected by the goodness and versatility of the 8 tracks on this vinyl.

Our 14thDubplate in the series sees young recruit Bopperson step up to the plate for the very first time. His unique approach, recording 45s at 33 RPM and then editing from there, delivers dance floor friendly results.

Side A sees Harry Coade's version of Michael Jackson's Remember The Time get the slow & synthy treatment. While on the flip, chesty country legend Dolly Parton gets deep as her voice and those strings are slowed and stretched by Bopperson for a cunning take on the heart wrenching Jolene.

REPRESSED !!
Tim Xavier's newest imprint looks to cross the boundaries between House and Techno, this time featuring Jamaica Suk with her Spektrum EP. Stepping into harder Techno territory the up and coming artist brings a solid 4-track EP with style and flair like none other.
Born and raised in California, Jamaica Suk has always been surrounded by music playing many instruments as a child. In her teenage years she began to play bass guitar in many Math Rock and Shoegaze bands. After becoming frustrated with the conflicting ideas of band members she would eventually find a new love in electronic music.
After enrolling in audio engineering school in San Francisco, she quickly became a known force within San Francisco's electronic music scene. Once she completed her audio engineering studies she decided she wanted more. Traveling around the world following her Techno dreams, she would eventually find her new home in Berlin where she has built her own fully functioning production studio at Salon Wilde Renate.
Jamaica makes her vinyl debut on Face To Face, following her Embers EP on Coal Recordings. Her sound can be described as sexy and sophisticated contemporary Techno but still packing a punch that puts it perfectly in line for prime time sets. The 4-track EP with a bonus digital only track explores all her ideas as a musician and artist including taking inspiration from her rock roots with gritty raw elements.
Already highly respected amongst her professional peers as a tour de force of creative energy and drive. There is nothing this woman can't do, as all her work is produced and mixed solely by herself. She continues to push the boundaries of Techno music while staying true to herself as an artist and it's through this determination we're sure to see more from Jamaica as she continues to evolve.

Roy Comanchero is a DJ/Producer. He doesn't like modern tool like laptop, but loves cheap and vintage machine instead.

He is traveling and looking for golden shiny beach like Cancun, Miami, Gold Coast and Nice... to make music everyday.

Big Strick and Generation Next follow up their highly successful CD album " Like Father Like Son" with a vinyl double album. It features 7 songs from the album along with a bonus track from Generation Next. With vocals tracks featuring Don Q and Tony Coates, Next and Strick bring us flavor and funk. ' The Ride' features Tony Coates, bringing lyrics for the soul. Along with the warm vocals is a warm bass and moving percussion. 'Ypree' is the bonus track produced by Generation Next. It is a mellow, hard hitting underground track. Hard drums and loud claps. Reverbed high hats and repeating congas.

The eighteenth Theomatic installment comes courtesy of Amberflame. The A-side Unique is a lean towards the early-naughties dancefloor-oriented French electronica with a certain amount of delicate synthwork and contemporary crisp blended in. The laidback and melancholic Ultraviolet, on the flipside, would, without any doubt, make a perfect soundtrack to a sunset drive down the coast... with a beautiful lady... in a convertible.

Planet Rhythm is gearing up for the second effort in their PRRUKBLK series. Both Moerbeck and Fanon Flowers have come up with 2 gritty peak-time anthems made out of heavy drum-action, distortion and hazardous percussion. Moerbeck's A-Side is a ferm combination of granular synthesis and vigorous drums. Where "Black Hand" recalls memories of graveyard shifts in soviet coal mines, the A2 track Mode evokes up a more tripped out state of mind.
Fanon Flowers lays down a more ominous ambiance for his B1 track that has the more than suitable title "Vultures Circling Part 3". Closing down the B side we find "Vultures Circling Part 1" which carries that same threatening vibe but with even more energy due to the use of abundant percussion.

On the back of an exciting debut album in 2012 that saw him perform live at Sonar festival and later with his band at Vienna's Volkstheatre, before disseminating music on Permanent Vacation, Suol and Connaisseur Recordings, enigmatic Basque Country producer El_Txef_A returns with his sophomore longplayer 'We Walked Home Together'.
El_Txef_A (pronounced 'Elchefa') has crafted a work that just like its journey-conjuring title, charts a shifting palette of sounds and moods, exemplifying its creator Aitor Etxebarria's breadth of skill.
Produced entirely in Aitor's homeland of the mountainous Basque Country, the album showcases the talents of not just its creator who producers, sings and plays piano on the record, but also some of the Spanish region's most outstanding musicians.
Local artist Biskonti is one contributor, whose vocals coat a brooding bed of rough-cut drums on the ice-cold slice of electronica 'I'm Going to Paint You', while Hannot lends his pipes to the moving 'You Left Us In This Physical World' that sweep over a delicately crafted brew of guitars and keys. Both Basque vocalists featured on El_Txef_A's debut 'Slow Dancing in a Burning Room'. Sublime title track 'We Walked Home Together' turns into a family affair, with Aitor's brother Hibai playing the grand piano.
A graduate at 2013's Red Bull Music Academy in Madrid, El_Txef_A has an impressive array of sonic strings to his bow and the Detroit techno inspired 'Claim of Planet Earth' deliciously rubs shoulders with the album's single, the alternative slice of pop 'The Love We Lost' featuring DFA's Woofly.
Elsewhere, Aitor paints a dream-like soundscape with the sublime shoegaze-inspired trip '0730' that seamlessly bleeds into 'Every Day Is Blue Monday', with its atmosphere-heavy swirl of subtle acid lines, floating synths and evocative vocals delivered by Suol records contributor Meggy.
An artist whose music is inextricably connected with his homeland, the album concludes with the stirring 'Mugarrirantz' sung in the native tongue of Euskera by country folk band Napora Iria. It's proof that El_Txef_A is equally adept at doffing his cap to tradition as moving a dancefloor with his inspired brand of electronica.

Dutch DJ, producer and Wolfskuil label boss Darko Esser is to self-release his sophomore album, Anipintiros, in April 2014. The eight track album comes four years after his debut and is his first as Tripeo, the techno leaning alias he has been working under most often in recent times.

Working as Tripeo has reinvigorated Esser, who under his own name has been producing his unique take on electronic music for a decade now. 'It was liberating to have another persona take over,' says the man himself. 'I have been so inspired and productive ever since that I woke up one day with the thought 'I'm ready to do another album' and started straight away that day.'

Tripeo music is aimed squarely at the dancefloor, and there sure are some full blooded cuts on the album, but so to are there concessions to the listening experience, meaning deep, dark passages and more leftfield experiments help tie the whole thing together into one cohesive and coherent whole. 'Like all albums, this is a very personal statement,' explains Esser. 'It's just me trying to translate the overwhelming inspiration I feel right now into sound. That, and making the record as diverse as possible without losing the purist identity of Tripeo.'

That identity shines through right from the off on the album, which has been made using a knowing blend of both soft and hardware. 'Anipintiros #1' is a firmly rooted, rubbery bit of deep techno that works you into hypnosis and comes detailed with plenty of otherworldly ambiances. From there, Tripeo explores gallivanting techno run through with celestial pads on 'Anipintiros #2' and tripped out, ever shape shifting and dusty minimal sounds on 'Anipintiros #3'.

'Anipintiros #4' channels the widescreen and pumping techno of Detroit's finest whilst 'Anipintiros #5' is a more industrial and muscular track of the sorts that would sound perfect in the bowels of Berghain. 'Anipintiros #6' is one of the busier and more kinked techno rhythms with punchy drums and fax machine like melodies, before 'Anipintiros #7' thumps with real menace and 'Anipintiros #8' hums and hisses, spits and stutters like the suitably epic and melodic comedown you need after such a captivating ride.Everything, though is backed with serene synth work and an otherworldly sense of alien spirit that runs through all great techno.

There is plenty to get lost in throughout Anipintiros and it proves once again that Esser is someone able to coax far more feeling out of his machines than most.

DJ FEEDBACK

Early support from Blawan, Rødhåd, James Ruskin, Reeko, Exium, Mike Parker, Ben Sims, Rolando, Pfirter, Craig McWhinney, Cadans, Sandrien, Nuno Dos Santos

The Appointment program was launched by Marieu, EMG, John Swing and Lucretio in the early 2010. They started to record coarse functional hardware compositions in the cursory sessions they were able to set up when all the four could summon in the same city. After a couple of seminal releases on LiveJam Records and an official remix made for Moodyman on Decks Reworx, they decided to start their own imprint, with bare handmade ink graphichs on thier white labels and with spare press information and media promotion. To celebrate their 10th release, they have decide to tell the world who they are cutting on vinyl their personal reinterpretation of a live session recorded at the Restoration heaquarters. From Lucretio's post-rave techno, to EMG shrinked deep-house, through Marieu's breakbeat-electro science to John Swing's overloaded hip-house, what you find on this 12 is a true dedication to the sonic quest.
Out at the end of February 2014. ONLY ON VINYL.

Showcases acts who have performed at Something Cold over the years, + friends & allies. North America's minimal DIY synth explosion is represented by bands from East coast to West. LTD 200 repress.

Part 1 of our 4 Sample 10 Years Full Pupp compilation. Each 12 has 4 brand new Exclusive tracks a 12. Norwegian´s finest Young Adults. Cost to Coast - Out of the Cold - Hot as Hell. 87392;"Doc Scott was on the decks. It was at Tribal Gathering (I think), 1996, standing in front of a wall of speakers to one side of the stage, enjoying myself, like you do, when this sound started growing inside my brain. My head was then ripped clean off my shoulders! Words are still hard to find! It was the first time I ever heard Shadow Boxing and its the only thing I still remember from that night. Om Unit's 2014 Remix is paired with the 1996 original. DJ support from: Fabio, Mark Pritchard, Friction, Surgeon, Toddla T, Laurent Garnier, Pinch, Zinc, Baliey, Rob Both, Billy Nasty, Krust & John B.

Traversing with an understated technical assuredness, the ambitious shapes of Steely Dan, the popping lounge funk of McDonald era Doobie Brothers, the sweet mourning of the Stylistics and Delfonics, and the exquisite song-craft and flawless harmonising of CSNY, Daniel Collas (The Phenomenal Handclap Band), Bart Davenport and Quinn Luke aka Bing Ji Ling have recorded an absolute darling of an album under the name Incarnations. They are three friends with enough musical guises, side-projects, collaborations and production jobs to fill the annual itinerary of your average musician twice over. When three CVs like these get together on a regular basis, it's only logical they speculate and hypothecate on the possibility of an album together. But, how to make those congested diaries synchronise? Bart lives in Oakland and Quinn and Daniel are in New York, all three of them are on tour for the better part of the year. One sunny day in Madrid, Spain, a plan was hatched and a proposal was made. Lovemonk, a small, eclectic and affable Spanish label, dangled the carrot that clinched the deal; 'find two weeks between gigs/productions/recordings and head down to this little place we know in Tarifa, Southern Spain'. A family-run studio, in a house 5 minutes from a wild beach and a short ferry ride from the coast of Africa; the perfect ambience for the fleeting melody and sultry grooves of the Incarnations debut album, "With All Due Respect". Arriving with bits and bobs of half-songs, grooves and melodies, Daniel, Quinn and Bart, sketched and improvised their way to the most intensely evocative songs you'll hear this year. Punctuated by a day trip across the water to Tangiers, all 9 songs were written and recorded inside a fortnight in October 2009 and laid to rest while our protagonists jetted off to their respective diary appointments. Whether it was the beach, the soft weather, the fact that you can smell Africa from the studio, the home cooked Spanish food or the relaxed environment of the recording room, when the band returned to the songs at a New York studio earlier this year, they found an album as fresh and resonant as the moment it came into being. Quickly mixed down with no over-dubs or re-records, "With All Due Respect" captures the combined gifts of Tarifa and the three very talented friends that paid a visit. Incarnations are: Daniel Collas: DJ, drummer, organist, and one half of production team Embassy Sound Productions, the minds behind The Phenomenal Handclap Band. Plays - drums, percussion, organ and synthesizers. Bart Davenport: Collaborator with Greyboy, General Elektriks and The Phenomenal Handclap Band; Singer-songwriter with The Loved Ones, The Kinetics and Honeycut, and most recently a touring member of the Kings Of Convenience. Plays - guitar, bass and vocals. Quinn Luke a.ka. Bing Ji Ling: Part of The Phenomenal Handclap Band, one half of DFA recording artists Q&A and long time member of Tommy Guerrero's band; Solo artist on labels Ubiquity and Lovemonk among others. Plays - guitars, keyboards, vocals The band are named after Encarnacion "Nini" Sagrista, owner of the recording studio in Tarifa, who housed and fed them during their stay.

We are pleased to welcome American producer Developer into our pack. Mr. Developer brings to Warm Up his beats and sequences all the way from the West Coast, with two original tracks plus a bunch of extra remixes available on the digital edition. On the list of remakes, none other than Argentinean top producer Pfirter and the label owner himself, Oscar Mulero, both in charge of providing all the funk.

The tangible plastic release starts with '
'Cuerpo', a frenzied number based on continuous synth lines, fast cabasa-driven rhythm patterns, obscure vocals and floaty strings. Spacey and grey, all at the same time.

On track two, Oscar Mulero keeps the fundamental elements, filtering them up and down and adding extra tension to create a perfect mixing tool to complement the original.

Side B opens with 'Western Ways'. Toms appear on the beat, along with FM sequences, and lush stabs that turn aggressive as the minutes go by. A floor stomper.

Pfirter fattens the kick, sharpens the hi hats, and provides some bleepy action and reverb-fuelled ambiances, giving the original a personal twist. Peaktime techno.

As a complement to the plastic version, the digital release boasts two additional revisions of 'Western Ways' by Oscar Mulero. One where he carries out the same routine as we found on 'Cuerpo', preserving most of the original elements, filtering and creating a dense atmosphere, and another with slower tempos, a liquid overall feeling and a more smokey and dubby approach.

It's always a treat here at Circus Company to be able to shed the light on a lesser known talent. After all, it's a philosophy we have built the label on, but there's no denying we need to have that personal connection with the artists whose music we release. In the case of San Francisco act Moniker, our own dear Dave Aju has a previous history with Kenneth Scott from the duo, having lent some vocals to his 2009 jam 'What Do I Do' So it is that we come to release this, the first fully fledged vinyl offering from Scott and his studio partner Emilio Orlandi after years spent treating Californian crowds to their live, hardware-driven sound. The machines definitely rule the roost in the world of Moniker, but unlike so much of the current obsession with analogue noise and the lo-fi aesthetic, Scott and Orlandi instead coax heartfelt emotion and hand-crafted grooves from an array of beat boxes and synthesisers without making any self-conscious moves to demonstrate how .undigita' they are. Instead, the music takes priority, coming forth in soothing waves of harmonious chords, captivating leads and understated drums that speak volumes for simplicity and soul within deep house. The live aspect of Moniker's mission undoubtedly shines through, manifesting itself in smart switch-ups and breakdowns, impulsive edits and subtle variations that can only result from an on-the-fly jam. Mainly though, this is an exercise in satisfaction, speaking to the same pleasure neurons that would have been tickled the first time you heard Metro Area. In keeping with the warm tones of the original material, Patrice Scott makes for a thoroughly welcome addition to the fold.

Take it, make it, on the A side you will find again a bassmental driven techno track 'Techyes',
8 minutes of a heavy Bassline and trippy Percussions are perfect to burn every Dancefloor !
B Side - Hypnotica Del Mare
After some crazy holydays at he baltic sea coast and the isle ibiza peter found deep inspiration by stones and mushrooms, this brings you 11 minutes of psychedelic acid house with raw basslines and a lot of accidental sound suprises.

Back in stock!

Some friends think that Shihab the man owes the balance of his soul to his beautiful Danish wife. They may be right; for Eros is the very essence of what Shihab plays.Yet Eros is a god with many a face. A tale of tender mournings Shihab's flute is telling in MAUVE - a piece that translates its title into delicately changing colors of sound. In UMA FITA DE TRES CORES he has his instrument wooing with the proud self-reliance of Latin grandezza. Calmly, softly, almost blandishly Shihab blows the solo flute in the Jimmy Woode composition MY KINDA WORLD. Serene and somewhat playful his own title ANOTHER SAMBA comes along - a most uncommon composition by the way: lasting for sixty bars as if growing independent out of itself, with solos that appear to be additional spinnings rather than improvised choruses; and yet; a perfect, self sustaining melody no element of which is superfluous. In the last of the pieces for flute, in Klook Clarke's THE WILD MAN, which is based on a flourish of trumpets, Shihab for the first time reminds of the sombre, the demon-like face of God Eros. He contrasts flawlessly intoned passages with challenging phrases, phrases raucously sung into the flute - really, he is a 'wild man' who is playing like that. This raucous challenging sound prevails throughout the four baritone-titles ('Shihab never withholds long to caress', Campi says). Shihab blows the instrument the same way he speaks: without any delay, directly coming to the point. And he treats it like a voice, not aiming at an artificially homogeneous sound in all the registers, but at their different modes of expression. In the high pitches the horn gains a brilliant tenor-like quality - for instance in PETER'S WALTZ, dedicated to Shihab's son Peter, and in Kenny Clarke's simple drum fills comprising theme JAY-JAY. In the deep register Shihab produces snotty sounds filling lady's ears with horrors like Pan - thus in JAY-JAY and in the boppy blues SET UP . Shihab's sense of a scurrilous humor breaks through in SEEDS (which reminds of the West-African heritage of jazz with its multiple rhythms and its renunciation of harmonious development - only the eight bars of the bridge base on a progression of chords): not only does he omit the notorious bombastic chord by the ensemble after his own final cadenza, he even ends with a minor second above the keynote. Seems as if Shihab now unrestrictedly conveys to his music all the experiences and emotions he formerly did not deal with in a musical way. Shihab the man need not be disturbed so that Shihab the musician may improvise passionate choruses. It would be unjust, however, to forget the choruses of the four other musicians for those by the 'born leader'. Francy Boland, taciturn and always introverted: he plays an extrovert, a masculine piano. Even with spare single note lines he produces a piercing and ringing sound that hitherto nobody except him has discovered, a bluesy sound bespeaking the very element of frustration that lies within the title of the trio number WHO'LL BUY MY DREAM. The unfailing feeling for rhythm the musicians of the CBBB praise with the arranger Boland, becomes manifest in the piano solo on SET UP. Francy's improvisation is rhythmically styled in a Monk-like manner, and yet no accent could be set differently. Maybe this is the secret of the Shihab-Combo. 'Rhythm is our business', this credo of Jimmy Lunceford could be the one of the five musicians as well. Sadi hits his vibes as dryly as if wanting to bring its ancestors to memory, the wooden chimes of West Africa's coastal tribes. To reach the fullest poignancy possible, he intentionally calms down even the resonance in MY KINDA WORLD. In UMA FITA DE TRES CORES Jimmy Woode bears out the crispy jazz beat against Sadi's Bongos and Klook's Latin-American percussion all by himself. Moreover - and that, too, is connected with the school of the Duke who was the first in the history of jazz to discover the instrument's potential as a melody instrument - Woode rips a marvelous counterpoint to the inventions of the other melody instruments, take for example PETER'S WALTZ. And then there is Kenny Clarke. Klook. On the entire record he only uses his brushes. Means by which different drummers only know to bring forward impressionistically blending noises: He drums a vigorous beat with them, fanciful fills, a solo, melodious and at once skillfully playing with cross rhythms in JAY-JAY. The 'born leader', the 'outstanding baritone saxophonist of modern jazz' (Joachim-Ernst Berendt), he could not wish himself different sidemen for this record overdue since some years.

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

Almost exactly three years after the first, Redshape has readied his second Red Pack, due for co release by his own Present imprint alongside his frequent Dutch home, Delsin, in June.
Whilst the world is still enjoying the German's latest album "Square", the man himself has typically moved on once more. On Red Pack II he offers up six tracks new of hugely atmospheric and romantically industrial techno across two pieces of vinyl.

First up, 'Disco Marauder' has raw, jangling beats, traumatised vocal cries and plenty of sci-fi ambiance all coalescing into a filmic techno tapestry, before 'Path Dub' goes deeper and more streamlined with rattling claps peeling off taught synth cables in hypnotic fashion. The same track also comes in an original version, which is a much more jagged, roughshod and textured affair.

'The Source' is a track slowed to a crawl that almost seems to want to collapse under its own weight. Machines gurgle and gargle, the beats march on with a heavy heart and widescreen synths all that ever present sense of cinematism that makes Redshape such a unique producer.

Standout track 'Daft Mode' features a beautiful Reese bassline and rich layers of classic Detroit chords of the sort Inner City once championed. Redshape then pairs them with slicing percussion and loose limbed but tough edged beats and lets them roll on to a blissfully emotive oblivion... Fans of 'Mucky Bones' from the first Red Pack might see this track as a close relative. Last track 'Bulp Head' is one of Redshape's more euphoric tracks thanks to the glistening and pixelated melodies which rise up and up through choppy, metallic percussion. It closes out another release from Redshape that offers six more classic pieces that are as idiosyncratic as they innovative..

Another PW by Phil Weeks for new Jackin' with US West Coast influence...For fans of Hot Creations.

*A pure slab of noise... a ruckus on vinyl! A limited edition piece of wax featuring remixes by the Circus Records superstars Funtcase & Genetix.

*Funtcase has been producing since being inspired by d&b as a kid growing up in Bournemouth. In 2009 he created his dubstep alias Funtcase and released his first single on 4:20 Records. The following year he signed with Circus Records and released the killa 'So Vexxed/Matress Punch'. He is also known for his standout remixes, including mixes for Plan B, Camo & Krooked, The Wideboys & Skizm.

*For this remix Passenger organised Spyda (Pendulum 'Black Tarantula'/Knife Party 'Fire Hive') back into the vocal booth to lay down some fresh vocals for the remix. A former Passenger vinyl buyer, Funtcase is no stranger to the sounds of the label and adds his own nod to its history by flipping some breakbeat twists and turns to proceedings to create what many are saying is his best remix to date!

*The flipside remix is from fellow Circus Records crew members and Bournemouth badmen Genetix. Following a similar path to Funtcase, Matt & Rich started off making d&b before switching the tempo and laying down some filth at 140. With regular appearances on the MistaJam's radio show, guest mixes on KissFm for Hatcha and Crazy D and remixes for the likes of Bassline Smith & Drumsound and Kelly Clarkson, to name a few, these guys are continuing a south coast tradition of bass noise and terror.

*With the label instructions to 'make it as heavy as you can, Genetix took the vocal of Sporty-O, recorded at DJ Lethal's (House Of Pain/Limp Biskit/La Coka Nostra) studio in LA back in 2007, and brought it up to speed with a track that flips from militant dubstep into some proper 808 trap biz.

New Leng signing Auf Togo are the combination of Clement Cachot-Coulom from the Fabulous Penetrators and Sasa Crnobrnja, one half of In Flagranti.
Their combined sound is one of vintage recording equipment and instruments coupled with tweaks and blends from the modern studio. This new 12 for Leng draws on all their knowledge of the past and of the current club scene, effortlessly gliding through deep, warm analogue sounds and tougher studio techniques. Both tracks have guitar work that reminisces of a late 60's West Coast scene laid over strong bass lines and beats giving the perfect mix of home listening fuzz and a late night dance floor.

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

Hochwertiges Digi-Pack des Debut-Album !!!


A solitary shed by a lake. Surrounded by woods coated in ice. It's the deepest winter and the Pentatones quartet finds itself in the deserted nature of the Mecklenburg-Vorpommern County. They are searching for sounds pulsating beyond instruments and machines. Inaudible Music this is, made sound by them only. By night the four move over the frosted lake, play the clarinet and put themselves in a chilly trance. Months later they will remember dimly these moments in the woods and cast them atmospherically into their album debut 'The Devil's Hand' with icy romance. Highly attentive to details, they have worked on it for 3 years. Since 2006 the Pentatones tinker with their tessellate electroacoustic sound, in whose center the voice of singer Delhia de France is floating. To friends of club music she might be known from her collabs with techno producers such as Marlow, Douglas Greed or Robag Whrume. With the Pentatones she combines her emotional timbre in various forms with the raw basslines by Hannes Waldschütz and the analog and electronic beats and samples by Julian Hetztel a.k.a. Le Schnigg. Albrecht Ziepert creates melodic moods on the keys, whose appeal one can hardly elude. Their kaleidoscopic arrangements dance between susceptibility and experi­ment. Enticing pop structures melt with crackling analog electronics - a mixture laid out to make dance at times, at times to chill. The ambiance of her compositions is gloomy, yet light-flooded in a certain way. It is most notably Delhias voice, which outshines everything, never standing still, meandering and spinning, opening up a new emotional space with every bre­ath. The computer with its infinite production possibilities is used in its function as another instrument. Together with the sampler it forms the center of action, processing everything, from voice to keys, which needs an artistic distancing effect. A contrabass is setting the pace at times, then again the brass accelerates the tracks highly emotively. In stylistic regards their compositions are never predictable. A touch of organic jazz here, a subtle hip-hop allusion there, accompanied by a moving club rhythm structure and Delhias captivating voice, which sings, then talks, and whispers in the next moment.
It's not only the infinite world of sound, which inspires them to their adventurously twisted compositions. For all members being equally active in the visual field, art plays an impor­tant role in the act of creating and in the overall concept of the Pentatones. This is being reflected in their life shows, acknowledged with much applause on festivals like 'Sonne, Mond und Sterne', the 'Fusion Festival' or 'Ars Electronica'. When they sample themselves during their concerts, modify their sound in real time and vividly interpret their songs, Delhia dances audaciously in extravagant, self-designed costumes in haughty reserve and effuses eccentric pop magic. Sometimes she takes the megaphone and by hereby altering her voice, she infuses her music with another exotic tone. With their self-produced videos the Leipzig residents by choice create an artistic universe, which stages the dramatic lyrics of the lead singer in a sublime way. After all they see themselves as an artificial band, operating beyond the conventional patterns of presentation, bypassing intuitively and creatively common pop stereotypes. Twisted-Pop which gets straight under your skin, without ever grooving stream­lined. You can dance to it, lose yourself in it or step into new worlds. There is only one thing difficult to deal with after you enjoyed 'The Devil's Hand' and that's to release yourself from its overwhelming emotional impact.

Four track instrumental EP from LA producer Devonwho. Sun-drenched synths and G-funk vibes are the order of the day here; 'Strangebrew' and 'Sleet' zip along with their low-slung bass and melodic purple keys while on the flip 'Cactus' takes the pace down a bit. Slow jamz with a fast feel, these three rolling 4/4 workouts are rounded off with a fresh rework of the title track from fellow West Coast funakateer B Bravo (Frite Nite, Brownswood). Comes in picture sleeve with free download code.

Skream is set to release a brand new single 'Anticipate' on November 14 on Tempa. The ever-prolific producer has spent the summer touring festivals around the world including Glastonbury, Global Gathering, Electric Daisy Carnival, Glastonbury and Coachella.

Second release in a series of four of this Ann Aimee compilation series, featuring a diverse selection of techno tracks.
Part two of the four-part Inertia sampler again serves up four heavy-hitting techno bangers from different artists of the new-school techno generation. Again, each of the tracks is previously unreleased.

First up is Frenchman Marcelus who offers a heavy house and techno fusion, before London's Sigha goes deep and ominous with 'Finding Myself.' Redshape and Area Forty_One close out the package with frozen, static coated sounds and textured techno respectively.

Reading like a who's who of the day's most pioneering techno producers, Inertia #2 is another connoisseur selection.

With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.

Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.