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Hot off the heels of Aluxes, his 2018 Lumière Noire debut EP, young Mexican DJ/producer Iñigo
Vontier is inviting Chloé's label on a trip to the far corners of the body & mind with an album of
demented grooves, psychedelic take-offs and imaginary comic strips of mystical rituals. A
bewitching debut full-length. Mexicans may never possess the sonic science of the Germans,
the hedonistic madness of the English or the gift for synthesis of the French, but, as proven by
Iñigo Vontier's first full-length for Lumière Noire, their universe is much more exciting than
anyone would have ever thought.
The DJ/producer fully asserts his origins by brandishing the album’s title "El Hijo del Maiz" ("the
son of the corn") almost as an emblem: "in Mexico, corn is eaten daily. It has long been defined
as 'the gold of America', and I consider all Mexicans as children of corn". A spiritual and
embodied vision Iñigo's first Lumière Noire release, the four-track Aluxes, set the tone of the
young talent's distinctive interpretation of dark disco, which creeps up on the dancefloor from its
iconoclastic side. The two tracks and two remixes (one by Flügel, the other by Inigo himself)
featured on the 12" for lead single "Xu Xu" (featuring Red Axes-affiliate Xen's irrelevant vocals)
was a full-bodied confirmation that Vontier sees the dancefloor as an arena for the occult –
whether from the peoples of the equatorial jungle, the Middle East or, even from indocile
machines. But, while the spiritual element seems part and parcel of the Jalisco native’s output, it
is in no way the only ingredient of this first long-player: "this album best reflects my own vision
and spirituality, and the way I feel it" he says.
Whether contemplative or frenetic, the collection of tracks that make up “El Hijo Del Maiz” takes
the kitchen sink and throws it out the window: languid rhythms, haunted vocals, and mysterious
percussion fuel a discombobulated house set that scrambles the listener's five senses, leaving
one disoriented and exposed to the vagaries of vertigo. Following the demented, dystopian “Xu
Xu” EP, which explored an imaginary jungle that harbored Mayan and Egyptian pyramids,
Middle Eastern accents are once more present in the off-kilter “Bo Ni Ke” and its Japaneseinfluenced vocal trickery, which Moroccan flutes à la Jajouka transform into a feverish trance.
With the following three tracks, Iñigo Vontier raises himself to the same level of excellence as
the Pachanga duo (of which pride of the Mexican scene Rebolledo, is also known as a prolific
artisan of deconstruction): “Awaken”'s slumbering voice, heard as through the veil of hypnosis,
slowly introduces a techno beat which, as in follow-up “Time”, literally brings the listener to a
levitative state. In a housier vein, yet continuing in the same psychedelic, 90s-infused spirit,
“Don’t Go Back” disrupts the genre’s usual signatures with an out-of-tune keyboard that is
becoming the artist's trademark, destabilizing the listener into a drunken vertigo, with a good
helping of sexiness: "I think the sexy dimension definitely brings a kind of magic to music," says
Vontier. “I'm sure I felt this magic during my DJ sets, and I like to think that sorcerers use this
element in their practices. I might consider myself a bit of a sorcerer when I take over the DJ
booth, by the way." A mood and sound that can once again be found – in a quieter, more
bucolic version – on “Chiquitita” (feat. the flute stylings of pioneer DJ Rocca, now a partner of
cosmic disco legend Daniele Baldelli). The more cinematic, fast-paced and dreamy beat of the
no less captivating “Little Monster” might evoke the mischievous spirit of the Mayas' minor
mythological creatures, while ode to the magical herb Marijuana (feat Thomass Jackson)
proudly tramples into the debate that such a provocative title inevitably provokes: "psychedelic
drugs are powerful tools to reach a higher level of consciousness about what surrounds us, but
we must learn how to complete this psychic journey by ourselves, notably through meditation
and love.
In the end, El Hijo del Maiz is an album-length confirmation of Iñigo Vontier's uniqueness, and
his adherence to Lumière Noire's policy of letting artists fully express their vision – while letting
their passions guide their idiosyncrasies and explorations of innovative electronic signatures

2x12"

A stunningly accomplished work, ‘Deep Rave Memory’ is an insight into Fearless’ worlds – both metaphysical and geographical. Pulsating in unison with the heartbeat of a modern metropolis, it was recorded at the Metal Box’ – his studio located on the peninsula of land where the River Lea meets the Thames.

The haunting and wistful blue ambient ‘Vision of You’ leads into the bracingly chilly ‘New Perspective’, which evokes a heavy rush where perceptions are blurred and vision is freeze framed, via elements of techno-soul, Sheffield Bleep and Mika Vainio.

A snarling beast of a track, the relentless machine funk of ‘Devil on Horseback’ perfects the pure cathartic release of dark ‘n’ hot body music, whilst ‘Acid Angels’ is a throbbing low-fi 303 requiem, which encapsulates that perfect dancefloor moment, when the first light breaks through the shutters.

A future classic and the album’s modus operandi, title track ‘Deep Rave Memory’’s discordant filter passes sweep across a hypnotic melody, communicating a deep sense of warm nostalgia and taking you on an epic journey – stretching out a single riff over 12 minutes – akin to the krautrock greats of which Fearless is so fond.

‘Atlas of Insanity’ is big room techno with pounding kicks, death-whip metallic snares and head spinning, spiralling synth lines that drill into your core. This is raw, impulsive and frantic music that sizzles with electric effervescence.

The Germanic kosmische idyll of ‘Driving with Roedelius’ is a homage to one of Richards’ heroes – Hans-Joachim Roedelius – and was inspired by his experience playing a set consisting solely of the electronic pioneer’s music, at a festival celebrating his life and career.

On the album's closer, Fearless recounts, “‘Broken Beauty’ is something I’ve always strived for in my art. It’s inspired by Robert Frank, William Eggleston and the way they could take the most inane object a turn it into something of beauty. It’s equally schooled by the aggressive simplicity of King Tubby’s dubbing and the transcendence of Joy Division’s ‘Decades’. The sparse allure of the best dub and techno is something I’m always striving for; being able to conjure emotion with the fewest possible elements; to not fix what’s broken, but to make it shine.

Limited to 500 copies.

Back with a vengeance, Cimm returns to the imprint with a highly anticipated succession to his Sentry debut from last year, stamped on a irresistible 2 x 12" vinyl release. Infernal halftime beats and top-notch Dubstep shells, firmly entrenched at the frontier of sound system music and its invaluable heritage. The London-based producer and DJ rose to swift and significant acclaim in the last few years with releases on institutions like Tempa, J:Kenzo's Artikal and Wheel & Deal as well as notable residencies at Rinse FM and the renowned Fabric night club, among other recent achievements. Now coming to a turntable near you, Cimm delivers four bespoke cuts, primed for the dance and your enjoyment, battle-tested by the scene's foremost tastemakers.

Diving into unidentified transmissions, 'Unknown Caller!!' sets the pace with eerie reverberations and filtered resonance. Amid the faint hiss of machinery, larger-than-life drums set up shop alongside subterranean pressure emissions. Hefty breaks, hold tight! Retro synth melodies keep us on track within the monstrous switch-ups and unquestionably meticulous arrangement, sure to shut down any dance in style. Cutting no corners with the B-Side, Cimm teams up with veteran vocalist Rider Shafique for a dystopian sub-bass onslaught, swaggering militant chants and the apocalyptic ambience to go with it. Steaming low-frequency oscillations bubble and hurl their weight, stripped of all restraints, coveted in freezing harmonies and ethereal atmosphere. Vibrating in a more uplifting spirit, the dedication to the Jamaican roots of sound system culture unfolds in the Londoner's signature style - dubbed out soundscapes ahead. 'Tosh Dub' keeps it a laid back, with vintage instrumentation, scattered skanks and swirling organ chimes. Taking an ultimate trip through unremitted grit and off-kilter grooves, 'I Am Jack Travis' lures us in with rainy undertones and hypnotic foley sampling. Promptly revealing its true nature with plenty of pressure and scrupulous syncopation, a ghostly heavyweight ensues and closes the deal.

Reissue of this 1976 LP from Zambia. Deep minimal African music, lovely compositions over scarce drum machines and (fuzzy) guitars.. Beautiful music with a deeper message in the lyrics which is explained better in the long review below. Some words from the label. There is music that falls right into place, a perfectly articulated expression of a few distinct influences. Then, there is another kind of median music, something more mysterious, the result of time, place, technology, and alchemy. Zambian writer and musician Smokey Haangala’s Aunka Ma Kwacha (The Money is Gone) released in 1976 is an example of this more mystical metallurgy, falling somewhere between psychedelic Zamrock, US folk, Kalindula, and Sundown Beat (music played after dark) from Tongaland. The unique mix of languages on the album (Bemba, Tonga, Lozi, and English) also suggest this complex cultural crossroads. Underlying the whole album is the insistent beat of a simple drum machine, which was totally unheard of in Zambia at the time, and parallels pioneering experiments by Francis Bebey, Sly Stone, and Shuggie Otis, utilizing a technology which would later come to define dance music. Then there’s the album’s original artwork by Peter Kependa, done in style similar to the infamous Jamaican dancehall illustrator Wilfred Limonious, interpreting the album’s title and primary theme; the burden of financial inequality.

In this sense the album is political, but the theme is extrapolated and explored through its impact on personal life; love, marriage, social status, and diet. The album is full of cautionary tales, folklore and references to magic, aspects of Zambian culture simultaneously mystifying and alluring to outsiders, part of what attracted Western readers to Nigerian writer Amos Tutuola’s hallucinatory Yoruba folktales. After becoming a household name in Zambia for his music, writing, and television appearances, Smokey Haangala died at the age of 38, the very week his book The Black Eye was published, abruptly ending his brilliant and ascending career. We are lucky to have his inimitable work to remember him by, Aunka Ma Kwacha resting comfortably in the pantheon of re-visionary works by Rodriguez, Kissoon Ramasar, TJ Hustler, and William Onyeabor.

Based in Munich, Germany, the producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB delivers new romantics, inspired by influences like The Cure’s „The Holy Hour“, Boards of Canada’s late 90s electronica, Miami Vice tropic percussion and Angelo Badalamenti’s Twin Peaks. Acid drops, string distortions, lushed melody bits, hushed robo vox and washed space guitars are being layered and sprinkled over machine beats and disco drums.

TB’s first release "Invitation To Love" made it on John Talabot's vinyl-only Hiverned 10" imprint and was voted amongst the best 10" releases by UK Fact magazine. GROOVE magazine wrote "..entirely superb..“, about the follow-up EP "City Girl" on Permanent Vacation, of which the title track has been licensed to the independent film „All These Sleepless Nights“ by director Michal Marczak.
In 2017 TB followed with “Heartbreak Hotel“, a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness. In 2018 he followed with the „Night Heat“ single, of which a RMXD EP with contributions by Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo came out earlier this year.

Editions Mego is proud to present the latest addition to the compelling discography of Thomas Brinkmann. Throughout his career Brinkmann has focussed on the human operating amongst industry alongside rhythms that manifest as a result of technological advancement. With this new release Brinkmann makes a u-turn, looking back to the early industrial age. Comprised of recordings of various looms, Raupenbahn investigates the sonic properties and consequences of the first automatic loom as constructed by Jacques de Vaucanson in 1745. Thomas Brinkmann once again adheres to his tendency for clarity and simplicity whilst further investigating not only the sound and rhythms of the machines (looms) but also what role they serve in society and what consequences they have on the environment. Raupenbahn presents 21 tracks in total, 11 feature on the vinyl, the remaining 10 as digital bonus tracks. The majority of recordings were undertaken by Brinkmann in 2017 with a Neumann KM 184 stereo set. Additional recordings were sourced with permission from Monika W. recs. from 2014 Central Museum of Textiles Łódź, Poland. Each piece presents a diversity of material which borders on the breathtaking and beautiful in richness and complexity. The various looms unravel rhythms and patterns unexpected from machines of the early industrial age.

The loom holds a significant role in shaping our world being the catalyst for Charles Babbage's Analytical Engine which, alongside the subsequent work of Byron's daughter Ada Lovelace, paved the way for modern computing. There is a linage of the loom that fits succinctly in Brinkmann's overall argument. Here we encounter a parallel between machine driven economies and the music that rose from such places, consider the Sheffield steel industries, the Manchester weaving industry or the Rhineland / Düsseldorf loom and machine industry. Is it a coincidence that the practice of such machines in the environment gave rise to today's predilection for electronic dance music, in pop, soundtracks, etc.

Raupenbahn features no treatment or processing and explicitly displays varying tempo and timbres which ascertain a wide range of acoustic structures. The artwork features Ingrid Wiener, Rosemarie Trockel and Alexandra Bircken, three different generations who would with ideas of fabric weaving, loming and the like. This exceptional release works on a number of levels alongside it's striking sonic palette.


i 9 Günne (Irmscher) BO Möhnesee / D

It’s been a busy eight months since Dampé’s debut on Dirt Crew Recordings. That time has seen the producer hold down monthly slots on Rinse FM, contribute a downtempo electronica/jazz edit to the S3A ‘Pages Remixes” EP as well as open big rooms for the likes of Surgeon and Blawan.

The intervening months have also seen the producer set up camp in the Rhythm Section studio in South East London, and the result of new access to studio gear can be heard all across ‘Garden’. Compared to the debut ‘Peach Shuffle’ this is a far more machine-led and darker listening experience. Snatches of acoustic instruments and space remain, but it’s never long before the disembodied vocals and oversaturated classic drum kits return reminding you this is music best enjoyed in the club.

‘A Basement, 10 Years Ago’ started just there. A bass line dimly recalled from a long-lost 6am jam is sequenced on a weighty analogue keyboard, while syrupy R&B vocals dance around mbira and gangsa, all slowly building and building together. ‘727 and Arp Breaks’ is a love letter to two of the producer’s favourite instruments from the studio. A TR-727 and an Arp Odyssey collide across dubbed out stabs to form some very rolling breaks.
Sunday Night Machines’ sees Dampé tame the box-of-physics that is the Arp Odyssey again with a sprawling meditation on two repeating arpeggios.

‘Garden’ is the one for the dancers. Four variations play with the same melodic theme in distinct sections, with the second variation being the deepest and most floor-ready the whole record gets. ‘France’ is a warped dub-come-hip hop beat that manages to conjure both Lil Jon and Yusef Lateef. We approached Liverpool’s finest ASOK (Lobster Theremin, M>O>S Delsin) for remix duties and to close out the record with a twisted bang. He turned in a propelling weapon that brings a whole new texture to the track listing. It’s very 90’s, very ravey and very raw, in a true IDM style.

With this eclectic mix of sounds we are entering another chapter of the Dirt Crew story and we hope you dig it as much as we do!

Detroit imprint My Baby returns with its third musical offering, a split release from two Motor City heavyweights, in the form of Rex Sepulveda and Acid Pimp.
This fledgling vinyl only label has got off to a superb start showcasing music from Detroit locals on its first two stellar Eps. With a focus on the underground sound of the city it resonates with global fans of quality house and techno and continues to do so here with four outstanding new tracks.
First up is Acid Pimp, a DJ & producer who has been an integral part of Detroit’s music scene since the early 90s. His distinct sound saw him release a string of classic twelves on the Cheshire imprint, whilst his DJing took him from the warehouse parties of the city to international clubs like Tresor. He founded the ‘Friction Detroit’ night in his home town, hosting the likes of Ben Sims, Regis and Chris Liebing, and he co-founded the M-Nus sub label D- Records with Richie Hawtin and two other friends. The first of his two offerings is the superb ‘Re-Ak-O-Pan’, seven minutes of intense, industrial tinged techno with taut drums working alongside panning synths and static machine noise to superb effect. This is complemented by the looped excellence of ‘Lupe 09’, a rolling groove that is sure to lock in any dancefloor.
The flipside sees another of Michigan’s sons in the shape of Rex Sepulveda. Rex has a musical history dating back to 90s, he was one of the aforementioned friends that launched D-Records with Acid Pimp and Richie Hawtin and has released original and remix material on a number of imprints. His first cut here is ‘Rex presents Dvda’ a deep, brooding affair populated by rubbery, acidic synths and razor-sharp percussion. This is a pure early-hours number that is sure to twist up the floor wherever it’s dropped. Closing the package we have ‘Rexie’s Orgasm’ a spacious, and understated track that perfectly captures the echoing sounds of a cavernous warehouse space.
This is a sterling package of quality underground sounds from the city that sparked the fire.

Maroma was there long before the Moors. The Moors were there long before man landed on the moon half a century ago. Drum machines meant you didn’t have to take Ginger Baker our for a drink. Life takes on sublime logic. In retrospect, everything takes on a new meaning from a different perspective. The past is the future. From Glasgow to Edinburgh to Andalucia. This music is about a small journey, an aural triptych of sounds

Robotron successfully autonomized and has now breached the mainframe. This is its second offering for the ESP Institute. Side A’s Exodus picks up where the last 12” left off, the spoils of cybernetic war as scavenged by the now-defunct Xinner and translated by Robotron into machine dance music for a post-apocalyptic future. With only a select few analog machines with which to communicate, it manages to produce the most bombastic beat we’ve heard this side of the acid winter—a mighty compressor permeates all spare gaps in the waveform, as communicative bleeps and note-bending mechanics work in concert to assemble a highly dynamic composition— emboldening us with courage for a new age. On the flip side, Kamchatkan renders a sparse image of a only remaining organic life, found in the furthest Eastern reaches of the Asian continent, the Kamchatka peninsula. Here, Robotron experienced a metamorphosis, a collapse of its structured programming in which it became self-aware and transitioned from its quantitative agenda to a qualitative enlightenment. This breath of new life invigorated Robotron’s musical approach as heard in the aforementioned title, revealing an uncanny ability for humanistic percussion and lyrical Acid melodies. These two programs will conduct synchronized dances for the masses.

French wielder of exotic machine music Epsilove debuts a full EP of sensuous, melodic electro on Dekmantel. Formerly one-half of Syracuse, Isabelle Maitre depicts a vision of daring, yet euphoric vocal-led, dreamy electro that oscillates with sturdier, warehouse sounds full of heaving 808s, and experimental qualities.

‘Time is the longest distance’ preaches the qualities that brought Antinote’s Epsilove to the distinguished status she has today. It is the sound of chic dancers, shuffling-together leisurely under neon lights, pressing against each other along to nostalgic acid basslines, interstellar synths, and dreamy, cinematic vocals. Rich with harmony, emotion, and cold-wave sensuality. ’Sea Snakes’ pulses faster under a Drexciyan dream-state, painting kaleidoscopic motifs, as the 808 rattles out multi-paced tempos, driving levels of uncompromising Detroit velocities, through to Lynchian-mirror-world listlessness. It’s an acid-acid test of colourful, pulsing electro.

On the remixes are fellow Parisian’s Ali Bobo (Bruits De La Passion) and Shelter (Bigwax Records), who rework ‘Time is the longest distance’ into something more sinister, reflecting the dystopic IDM aesthetics of early Rephlex Records with playful, darkened electronics. The more elusive pairing of French producer HAJJ (Dawn Records) and Lastrack (BFDM) meanwhile, team up to turn ‘Sea Snakes’ into something that harkens towards the world of Warp-like experimental and progressive contemporary post-trap, and breakbeats.

"À dix mètres sous moi, l'eau invisible. Entre l'eau et la brume, pas de frontière, la brume aussi lourde que l'eau, l'eau aussi irréelle que la brume. Passage dans un autre monde, transition par une osmose où toute forme ancienne est désagrégée et dissoute.” Raymond Abellio, Heureux les Pacifiques (1946)

It's a strange new post-everything musical landscape we occupy.
The machines - you could argue - have been playing the humans for some time, and the conversation became pretty one-sided.
But you know, not everyone is singing from that hymn sheet. That Man Monkz enjoyed the apprenticeship at House PLC more than the opportunity to progress to middle management. Itchy musical feet meant extended exploration of fertile avenues of interest like the Madison Washington & Pan Amsterdam Hip Hop projects, meanwhile the pull of the 4/4 was never far from the studio door, and all accomplished with an assured versatility that shines.
Musical alliances formed in the disparate but related playgrounds of Detroit, Sheffield, Berkeley and Atlanta, all underpinned by an emphasis on seeking out collaborations and gigs, which represented a real exchange of energies, rather than a bank raid.
Letting things percolate in this more measured way means we've arrived here, a follow up of sorts to 2016's 'Columbusing'
This is Monkz allowing the ear ringing of gigs to feedback organically into bright dance floor flashes, which by virtue of their careful crafting are destined to last much longer.
On Zero Sum, we get a much greater economy of elements on the pared down dance floor ammo like 'Freaks N Prophets' & 'Chai Tea', a perfect counterpoint to beautifully realised pieces like 'Them Thangs feat Ms Fae' & 'After Dark with Nikki O' interspersed with funk-heavy workouts and sample jams like 'Easy Still', 'LvnLmtd' & the unashamedly KDJ influenced shamanism of 'WhatUthinkIDo'
It's a pick 'em and stick 'em ride of individual gems and a cohesive whole too. The opposite of thrown together, this has been worked and weathered, naturally. The House always wins, but sometimes...just sometimes.

Casino Times? aka Nicholas Church and Joseph Spencer
from London have been betting against the house for
close to 10 years already, winning big with releases on
Wolf Music, Needwant, Omena and their own Casino
Edits label. The pair also hosts the radio Show “What’s
My Derivative?” on Bloop Radio.
Since Mireia Record’s big cheeses RSS Disco have been keen to gamble with the Time’s
music, routinely lighting up dancefloors with it, a loose connection and mutual admiration
formed over the years and eventually lead to this fine record here.
RUSH & KAWAI
Casino Times demonstrate their cunning yet natural and flowing sound with two originals:
“Rush” and “Kawai”. Both tracks are a proper trip of its own, psychedelic pinball machines
that’ll catapult you to the further edges of the known sphere.
An arpeggiated melody line leads the “Rush”, while a rock solid foundation of hard hitting
drums keep you steady. The melody filters into acidic fringes and a strange voice guides the
traveler to the core of this outer-body experience.
By intertwining a pulsating E-Bass with sharp percussions and a brazen guitar chords,
“Kawai” steers the travels even further out of world’s reach. A whole ensemble of sirens and
vocal fragments warn of imminent rapture. After this, it’ll be hard to return to the mundane.New Release Information
KAWAI (Conga Fever’s Belgian Fries Remix)
Leading the string of three remixes is Mireia’s Conga Fever. Known by now for impeccable
and inspired productions he might just have outdone himself again with this interpretation
of “Kawai”.
Taking cues from Belgian New Beat while sounding unconditionally modern at the same
time, Conga Fever has crafted a bona fide festival anthem. After confidently building up
tension and taking his time in the breakdown, the remix manages to release an incredible
amount of energy. We’ve seen people out of their minds and literally stage dive to this one.
KAWAI (Rigopolar Remix)
A new face and dream cast to the label: Rigopolar aka Menio Brown. The Brooklyn-based
producer and DJ has been on our radar for some years with a string of captivating releases
for Tom Tom Disco, Nazca Records and an upcoming EP on Duro. Especially “Sun Of
Lemuria’s” hypnotic brittleness turned our heads.
Adding a new high point to his repertoire, Rigopolar’s take on “Kawai” is an expansive, dark
journey into the void. Powerful lasers and strobe lights appear to lead the way, emergency
broadcast voices beckon the dancers to the floor. The clobbering bassline and twitching
melody help to reach previously unseen heights.
RUSH (Filburt Remix)
Working his signature slow-burn magic on his remix of “Rush” is Filburt. More than happy to
welcome him back to the label. The O*RS label head, DJ and producer is responsible for
some of our favorite material in the past and does not disappoint with this remix either.
Lush pad sounds oppose salient drumming, slowly tightening the atmosphere while a robotic
voice evokes a melancholic mood. The whole night’s rooted on this fervid bassline and it’ll
carry you into next Monday

Dutch techno duo D&S - or Dennis & Stephan to their parents - hail from Rotterdam and have a penchant for the classic sounds of Detroit. Their previous releases on SK Black, Orbis Records, Indigo Aera's AEX compilations, ARTS and Girada Unlimited have earned them support from the likes of Adam Beyer, Marco Bailey and Ilario Alicante, and this tasty new EP for Abstract Reasoning looks set to find similar favour.

The pitter-patter of classic drum machine hi-hats drive the title track along with swooping, filtered pads and gentle licks of acid, the track gradually evolving into a veritable bubble bath of 303 goodness and gated synth swells. Incidence continues the theme, with gentle cymbal rides splashing over continually evolving acid blips and bleeps while mystical waves of chord melody envelope your senses in a foggy haze.

The second half of the EP flips the script beautiful with two broken beat tracks that show they have a real prowess for melody as well as rhythm. Lost In Sequence's thumping kicks are punctuated by the rolling tribal percussive elements and looming, sorrowful pads. Intricate rhythms and beautiful use of reverb and other FX create a dreamy atmosphere throughout. Partisan sees a morphing, resonant synth motif pulse over another pleasingly thick kick rhythm, and swirling, ethereal layers of atmosphere. All in all it's a superb release that has something for the dancefloor as well as the home stereo.

Beijing-based techno producer HWA (aka ELVIS.T) is releasing his first 12" EP "Granular Line" on Ran Groove, the sub-label of Bejing's Ran Music. This EP has 2 Deep Pulsating Techno tracks included as well as one Droning Ambient track produced using his customized modular synth system. As one of the leading figures in China's techno music scene, HWA's left-field experimental sound design, delicate poly rhythmic beat groove, dark and twisted massive soundscapes and the full hardware workflow, have earned him a reputation across China's dance music scene. Granular Line is the crystallization of HWA's persistent efforts on using the modular synth to produce techno music, it is the new envelope of his techno sound aesthetic.

HWA was born and grew up in Taipei and kicked off his DJ career in 1998 and soon started to produce his own music. He relocated to Beijing in 2006 and immediately became a part of China's electronic music scene, which had just emerged a few years before and was on its fast-rising phase. HWA is considered a brute force in the promotion of techno music and culture in the country, he was the early co-founder of Beijing's Lantern club, the most influential techno club in China's capital, he was also the co-owner of Acupuncture Records, which is the only techno label in China back in the 00's. In the past decade, he has played in the finest clubs and festivals in Europe, such as Tresor in Berlin and ADE festival in Amsterdam, as well as the top clubs in Toyko, Seoul, and Taipei, where Asian's best dance music scene exists. In 2016, he appeared in China's first ever Boiler Room event with his modular synth system, created the climax of that night and his live set was considered one of the best moments of Boiler Room China.

HWA has deeply embraced modular synthesis in recent years and it has become the centerpiece of his music production workflow and live performances. He attempts to explore randomized beat sequences and experimental sound design furthermore. He's one of the initial members of The Modular Commune, a Beijing artist community focused on the use of modular synths, which has gained a lot of attention across the globe. Through his music work and live sets, HWA's unique athletics and understanding of techno music made by machines, has become a unique label of his.

"We Can Do Anything We Want Because They Say We Can't Afford The Police"

Talking Heads lost in Ancoats. Prince in a Berghaus. The Compass Point All-Stars meet the Piccadilly Gardens Spiceheads.
Welcome to the world of SEE THRU HANDS.

Here to bring salvation to a Broken Brexit Britain, See Thru Hands is a fresh band from Manchester with hooks for days and a SERIOUS live vibe. Their debut EP on Manchester legend RUF DUG's label RUF KUTZ - "The Hot City EP" - brings you two new songs backed with remixes tested on the world's best dance floors.

Opener HOT CITY's energetic punk/funk conveys a dark story of British city life outside the London bubble.
Our councils are fucked, our public services neutered and all anyone cares about is when Deliveroo is gonna be available in their neighbourhood. Throw away your post-apocalyptic fantasies because it's already like that - the only option is to dance. It's grim up north.

After dancing ur arse off and simultaneously coming to the realisation that we're all fucked pls don't worry - See Thru Hands are here to pick up your pieces with NOTHING TO LOSE, a whimsical modern pop banger with shades of New British House that will instil in you a sense of freedom and ease all your worries.
Yes we are all going to hell in a handcart but with See Thru Hands as our companions, I think it's all gonna be just fine.

The package comes backed with a pair of deadly remixes - boss man RUF DUG strips back Hot City to the bare bones, rigs up a couple of jazzy neon lights and a DMX drum machine and brings you his 'Metrolink Vibes In The Area' version, while young upstart METRODOME completes the all-Mancunian lineup on this record with a twisted Marmite 2-step interpretation that is either gonna make you buzz or spew. It's not for everyone.

Having spent the past few years quietly building up a dedicated crowd of followers and dancers as a club night, Scenic Route step out for their first offering as a label with three expertly crafted club cuts from Desert Sound Colony, an artist whose pumping productions have provided some of the parties’ most memorable moments. Since his debut release in 2014 on New York’s Scissor & Thread, Desert Sound Colony (real name Liam Wachs) has been refining a deeply personal club sound with releases for the likes of Futureboogie, Me Me Me, his own Holding Hands imprint and most notably of late, Nick Höppner’s Touch From A Distance. In addition to his productions garnering support from the likes of Midland, Raresh, Andrew Weatherall and Lena Willikens, Wachs himself is also a highly sought after DJ whose skills have seen him land bookings at some of the world’s most well respected clubs and festivals, including two stints at Berlin’s Panorama Bar already this year.

His prowess as a DJ has undoubtedly informed the music featured on the Cartographer EP. All three tracks are primarily designed for club use yet their intricate arrangements and undulating instrumentation ensure they remain captivating, despite the effectiveness of their functionality. The EP’s opener, “The Cartographer”, is a sleazy machine-driven odyssey, continuously building and evolving until snapping back into its original groove with a vengeance. “Gypsy Moth” sees Wachs team up with fellow Holding Hands affiliate Guava (real name Bradley Hutchings) for a dangerously syncopated drum workout doused in warped agogo bells, spliced vocals and a two-note bassline with a distinctly London flavor. Rounding the release off is “Budapest”. The combined power of the track’s interlocking kick and bass provide a solid stage for Desert Sound Colony to unleash an eerie arp and pads combo alongside a flurry of stuttering percussion and twisted samples while intermittently sprinkled with an unintelligible and downright ominous pitched down voice.

Vinyl Only

Jack On Black consists of Jib Rafill and Joe Le Groove, the pair met 6 years ago when Joe was djing in Malta. Their love electronic music, machines and old school sampling techniques sparked a desire to collaborate and organically work towards writing various genres of music, including Dub, House, Techno, Downtempo and even Film Scores.

Their music is made from passion, a love of technology and Roland outboard gear. Both have been on the scene for many years and separately have their own unique journeys and projects. Joe Le Groove started producing in the mid-nineties and was taught the basics by Darren White aka D-Bridge. He currently has projects on labels such as Desolat, Defected, Moon Habour,Snatch, Defected, Heidi's Jackathon

The pair also have released music on Cesare vs Disorders Serialism and written scores for forthcoming independant films.Their sets are performed live using outboard gear, mics, turntables and EFX. Expect the unexpected from this unlikely duo...

Plutonian Funk is an EP that has been crafted for lovers of House & Techno. It has been destroying dance floors across the world by a handful of the scenes elite, such as Seth Troxler, Quenum Richy Ahmed, tINI, Cesare vs Disorder, Carlo Lio, Victor Calderone, Marco Carola, Audiofly, Dubfire and more.

The EP is split across vinyl and digital, all the tracks on vinyl will never be released on digital format.

The boys have been working hard over the past few years to develop their sound and forthcoming live performances with visuals

Enter Jack On Black…

Future Times is very pleased to announce that our next release will be a 7" single from Oakland's Motoko & Myers! This duo is made up of Wonja & DJML, both of whom have blessed electronic music in numerous ways recently together and individually, via releases on Jacktone, DJing together for their Herzog Hideout radio transmissions, and their amazing album from 2018, Basis Key, released via Bass Clef's digital imprint Open Hand Real Flames.
M+M make music from a really special place, wild tones, drum-machine-breaths and weird, pitched synth space combine with a sense of rhythm that folds in on itself. B-Side "Whimbrel" represents this perhaps best of the two songs, with a loping, wandering-on-the-beach sense of synth space and not-quite-dancehall drums. "Plover", however, is a perfect set-starter for the techno freaks, with the lightest drums coming in halfway over a thick, shifting loop of perfect glass techno for the DJs. Tip!

RMXD Versions of TB’s 2018 release “Night Heat”. With contributions from Gerd Janson, Sascha Funke, DJ Hotel and Bostro Pesopeo it’s all in the game; tropic machine rhythms, dist Chicago grooves, pinball lazerfunk and a touch of newromance techno.

Producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB from Munich, Germany, had a first track released, on John Talabot's vinyl-only Hiverned 10" imprint, called "Invitation To Love", which was voted amongst the best 10" releases by UK Fact magazine. GROOVE magazine wrote "..entirely superb..“, about the follow-up EP "City Girl" on Permanent Vacation, of which the title track has been licensed to the independent film „All These Sleepless Nights“ by director Michal Marczak. In 2017 TB followed with “Heartbreak Hotel“, a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness.

Magic Carpet" is the first Compilation of the German Label "Harmonie Exotic". Jose Manuel selected 12 experimental ambient tracks from the 1982 to the 1994. They are combined by the same feature, namely the magic and mysterious character. Even though all the (remastered) tracks released in different countries, such as Japan, Italy, and France, they are all combined in being rare and obscure songs. In most of them it is possible to verify the oneiric melodies mixed with the different drum machines, typical of that year.

For this reason, they show how the magic has been developed over the chosen years, as they were all enveloped from the same carpet. Starting from this idea the Compilation's title plays an important role in anticipating the dreamlike listening experience.

Back in stock!

Extracting a rich sense of emotion from an evolving analogue set-up, Hammer follows up his previous FMB outings Dahlia and C-Space with a similar tone and sound palette as he lays out a new EP with 3 tracks that capture the Feel My Bicep sound perfectly, striking the balance between delicate melody and power with aplomb. This EP follows what has been a heavy 2019 gig schedule, with stand out sets at many top festivals and clubs such as Glastonbury, Panorama Bar and Parklife, along with both an Australian and Indian tour under his belt. The lead track ‘Parabola’ manifested as a slow burning percussive experiment that, as Hammer explains, ‘quickly got fired up by an extra 10bpm for the dance floor effect, turning itself into an acid led epic’ and as a consequence accidentally becoming the A1 at the same time. ‘Parabola’ is followed by ‘Panoptic’ and ‘Entropy’; all three track names inspired by his recent love for physics podcasts. He describes how ‘they are based around types of curvatures and levels of order that, in my head, are the visualisation of the 3 tracks inside workings; the engine room of the time machine.’ All three tracks were created with Hammer’s much loved Yamaha CS1-X, ‘a spaceship in its own right’, he explains. ‘A Xoxbox and a Roland SH-2 did the rest of the hard work. Time to enter the twilight zone with this one’! Bicep continue to add substance to what has now become a distinctive and singular label with this new 12" courtesy of their long term friend and blog contributor Hammer. With their previous offering from James Shinra still in many roving record bags and with a release catalogue full until the end of the year, the development of the label has reached a certain zenith and here - as head strong and highly effective as ever - Hammer makes a welcome return to the label with another batch of machine-driven dance tracks.After 12 years of promoting parties in Glasgow, The Hammer Hits goes on tour inviting guests such as Sally C, Jennifer Cardini and fellow FMB signee Cromby across the UK, Ireland and Berlin.

The second edition of Dekmantel’s foray into the era-defining, trans-Atlantic, cult techno label that is Djax-Up-Beats, comes another re-issue of classic 90s cuts.

The label say "The Dutch label was responsible for releasing some of underground’s most foundational dance music, mixing together Chicago and European artists alike, and acting as the launchpad for some of today’s biggest producers. Featuring offerings from luminaries such as Felix Da Housecat, and Glenn Underground, alongside veterans such as Steve Poindexter, and DJ Skull, this second EP highlights the classic label’s old-school’s sound, while showcasing its diverse range, from dubbier, ambient moments, to wall-thumping, body crushing house force. Timeless music, repressed, and re-released for a new generation of DJs who covet the classic machine music.

The second re-issue EPs, offer a more introspective look at the label’s earlier releases. Leading Volume 2 is Terrace’s 'Bewitched', to which DJ Richard has described as being the defining track of the label’s beginnings with its "dreamy, Detroit-style techno mixed with the harder rave elements of Northern Europe”. Glenn Underground’s bass-roller 'Real Space' weaves together soulful passion and Chicago prime beats, while Felix Da Housecat’s Temptation — originally from 1993 — gets a well earned re-release, reminding us of the soulful, deep and lustful energy the producer once had. China White, whose name doesn’t get banded around as much as it should nowadays, see their ethereal hit 'Theme from the Underground' get another opportunity to bliss out the more upbeat rave community.

The energy turns darker with Frank de Groodt’s The Operator, breaking the outer-most barriers of electro-techno, with 'The Mind Strike'. Chicago and Dance Mania’s Steve Poindexter turns out rolling, dance-energy bomb 'Body Jam', while Mike Dearborn’s deliverance of unreal, dry techno in 'Deviant Behaviour' runs aplomb with classic drum-machine pulses, claps, and uncomfortable, yet punishing melodies. DJ Skull’s 'Don’t stop the beat' rides the EP with gushings of hand claps, and gentle, early 90s warm techno color, that transport you back to a time of more informed, and conscious electronic musings, a feeling that embodies Djax’s heyday.

Founded in Eindhoven at the turn of the 90s, Djax-Up-Beats quickly earned an international reputation for being a key source of Chicago house, acid techno, and floor-filling, heavy-hitting, straight up underground 12”s. It’s a sound that spawned the sonic aesthetics of today, and can be heard in the left field techno productions of the likes of Bjarki, Salon des Amateurs and other erstwhile analog junkies."

Vertigo Inc, the freeform house project of a veteran Canadian producer, returns to the Unfulfillment label with four tracks of kaleidoscopic psy-house, acrobatic acidic exotics, and modal boogie, coaxed from retro machines for a sophisticated, full-body buzz. Come to where the wild things are..

A DIY labour of love since its inception in 2014, Unfulfillment was founded in the US in 2013 to release dance music of an exploratory nature. Unfulfillment releases have been played and charted by Powder, Soft Rocks, Shireef Laffrey, Brian Not Brian, Jacques Renault, Mister Saturday Night, and Luke Solomon.

Nice 1 Records launches with a sublime slice of deep house geared towards tender moments in the dance. We Are Syd's "Gently" in its original form is a smoky downtempo cut riding on a laid back broken beat, honey-coated keys and a powerful vocal turn from accomplished singer Shea Seger. The emphasis on this record is on the two stellar mixes from Baby Ford & Dazmos, leading on the A side with the hazy, old-school groove of the "Backroom Mix". Seger's husky delivery lingers in a mellifluous bed of pads and a classic, understated drum machine funk. On the flip, the "Frontroom Mix" bring the rhythm section to the forefront, letting the undulating bassline carry the track and splashing dubbed out flourishes in the mix for a spellbinding, club-ready end result.

PULP is inaugurating this year's summer season with a lengthy affair by a certain Barry Helafonte called "One Night'. Not much is known about the artist that delivers the 12th installment for the PULP series. Nevertheless, production wise the sound is mature, and the drum machines sound like they are being hit by someone with vast experience. The balanced production quality of "Keys to The City" is prominent. A squelchy bassline is dictating the rhythm whilst washes of pads and an outlandish lead come together to form a dripping whole.

"Keys to the City" resumes with friend of the label Moon B on rework duties, turning the spaced out drums of the original

Global tracks is a mystery; browsing the name online gives nothing associated with the artist. All we really know is that Gothenburg is home base. Most points toward that this is Global Tracks first release and Hoga Nord Rekords are more than proud to be first out giving his/her music out.

With albums like 'Selected Ambient Works' by the Aphex Twin and cities like London and Sheffield as a ground for the sound, Global Tracks displays how breakbeats should sound in 2019. The music is mostly influenced by Jungle, but also by Footwork and Dancehall. The roots lie shallow but the phantom behind this music don't give up with trying to recreate the nineties straight up, instead he/she develops the legacy from all the best and most drug marinated DJ:s from England circa 1995.

Breakbeat has a new vanguard in this mysterious shadow crawler that we know almost nothing about, but rumor has it Global Tracks is locked up with the machines under ground somewhere in Vastra Gotaland in Sweden working on new broke up beats, ready to surface when the time is right for more, deep and ganja oozing dance music!

'For his first EP in two years, and second release on Leicester's Grade 10, Forever returns with a six track exploration of hazy, dub-inflected sounds entitled 'In Your Own Time'.

On the A-side, the tense atmospherics of 'Depth Charge' give way to the sun-kissed chords and dancehall-esque rhythms of 'Watch This', finally being rounded off with the record's title track - a sub-driven 7 and a half minute roller, where percussive patterns and dusty chords drift and weave amongst each other.

Side B continues on to more dub-leaning tracks, with 'Alpine' picking up the pace and echoing pulsing synths in to the abyss, followed by a drugged out 'Opioid mix' of the title track - a drum and bass combo sat somewhere between Memphis rap and classic soundsystem rumblers. Closing out the record is 'UR', plunging in to the depths with sonar-like samples and echoing vocals like ghosts trapped in the machines.'

This is the first in a series of remixes of tracks from Dubkasm’s acclaimed 2018 LP, Rastrumentals. The 10” opens with Alter Echo and Zam Zam/Khaliphonic label head E3, who have an impressive list of previous collaborators including Lee Perry, Pinch and The Bug. The Portland, Oregon duo have taken the driving roots energy of ‘Lei Áurea’ and used pounding drums, flurries of aggressive foley and veering synth attacks to flip it into an apocalyptic dancehall banger.

Side B comes courtesy of recent Bristol arrival Om Unit, a truly unique producer and DJ, headlining shows around the world, and collaborating with artists as diverse as Goldie, Joker, and Machinedrum. Always impossible to classify, his remix of LP opener ‘Eco do Jongo’, , dives deep into dub territory, its ethereal, stripped-back nyabinghi drumming, crystallised synths, and a slipstream of horns bringing Ras B’s righteous message to the fore

This release has been expertly mastered via 1/2” tape by Lewis at StarDelta, and is backed and distributed by Unearthed.

'There's a lot of serendipity involved in wrestling grooves out of these awkward machines', says Richards about the process behind the record. 'A large part of the composition is making the machines and the patches. They define the limitations of the pieces coming together. Then the performances are happy accidents - found using intuition and practice.'

Made up of two studio sessions and one live recording, PINK NOTHING reflects the unusual space Richards inhabits musically. It's partly informed by his background as a PhD student at Goldsmiths, where he re-imagined and built the Mini Oramics machine – a 'drawn sound' instrument first conceived by electronic music pioneer Daphne Oram, and finally realised by Richards in 2016.

But Richards is also an autodidact beat-maker, and much of the structures and sounds on PINK NOTHING derive from dance music, while his influences also include ritual trance, Ghanaian drum choir music, and the cellular rhythms of Steve Reich. 'It's polyrhythmic abstract electronica' – and he emphasises – 'listening music'.credits

Where Future Unfolds is a new work spirited by Chicago-based sound & visual artist Damon Locks. Starting as a solo sound collage piece (where Locks pulled samples from Civil Rights era speeches and recordings to create an improvisational pallet for performance on his drum machine), over 4 years the project has blossomed into his 15-piece Black Monument Ensemble - featuring musicians (including Angel Bat Dawid on clarinets and Dana Hall on drums), singers (alumni of the Chicago Children"s Choir), and dancers (members of Chicago youth dance company Move Me Soul). Where Future Unfolds is a live capture of the ensemble"s epic debut at the Garfield Park Botanical Conservatory on the West Side of Chicago. Recalling the spirits of Phil Cohran"s Artistic Heritage Ensemble, Eddie Gale"s Black Rhythm Happening, Archie Shepp"s Attica Blues, and Public Enemy"s It Takes a Nation of Millions to Hold Us Back, the album presents an inspired, innovative & immediate intersection of gospel, jazz, activism & 808 breaks.

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

Enzo Elia – one who knows how to conceive Italo driven audible passion with the machines that surround him. His releases on cult labels Compost, Free Range and Black Pearls Records have long spoken to us here at KOMPAKT.

We welcome this summer heater which is “Gilli 88 EP”. A tribute to the 80s phenomenon…THE PANINARO. Without any ideological basis or connection to a particular lifestyle THE PANINARO was based around fashion imagery and luxurious clothing. Enzo found this translatable to today’s social network dynamics and is prime for the retrofuturistic dancefloors of today that are inspired by the golden days of Italo-Disco.

“Low Red” is a Italo-Pop gem conceived with Quique Aldebaran and Quique on vocals that takes inspiration from the legends that were – the mighty Suicide. An instrumental version dives deeper into the groove for DJ play persuasion. “Aj Squinza” takes a classic 80’s disco approach with sound-scaping synths that endlessly jam with an everchanging rhythm. “Volpinata” succumbs to a classic EBM groove that finds its way out of focus due to fat synth melodies that engorge this elevating track.

Soundway Records presents the eponymous debut LP from in-demand Amsterdam five piece The Mauskovic Dance Band – fusing no-wave dance punk, Afro-Caribbean rhythms and space disco in a “controlled explosion” (The Quietus).

Entirely self-produced, the band has reiterated their favourite elements of the 70s and 80s legacy of the Afro-Latin psychedelic music of Colombia and Peru, interpreting it through the context of modern day Amsterdam. The output is a lo-fi No Wave groove all its own - rooted in a deep love of champeta, Palenque, psychedelic cumbia, chichi, classic afrobeat and picó soundsystem culture.

Since the release of their “Down In The Basement” EP on Soundway Records in early 2018, the band have found themselves on a hectic European touring schedule – not to mention being involved in other side projects. Following stints with Turkish psychedelic folk rock group Altin Gün, and touring with the re-formed 70s Zamrock outfit W.I.T.C.H., Nic Mauskovic also teamed up with Dutch neo-psychedelic artist Jacco Gardner to form the “cinematic Balearic disco” duo of Bruxas (released by Dutch institution Dekmantel) – and together, they mixed The Mauskovic Dance Band debut album in Lisbon.

Lead single Space Drum Machine encapsulates the band’s prototypical brand of busy rhythmic patterns interwoven with insistent synth stabs and vibrant disco toms, layered with an elastic guitar riff drawing inspiration from Kenyan kikuyu and benga styles. High-pitched vocals describe being on a flight together and inciting each other to press a button of unknown consequence with “push it, push it” - and push it they do, at breakneck pace. And of course, the undeniable influence of Amsterdam’s hotbed of underground dance producers shines through as it does on all tracks - with the vintage psychedelic swirl of synthesiser, lo-fi drum machines and tape recording.

Remastered 6 song mini LP​ originally produced in the
mid-80s *very in-demand with funk record collectors and
DJs worldwide. Featuring ​6 upbeat synth-driven, boogie
funk dance tracks​ *first officially licensed vinyl reissue*
Colours of the Rainbow contains the best 6 tracks from two rare South African LPs by recording artist Bibi
the Kid Msomi: 4 tracks from the ​1985 album Searching​, and 2 tracks from the ​1986 LP What Kind of Love
is This?
South African funk music from the 80s​ has recently gained recognition as ​some of the best funk
productions in the world​; yet so many titles remain virtually unknown outside of South Africa, especially
due to the scarcity of the original pressings (due in part to the destruction of any music perceived as
subversive by South African government censors at the time).
The level of musicianship on these recordings is simply world-class. Even ​Paul Simon​ ​was trying to work
with Bibi Msomi​ while recording his Graceland album in South Africa (read more about it in this ​exclusive
interview​).
Combining American and South African funk influences, these 6 upbeat dance tracks feature ​popular
synths and drum machines of the day​. The subversive lyrics and infectious grooves on these recordings
address the political turmoil during the peak Apartheid years in a way that was just subtle enough to slip
under the radar of stringent government music censors. ​Deep messages of freedom and universal
brotherhood are backed by​ some of South Africa's greatest musical talent​, including:
Mac Mathunjwa (​Street Kids, Neville Nash​), Sello Mphatsoane (​Bayete​), ​The Hot Soul Singers​, Cisco the
Champ Mokoena, Blackie Sibisi (​Step Ahead, Brenda & The Big Dudes​), Alistair Coakley (​Hotline, Stimela​),
Ladysmith Black Mambazo​, Jantshi Mayo (​Sipho Mabuse​), Peter Mokoena (​Pure Magic​), Solly Ledwaba
(​Juluka​), Joey Mabe (​Mahlathini and the Mahotella Queens​), Deborah Fraser (​Brenda Fassie​), Zamo
Mbutho, Banzi Kubheka (​Banjo, CJB​), Cyril Mnculwane (​CJB​), and ​Stimela​ ​vocalists​: Marilyn Nokwe, Tu
Nokwe, Hlengiwe Maphumulo, Beaulah Hashe.
Meticulously ​re-mastered with love for maximum impact on the dancefloor​; we hope you enjoy the
songs contained on this spiritual boogie masterpiece.

Where To Now? Records present the debut release from Akiko Haruna. Akiko’s world is one where cacophonic distress lingers, shuffling itself over scapes of percussive damage and driven groove. Akiko presents a fresh take on the current Technoid function through her use of emotive and intentionally disruptive vocal chops and a dizzying ‘wall of sound’ approach to the dancefloor, consuming all yet somehow keeping vibes alive.

Akiko’s artistic background is primarily in Dance, and undoubtedly this performance led background has had an acute impact on her approach to melodic detail & storytelling. Akiko’s tracks rapidly shift & morph states, always restless and searching with fluidity and intent. From the ever present Micro Electronic details to sweeping swathes of Bass flutter the notion of progressive movement remains at the forefront of her sound, minute elements of detail become briefly isolated, intentionally directing the listener to their subtle presence.

‘Delusions’ Leads with ‘A Mother’s Love’ and begins a theme of resentment and dissonance. The Japanase vocal cuts throughout the track roughly translate to “you should die”, here obviously flipping assumed and supposed relationship rules and roles and exposing an inner turmoil, reflected through a continuous anxiety ridden, almost panicked siren detail which pulses over Akiko’s heads down, deep and uniform forward march.

‘Husband Established’ and the opens with the emotive vocal line “I just hate your Voice”. This is the sound of a poisonous & damaging relationship hurtling towards combustion, where Akiko’s elements gather momentum and impact as layer upon layer of detail pummel and puncture this heightened state, pausing and spiralling to evoke a standoff of aggression and imminent outburst. ‘Husband Established’ stands as a frankly stunning piece of sound design, which manages to capture a raw human emotion, and provide release for the associated junk, stress, and occasional banality of Relationship angst.

‘Hetero’ picks up where ‘Husband Established’ finished, further exploring societal character types and submissive gender tropes that are thrust into our sub consciousness from day to day. The concept of Hyperreality and its themes are continuously explored within Akiko’s practice and It would perhaps be fair to say that these themic explorations within her Music are Akiko’s own outlet for traversing human relationships within a complex, heightened, & layered reality, and it is certainly Akiko’s intention for her audience to feel some kind of relief and release within her sound world. Sonically ‘Hetero’ is a much sparser, subtler affair, where swathes of sampled voice & machine swing in and out of focus, against a weightless backdrop of affecting isolated electronics.

The EP closes with ‘Ripehus Alley’, seemingly void of any deeper meaning or message this serves more as a dreamlike parting song to what is otherwise a highly charged collection. Floating itself away from a frantic & incomprehensible world into a calmer space for final thought and reflection. ‘Delusions’ is a complex, exploratory trip, one which fans of Logos, Fis, Alva Noto, Jlin, Jesse Osborne-Lanthier etc will relish exploring.

In a landscape increasingly dominated by surface-level sonics and a lack of true organic – man-made-machine-driven - sound, the newly found and London-based Gaia Tones project rises with an unforgiving grasp over the science of improvisation and mystery. Like a gust of wind from Mother Nature herself, the duo comprised of John Swing and David Soleil-Mon breathe a new, highly perceptible form of life into the UK’s long ‘dub and ‘bass’ dynasty.

Contrary to the consumer plastics found across much of the ‘digital’ musical spectrum, the two artists impose their own vision and aesthetic to a framework of sound that has somehow always existed but never fully explored before. Heady, stoned-out and surely emanating from physical matter, their two debut tracks are set to redefine the standards going into the next decade.

The A-side “Lychees”, stutters its own brand of dread paranoia over a sea of complex, morphing percussion that together create a whole new palette of exploratory sound, loosely tied up into a hazy, nomadic groove. On the flip, “Wonkadonk” feels like its natural extension, evolving that familiarly off-kilter assembly of drums to work around a devotedly dystopian swell of bass that pushes further and further out into the ether.

In the end, the universe tends to unfold as it should.

Label artwork by Egidio Sterpa

A cryptical presence hiding behind many different aliases spread across a range of underground labels: co-owner of LiveJam Records alongside EMG, John Swing begins producing with a live and spontaneous approach that pushes the boundaries and general conceptions of club music while digging deeper into the techniques of the past.

The production process through ananlog equipment that John Swing so strongly supports with an uncompromising attitude is the key to his underground success and esteem.
With a back catalogue of over seventy releases including collaborations with established artists such as Mr. G and Ben Sims, the London based talent has been receiving recognition by established artists including Floating Points, Gerd Janson, Levon Vincent, Theo Parrish and many others.

Inspired by London's Plastic People and it's bonding vibes, through a well refined spectrum of musical knowledge John Swing engages with the dance floor in a physical yet emotional way: the strength and power of pure house is blended with black soul music in a constant crossover between underground aesthetics and cherry-picked funk and disco. His subtle understanding of the dance floor guarantees a deep-rooted experience for the mind, body and soul.

Georgian artist Sophia Saze releases her debut two-part album 'Self' on Francis Harris' Kingdoms imprint, with part one dropping on cassette this June. "The record embodies my story of duality within the context of identity, insomuch as the idea that every person has a deeper layer we don't show on the surface."
Born in Tbilisi, Sophia Saze is the daughter of political refugees who's spent her life living in numerous different countries before eventually finding home in Brooklyn. Finding it difficult to find her own identity due to living a nomadic lifestyle, the classically trained musician became entangled with electronic music before becoming a key player within New York's nightlife scene and launching her Dusk & Haze imprint in 2017.
A reflection of her struggles throughout life, 'Self' is very much a memoir of the many different places she's lived during her journey, including Georgia, Russia, USA, France and Canada. Contrasting to her recent productions, which are geared more towards the dancefloor, her debut longplayer is downtempo and features a medley of musical influences - mixed in two parts and released as a concept album on cassette. Maintaining a sonically raw feel throughout, 'Self' draws the analogy of analog to modern day digital culture whilst also taking a stance against perfection, whether integrating the distance crackle of her machines or intentional off-beat piano notes in minor. Part One was conceived, for the most part, during a sleepless yet inspired 48-hour studio session. Processed field recordings accompany samples from her childhood, such as soviet cartoons and intimate VHS recordings of her family. The result is a well-seasoned and personal story portrayed in fourteen tracks mixed together.
"I feel the element of patience is somewhat of a lost commodity in our generation, particularly for albums. We're consumed by track to track interpretations and constantly searching for the next instant stimulation. With this record, I wanted to reiterate the idea that if you don't have the willingness to sit through the whole thing, then you're not stepping into it with the right mindset to begin with."
Every artist who collaborated on the record is handpicked, such as vocalist Ricardo Rivera. The final production was also mixed by Francis Harris himself. All of their involvement means they share a fragment of the concept.

Spearheaded by James Dean Brown (also known from Perlon's Narcotic Syntax) and Victor Sol, and featuring other rotating members, Hypnobeat is a true product of the open-ended spirit of DIY music that proliferated in the 1980s. The prescient project championed deft, machine-powered rhythm programming as its modus operandi long before the practice would become a dominant global cultural form. Since Hypnobeat was revived in 2012 with Helena Hauff joining JDB on stage for improvised live performances based on one 707 and three 808s, there have been a string of archival releases shining a light on the early and more recently recorded works of this forward-thinking venture.

This latest collection for Artificial Dance comprises three freshly unearthed iterations. Long-form A-side track 'Polychrome Desert' is a pure percussive exercise, programmed and recorded by JDB in 1986 with a chain of three 808s filling out a stereo panorama. The intention was to create a pure, meditative rhythm drawing on African influences and reinterpreted through what was then the music technology of the future. 'Spies In Malaysia' is a live recording from a concert Hypnobeat performed in 1985. Its lurid melodic passages and crunchy percussive blasts formed the closing track of the set, which was met with rapturous response. Recorded in the same year, 'Sumatra Railway' was the product of an impromptu session between JDB and Victor Sol. The song finds the pair exploring a more shadowy, surf-inspired sound, laden with echo and freewheeling through seven minutes of sun-kissed, subtly tropical subversion.

With each successive release, the plot surrounding Hypnobeat thickens in a tangle of 1/4' jack cables and ancient effect pedals. From its shifting line-up to the diverse sonic repertoire, it remains one of the wondrous plants of German electronic music in the pre-techno era.

At the end of last year we quite enjoyed the little spat when Simon Cowell's chosen one, Joe... Something or other had his Christmas number one spot whipped away from under his nose by Rage Against The Machine. Still whilst we enjoyed the sight of the X Factor being given a bloody nose as much as anyone else, there was also an undercurrent of the ridiculous prejudice that ROCK = GOOD & MEANINGFULL whilst POP = CRAP & DISPOSABLE to the whole thing that we found less agreeable.

Here at Hot Pockets we have no truck with such orthodoxy, no, what we need is suite simply better pop music, made with all the passion and spirit of your finest indie troubadour but filtered through the prism of a 3 minute teenage symphony. Listen back to the likes of Roxy Music or Pet Shop Boys and you have music that is as equally up to the task of inspiring as it is of soundtracking a quick fumble on the dancefloor, that is the beauty of great pop music.

Thankfully for those of us that do like smart, clever pop that doesn't come hurtling off a production line but instead is crafted with much love and precision :Kinema: have arrived with their debut release a classic double A-side of pop perfection, Recreation/My Girls.

First up we have Recreation, a slow burning slice of South coast electro-soul inspired by an insatiable thirst for fun and those who would pass judgement on our basic human need for intoxication and ecstatic night time rituals. All in all a bonafide late night disco classic. Flip the virtual release over and you'll find the band's stunning cover version of Animal Collective's My Girls, a live favourite the track has already been the subject of a blogging frenzy when a demo leaked back in December. Finally available the whole world can now enjoy this smooth, autotuned refix of the indie classic.

The new pop revolution starts here