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Unknown Berlin area label/producer RECYCLED makes an outstanding debut release. Classic soundings, perfect structure and a styling that clearly makes reference on oldschool Techno. The record means busyness from the beginning with the floor heater Industries, followed by the steady firm beats Block. In B Side, Energy is probably the strongest track on the release and Skynet brings some chords and colors, adding class and deepness to this awesome 12".

This time last year, The Forgotten Man launched the Noctu Recordings imprint via a superb single-sided salvo. It portrayed a producer in tune not only with dancefloors, but also the fundamentally far-sighted, intergalactic vision of Motor City techno. The good news is that this belated follow-up is arguably even better. Epic A-side "Pulsar" is a superb example of his craft; a deep and melodious voyage through shimmering pads, B12 style sci-fi melodies and crunchy machine beats. His ability to wrest every last ounce of soul from his machines is confirmed by delicious B-sides "Sky Birds of Ki" and "Beyond Sector 9", both of which fix dreamy chords and melodies to punchy electro grooves.

This golden release (PRRUKBLK050) sees prolific producer Edit Select adding another excellent deep techno EP to his ever expanding catalog.

- non-gatefold sleeve without 7"

Rush Hour announces their second artist compilation Patchwork, curated by one of the label’s most loved family members, Sassy J. The Swiss DJ is the very embodiment of passion and long-standing dedication to the craft of the DJing, but also to the community surrounding the music that she lives and breathes. For the past fourteen years Sassy J has run the Patchwork night in her native Bern and in London, with guests ranging from Theo Parrish and Little Dragon to Floating Points and MF Doom invited to share their respective musical visions. Her collaborative approach stands out in a DJ world that is too often weighted in favour of promoting the individual. This compilation grows out that unique sensitivity, foregrounding a theory of curation that centres on long-term bonds, articulated through Sassy J’s personal relationships with the contributing artists.

Patchwork speaks to the grass roots values that Sassy J espouses, showcasing music by many of the artists that have joined her throughout the years in clubs, on the radio, and at home. It is an expression of Sassy J’s individual musical path that casts its gaze firmly in the future: Patchwork is made up almost entirely of new and unreleased songs that are exclusive to this collection. Patchwork captures a sound that has continued to evolve in its restless search for new musical directions. Across thirteen tracks we find forward thinking electronic music rubbing elbows with cosmic jazz and deep percussion workouts from Brazil and beyond.

There are irresistible calls to the dancefloor: 2000 Black’s UK boogie and the syncopated rhythms of WaH-chU-kU nod to the West London sound, whilst the early rave of Nu Era and Aardvarck’s sub-rattling techno channel the grittier edges of the club experience. We find machine music imbued with humanity in Larry Heard’s deep house classic “Survivor” and in Ron Trent’s WARM project, whose gentle breeze points to a different side of the legendary producer. Patchwork also opens a more immersive listening space in which the radical indie soul of Georgia Anne Muldrow, the ambient spiritual jazz of bandleader Carlos Niño & Friends, and the lament for the Amazon rainforest by Azymuth’s drummer Ivan Conti can channel the overall spirit of group interplay and solidarity. Patchwork also includes Sassy J’s collaboration with veteran producer Alex Attias, marking her own place in a universe that is held together by her singular thread.

"This is the compilation of the year!" - DJ Spinna

The 888 Miles E.P. includes two original tracks, 888 Miles and 777 Miles, which both develop a psychological tension that leads to moments of euphoric liberation where the synths soar and allow the mind the wander, accompanied by a rhythmic groove. There is a slightly different sensitivity between the two tracks that you'll can easlyer constat. Then, don't forget, even if the approach sounds different, the soul remains the same. The other original track, 000 Miles, places you on a spacecraft, with ambient musicality sounding like it could have been generated by hydraulic pipes or air conditioning. This E.P. release also includes '888 Miles XXX Reshape', a deep techno remix by none other than the awesome Francois X. He's probably the best person to describe it: "I've known David & Kevin (Klash Point duo) for a while now and when they suggested that I produce a remix for them, it was natural to say yes. It's funny how this piece of music saw the light, as it has a completely altered tone from the original. It's definitely one of my funkier tracks, with trippy and bluesy vibes - like a trip deep into the wild."

Aussie house maestro, Matt Meler debuts on House Puff with a tasty club-focused four track release. The A-side kicks of with 'The Looker' full of freq'd 'n' filtered stabs and pads that'll get the juices flowing. A2 strips a few layers off for a hypnotic bumper, 'Rub- A-Dub'.

Incognito Cognito, thumps us with a heavy hearted groove with etherial textures and psychedelic atmospheres. Closing out the B-Side is 'Nice Things', Saturated with classic deep influences, wonky LFO's and hats for days. Wrap your head around this all class EP.

Holy Fuck have today announced details of new album 'Deleter', which will be released on January 17th and is further previewed with the video for acclaimed latest single 'Luxe' (ft. Alexis Taylor). Having just concluded a US tour alongside Hot Chip, the seminal Canadian band will play a selection of European headline dates later this month (with a London show at Moth Club on October 23rd selling out immediately).

Arriving at a moment where attention spans are shot and anxieties are going into overdrive, 'Deleter', Holy Fuck’s fifth studio LP, is a defiantly full-bodied affair. Polyrhythmic and pleasure- focused, 'Deleter' sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt “Punchy” McQuaid utilises their signature sound - seamlessly fusing the gauzy drive of krautrock and deep house’s dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for.

From the thrusting minimalism of opener ‘Luxe’ through to the triumphant chug of closing track ‘Ruby’, via club-ready rollocker ‘Free Gloss’ and the cosmic clatter of ‘San Sebastian’, Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolour, crescendo- heavy sound.

Intheboothsteps up with a diverse 3rd release. Nat Wendell kicks it off with a deep, bumpy groove complimented by a hint of soul. Alex Arnoutsteps up with a sleazy, rough, analogue type track to close the A side. The flip sidesees a Paolo Rocco edit of a remix Pijynmandid for Chez Damier and Ben Vedren'sproject H2H, while the record closes with a Pijynman original filledwithcorky jazz samples and chops. All in all the label sticks to it'sroots style selectionthatcatersstrictly to the house heads.

New House & Deep floating Techno 12 inch !

Local Talk ends 2019 with something special, a release by Antony Nicholson & Mark de Clive-Lowe.

Anthony Nicholson aka Miquifaye is deeply rooted in the movement of taking music and art forward in the city we call Chi-town, across the globe and around the world.
Anthony has a discography that has been one of the most respected and sought after collections in dance music.

Mark is an artist in constant evolution, reaching for that next level, to call him prolific is something of an understatement.
Together they've created two tracks that got 'classics' written all over them and executed to perfect precision.

These two new tracks continue to push the band’s sound into new territory; ‘Overture 1’ is a brand-new composition from Ruby Rushton keyboard player Aidan Shepherd. Taking inspiration from bands like Weather Report and Soft Machine, it's explosive introduction leads you to a dub-like breakdown, creating an open space for Shepherd to let loose his synthesizer for some deep space, Headhunters’esque exploration.

Yardley Suite - is a song first conceived by band leader Ed ‘Tenderlonious’ Cawthorne back in 2012. Having lied dormant for several years it felt like an appropriate time to pull it back out the bag. It’s a composition inspired by Cawthorne’s solo work as an electronic producer, under his alias Tenderlonious. Always wanting to merge his various approaches, ‘Yardley Suite’ is the perfect mix of Jazz and House. With a steady four to the floor beat and snappy horn lines it's sure to work its magic on dancefloors around the globe.

Having focused on improvisation and more “open” compositions in the past, the bands new direction is geared towards tighter, more groove-orientated arrangements. This exciting new material is yet further evidence that this is a highly prolific band at the top of their game, continually evolving, stretching out their own unique sound across the full jazz spectrum.

DJ Support: Tom Ravenscroft, Bradley Zero, Huey Morgan, James Endacott, Kev Beadle, Chris Phillips, Tony Minvielle, Tim Garcia, Delia Tesileanu, Kamaal Williams, Al Dobson Jr, Contours, Poly-Ritmo.

We are privileged to explore on this essential LP a plethora of Dr.
John's earliest and most satisfying recordings. The unique mixture of styles on display is drawn from the music he grew up listening to in the clubs of the Deep South, where he first practised his (witch) craft. The combination would impress many other musicians, including the Rolling Stones and Jools Holland, himself no mean boogie pianist.

UKNOWY music is back with a new installment on its more house-leaning "Plastic Garment" vinyl series. This time the EP title is "Midnight Impulse" as every track carries the treats of nocturnal life: it's dark, it's fresh and it's open to all possibilities! Starting with Salomo we have a delivery of a definite club banger with "Transform" - devotees of the likes of Kyle Hall or Steven Julien/Funkineven will definitely get their fancy tickled here. Next comes Italian break-beat maestro Sofa Talk with a rhythmically sophisticated yet deep "ALBA", much in the vein of earlier Plastic Garment releases. Munich house duo Rhode & Brown starts the B side with "You & Me" building intricate synth arpeggios over catchy chords. St. Petersburg's very own Dices closes things off with his more dreamy and at the same time incredibly complex and beautiful "See You There" - a track for the listener or the later hours of the night.

New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.

Jay Clarke's masterful BLACKAXON imprint returns with a shapeshifting EP from Davide Piras.

What began as a sonic sketchbook for Clarke to express his expansive view of electronic music, is evolving. The label is opening up to artists who hold a shared passion for creating dynamic and interesting techno compositions, with a few surprises here and there. Following last October's superb contribution from rising talent Yant, experimental techno artist David Piras drops a quadruplet of cuts to join the BLACKAXON fold.

His BLACKAXON debut, "Beyond Our Reach", is a true all-rounder. It leads with the dusty slow bass monster "Radiation Belt", before the gritty electro noodlings of "Multipolar" enter the fore. The analogue-infused rave cut "System Cartesian" takes the EP into otherworldly realms, before atmosphere-heavy "Pangaea Heritage" closes out the work, evoking a hazy afterhours vibe.

"Davide's productions hold an air of Convextion about them, he's one of my favourite artists. I locked into that right away and knew I wanted to release his music. When I listen to Davide's tracks I feel as though I'm in the middle of a sci-fi movie, they're funky and futuristic tales from the deep. Amazing!" - Jay Clarke

Repress

Blattodea Records owner Exsiderurgica on Sacred Court

This double 10" vinyl features some absolutely enormous remixes that are not to be missed! Hamilton (Dj Ham) steps up to the plate and delivers a blisteringly dark remix of an already dark tune. Tough and rough, this one has a bassline that shakes the speakers to death and is built to last in his customary RAM records style.
Abyss gives us a glorious old skool drum and bass remix, in line with the 1994 sound, full on amen cuts, heavy sines and deep atmospherics.
Lowercase and Psycangle move the whole track into early 90's Ruffneck Records / Malice territory, with a furious old skool gabber remix, hard as nails and noisy as hell.
But perhaps the best is saved for last, because Sunny & Deck Hussy do the near impossible and take a dark tune and flip it on its head, making it euphoric and deep without losing the essential character of the original.

Club / DJ Support
Shimon, Andy C, Randall, Ray Keith, Chase 7 Status, Zinc, Jack Frost, Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder and many others

''M'acko'', ''Kokoloko Tani''and ''Abidjan Adja'' are deep mid-tempo Ivory Coast Boogie Synth steppers, heavy production!! Funny fact.., the 1986 LP is mixed by Sammy Massamba!

This Remix, kind of a 'Egoless' version by 'Dubkasm' - With Title 'Enter The Gates' featuring Rider Shafique. ... Based on a new, white label which calls onself "Deep Medi Musik".

Hope, you enjoy.

iven Jones’ rather slack approach to track titles (both being consistent with and sometimes even just supplying them), it’s a bit of a relief to realize that two tracks with the same name are indeed related. In the case of “Arab Jerusalem”, which makes up nearly half of the newly-released Lalique Gadaffi Handgrenade, that kinship is immediately apparent even though both tracks are clearly their own experiences.

Released as the first track on the Minaret-Spearker picture disc 7” in 1996, “Arab Jeruzalem” (spelling also sometimes being fairly slack) is 5:42 of effectively shifting dark ambience, wordless female vocals drifting over the hand percussion, chimes, and static of the track, with eventual conversational loops discussing... something underneath. The end of that version is especially striking for the way the woman’s wordless singing starts being sampled in such a way that it overlays the whole track (and, slightly, itself). The almost 24-minute “Arab Jerusalem” here might be called the Deer Hunter version of the same story, building with great patience and many more abstract detours towards what now seems like simultaneously an excerpt and, now, a climax. As with many of Jones’ more ambient tracks, the great length just lets it cast its spell more thoroughly and entrancingly.

The other three tracks, meanwhile, suggest some of Jones’ other work but never evoke them as directly as “Arab Jerusalem”. “Jordan River” is nearly as long (a second shy of 20 minutes) but strips out the vocal elements in its predecessor, focusing instead on a more active percussive workout (analogue and digital both) and a river of hiss running down the center of the track. The title track of Lalique Gadaffi Handgrenade might bring to mind the title of “Lalique Gadaffi Jar” from Libya Tour Guide (last reissued by Staalplaat in 2015), but if they’re sonically related Jones must have practically melted the other track to get this one. And the closing “Desert Gulag” (like the title track, a much more manageable length than the first two epic tracks here) bears a slight resemblance to “Negev Gulag” from 1996’s Fatah Guerrilla, here what was a piercing, repetitive drone is softened and looped over more of Jones’ percussion. The result is a well-rounded release that shows off many aspects of Jones’ sound as Muslimgauze, while existing (like many of these DAT tapes do) in conversation with much of his previously released work.

Heinrich Dressel was an archaeologist, epigraphist and numismatist, creator of a table, still in use, for the cataloging of Roman amphorae. For over ten years, one of the founders of MinimalRome, Valerio Lombardozzi, has embraced the name of the German scholar, becoming both the guardian of a dense collection of sounds from the past and the creator of new brilliant electronic ones. “Completion Of The Amphoras Table”, originally released on cd by Legowelt's Strange Life Records, was the final chapter of the so-called 'Studium Amphorae Trilogy', a triptych of albums which tried to 'evoke' in notes not only the discoveries and the studies of Monte Testaccio's fragments made by the former pupil of Theodor Mommsen.
The first vinyl release of “Completion Of The Amphoras Table”, curated by Souterraine.org and Envlp_Imprint, fills not only a recording void, but also gives posterity a remarkable album to rediscover, worthy successor of “Mons Testaceum” (2007 ) and “Escape From The Hill” (2008),
which reconstructs one more time the ghostly atmosphere of a Rome at the dawn of the 20th century. Heinrich Dressel adopts the stylistic features of gloomy soundtracks and, above all, relies on a set of polyphonic synthesizers that, starting from the rare Elka Syntex, favor the composition of abstract textures, punctuated by some appropriate variations, and harmonies which, net of the
deep bass, make every single track even more magnetic.

Public Release once again plunges into the deep well of dance music talent it's hometown of San Francisco has long fostered for Moon Replacement, the debut single by Anderson Chase, two originals wrapped around a couple remixes of its titular track.

Clocking in at over eight minutes, “Moon Replacement” is a tense, drawn-out affair. It coaxes you onto the dancefloor with hardedged drums that slap with a metallic clang, a steely bass throb that defines its backbone, and spindly synth noodles that creep around the crust on top. Chase’s previous life as a punk and metal drummer seeps through; this is a tenacious house boogie that trundles along at that Goldilocks BPM of 118, fast enough to snap you to attention, slow enough that you don’t lose stamina as you give into the groove.

Japanese house producer Gonno, known for his ability to graft scalpel-sharp minimal techno loops onto out-there, mindexpanding arrangements, puts his own spin on the song for the A2 slot.
He darkens the mood while zapping it with a static charge to quicken its pace. On the reverse is Mark E’s take, which goes in the opposite direction, applying some heat so the square structure’s joins start to melt, wiggle, wobble. The bottom is still stocky, a molten mass of heavy-duty bass energy, but the melody that dances around the top is airier and lighter, glints of sunshine through storm clouds.

And then “Between Us” arrives to stick the landing, get us back to where we started. Like “Moon Replacement,” it’s a blocky foot-stomper that directs you forward with its tireless rhythm section, though this time with an even longer shadow cast behind it.

‘I Want You To Be Mine’ has all the hallmarks of classic 1960’s Rocksteady, an era which many refer too as the Golden Age of Jamaican music. Over the top of a live one-drop beat, cool & deadly sax and warm analog guitar & bass Deemas J rides the riddim in a ‘old time style & fashion’ whilst Rachel Wallace provides the perfect accompaniment with her gorgeous vocal. On the B-Side we have the deeper cut ‘Questions’, where Deemas delivers a poignant poem over Adam Prescott’s moody instrumental in the style of Linton Kwesi Johnson. Featuring live instrumentation from Harry ‘Papa B’ Bradford (Sax), Clifford Junior (Guitar) & Guillaume Metenier (Hammond Organ). As an integral part of the Reggae Roast Soundsystem team Adam has established himself as one of the finest selectors in the world. Initially with some early support and guidance from Mark Iration (from the Leeds based Iration Steppas), Adam was quickly recognised as one of the key players in the re-emergence of British Reggae, producing first class original songs featuring the likes of Cornel Campbell, Macka B, Sugar Minott, Ranking Joe, Rod Taylor, Johnny Osbourne & Earl 16 to name but a few. Add to that consistent play on BBC Radio One & Rinse FM plus huge support from Sir David Rodigan, featuring Adam on his ‘Best Of British’ show on 1Xtra, Adam has become one of the hottest prospects in the revival of soundsystem music. Deemas J has built a formidable reputation as a go-to MC & vocalist with equally genre-busting credentials; His background in Reggae & Jungle means that his lyrical skills and style holds no bounds. He currently works with 3 of the top London Reggae Soundsystems, Unit 137, Reggae Roast & Solution Soundsystem as well as running his own Sound Limey Banton Bass in Guernsey. He has released music on some very well known labels such as Irie Ites, Irish Moss & Tru Thoughts, which released the cult LP ‘Wrongtom Meets Deemas J in East London’. More recently his latest release ‘Muhammed Ali’ received fantastic support from Don Letts, Sir David Rodigan & Ras Kwame. His virtually endless CV boasts collaborations with everyone across the worlds of Drum & Bass, Old School, Garage, Reggae and Hip hop, including High Contrast, Andy C, DJ EZ and Nick Manasseh to name just a few as well as touring the world with Manudigital

Since 2000 Mapstation has been the moniker for the solo work of TAL Label founder Stefan Schneider. Schneider has won international acclaim as a founding member of KREIDLER and to rococo rot as well as through unique collaborational works with artists such as Joachim Roedelius (Cluster/Harmonia), Bill Wells, Katharina Grosse, Dieter Moebius (Cluster/Harmonia) Sofia Jernberg or Jochen Irmler (Faust). There has not been a new Mapstation release since 2009's THE AFRICA CHAMBER which had former FELA KUTI member NICHOLAS ADDO-NETTEY on percussion.

The new album PRESENT UNMETRICS, is not entirely a stand-alone creation either. There are guest appearances by THOMAS KLEIN (KREIDLER) on percussion, MICHAEL ACHER (THE NOTWIST) on Sousaphone and an outstanding vocal contribution from japanese singer HACO, all deeply woven into the digital topographics of the music.

PRESENT UNMETRICS offers a collection of radically subtle music. The guiding principle of the album was to construct direct and nuanced tracks which embody a sense of open-ended incompleteness and heterogenous dynamics.

Out of sync bass arpeggios, infused with uneven rythms, fractured synth stabs and intimate melodies, frequently created here with a Schlumberg sine wave generator, are continuously engage with experimentation, both on sound and structure.

Expertly pieced-together and produced in timeless fashio, PRESENT UNMETRICS displays all the coherence and artistic authority of an album on a constant quest so vital to the music of Mapstation. An album that couldn't have been made by any other than Mapstation.

Mysterious German producer His Master's Voice makes his debut on Delsin Records. With three mind bending originals plus an absorbing Vril rework his entry on the Delsin e-series is a deeply immersive beat trip into another dimension. The roughed edged ambiance of 'Fire Red' opens the dance in soothing yet engaging fashion with superbly spacious soundscapes pulling you in and slowly involving into a foggy kick drum extravaganza. 'Eve' then offers a deep and propulsive electro groove with glitchy atmospheres. Lead track 'Transition' hits hard, an intergalactic trip on turbulent stuttering drums and whipping synths. To finalize an immersive EP, close friend Vril jumps in for a rework of 'Eve' where he smoothly connects the dots between his typical dark bass lines and blistering dub chords.

The Panda Men were an ancient warrior cult, fabled to roam the deep African forests in search of the elixer Bonfirma which would grant them super human strength, allowing them to transform into Pandas and thus continue their bloody reign. This classic early Legowelt is finally back in print for the first time in 13 years, celebrating Creme's 20th birthday!

Trinidadian Deep is back on Visions Recordings with 2 new deep house club tracks. On the A side NATTY DREAD takes us on a deep dub house journey in his favourite own signature style with percussions, sub bass, organ solo and lush pads while on the B side ELECTRIC BOOGIE is a sunny house cut with a “latin” house drumbeat keeping the deep house elements for a summer vibe groovy number. This is another great single from Trinidadian Deep for Visions Recordings.

THE MASTER IS BACK.



Clear Vinyl ONLY. LIMITED EDITION.

Canada's Alicia Hush delivers a stellar package of deep and funky minimal techno. This special extended player features seven tracks of mutated synth melody and groove that always catch you.

This is an artist who comes straight from Normandy who signs the 6th EP of the Norman label. Already seen on the various artists EP (NRMND003), Sichuan delivers us here a record with his own sound, his own style.

Cynosure returns with OHMS, a playfully uplifting collaboration from Mike Shannon and Ohm Hourani. The three-track EP features two originals laced with twisted drums and slippery synths, equally fitting for intergalactic exploration or a beachside sunrise. The original tracks’ intimately minimal production is complimented by a remix from Akufen of elegant deep house, making for a record that is both contemporary and classic. “Hightower PSA" slips out the gate with a carefree ambling baseline over a slow, swelling tide-like pad. Breezy, pulsing synth stabs pull the groove together while precise, quick hats and snares weave around buzzing tones like alien chatter. “Nova In The Sun” moves into steadier and darker territory: the bass hops between a stark kick-snare, with hats tastefully drizzled on top.

But when singer Ilhem’s sultry voice cues subtle hand drums and squiggly echoes, the track transforms from a slick minimal affair into a soulful throwback. “Nova In The Sun (Akufen’s Aldo Nova In The Sun mix)” takes the female voice of the original and jumps right in with an upbeat staccato piano and swirling violins. A full-blown house arrangement ushers in lush strings, electric piano chords, and loosely fitting open hats and snares, all conspiring to bring a splash of joy to any peak-time crowd. On the whole, OHMS deliver a versatile EP that swaggers with a smile.

Cinematic Vintage Synth and live drums project by Lance Ferguson (The Bamboos, Menagerie, Rare Groove Spectrum, Lanu). Turquoise coloured double LP incl. download card, limited to 300 copies worldwide.Imagine drummer Bernard Purdie playing with Ryuichi Sakamoto, or perhaps Clyde Stubblefield joining Cocteau Twins. An immersive album that recalls Boards Of Canada, Four Tet, Air, and Tycho.

Jarle Bråthen returns to Ivaylo's Bogota imprint with two original tracks accomplished with outstanding remix from another Norwegian fellow, Kim Dürbeck! Known for it's transmittable deep sound, Bogota Records delivers another timeless release!

In the mid-80's, an original form of music was discovered on the midi-capable little planet of Austin, Texas. At the age of 32, Charles Ditto would release his first solo album applying cutting edge computers and synthesizers of the era (Roland DX7, Roland MKS-20, Roland MKS-80, Sequential Circuits Profit 2000 along with a Macintosh SE), creating a unique and detailed world that was inspired by Cluster, Eno & The Residents.

In Human Terms bridges the gab between contemporary classical and minimal pop. Rhythmic but melodically abstract. Microtonal and organic. Often described as experimental electronics, tone poems or Cyber-delic-psychotropic-avante-garde.
In Human Terms, remains very emotion, deep and different. Ditto's music imparts a new listening experience that is still somewhat indescribable today, but remains approachable and relatable.

'What makes Ditto's music so strikingly different is his overt use of emotion, very descriptive melodies and deep atmosphere' Audio Magazine - August 1988 // 'If Erik Satie had midi gear' Keyboard Magazine - April 1988 // 'Brian Eno meets Seastones, but with more melody' Relix Magazine - August, 1988 // 'Ditto's choice of Synthesizer tones are at once both organic and unique' Electronic Musician - June 1988.

A chance meeting in a New York club led to the conception of Mowgan’s debut album, in collaboration with renowned African Benin-born Nigeria raised singer and multi-instrumentalist, Kaleta (Leon Ligan-Majek) an ex Fela Kuti, Sunny Ade, Lauryn Hill cohort who also fronted Akoya Afrobeat Ensemble and presently heads up a 70s style afro funk band called Super Yamba based in NYC.

The Frenchman was working at Lina Frey when he overheard a Beninese salsa singer called Laurent Hounsavi channeling Afro-centric vibes through his performance. He approached the singer and was put in touch with Kaleta, who lives in the Big Apple, too. What happened next was pure magic, as the two men got to work in the studio to bring their two worlds together.

It’s the kind of mystical alchemy that only happens once in a blue moon; Kaleta was given carte blanche over Mowgan’s extensive collection of Africa-inspired electronic instrumentals.

He selected his favourites and performed on each one, delivering an original vocal, and his own guitar licks, over the top. To stir up even more electrifying vibes, Kaleta also invited several of his talented friends to join the recordings sessions - they included vocalists Shade Myers Emmanuel, Justin Masters and Gbenga Wise, Freddie Deboe on sax, Mic Dada assisting Mowgan on synth pads and Takuya Kuroda, the infamous Japanese trumpet player from Kobe who specialises in neo-soul, hip hop and electronica.

The result is ‘Karoussel’, a vibrant, dynamic, soul-enriching hybrid between electronica and deep African musicality that sets the standard for contemporary collaborations between western and African artists, and the first in a series of album projects from Mowgan on his fledgling label Mow Records...

Hebi is tough, stomping, mesmerizing romany funk, riding Far East from the Baltic Sea on clopping hooves of uranium, with synths from spaceways further out still. Weakheart deejays will scatter, but Sotofett has road-tested this on dubplate for six months, tearing up parties and dancefloors.

Deeply meditative, desolately beautiful, Haru will stop you in your tracks. Osaruxo’s violin could be a rebab or a shamisen, a reed instrument or a voice.

Ravishing music.

Sound is a potent force that can awaken your purpose and re-balance your spirit. It has the power to relax, as well as inspire you, through the positive therapy of sound vibrations. Elemental Resonance is a trailblazing meditation album where vibrational sound practitioner, Tracie Storey, combines the energy waves made by music, with positive words of love and harmony to produce inner peace, deep relaxation and a higher spiritual connection.

Storey explains “The idea for this album came to me 2 years ago when I was living in Montreal, Canada. I’d been learning to form shapes, textures and colour with sound and going deep within the architecture of my own inner space. These powerful compositions have really helped me on my journey. Creating transformative tools are now part of my life’s work, using the medium of vibrational sound which transcends all boundaries”.

Storey guides you through a series of mindful meditations - each connected to the seven energy chakras - and each supported by sound vibrations, colours to visualise, and positive affirmations to re-balance your entire being and bring you waves of calmness, strength, warmth and joy.

Released on Celestial Being, label boss Felix Buxton (Basement Jaxx), says “I’m thrilled to support this project, everywhere I look people are discovering more about Vibration and how it affects them.
Tracie is leading the way forward for new generations, uncovering more of our potential as humans. This is a great way to switch off the world and switch on to your deeper self.”

Storey has been active as a vibrational sound practitioner, for the past 5 years. Previous to six years training under Master Fabien Maman, who’s one of the world's leading experts on vibrational sound therapy, founder of the Tama-Do Academy.
She also travelled the globe as a DJ on the international dance scene (releasing on Ministry of Sound and producing mixes for the likes of Kiss FM).

'RIDE THE WAVE' is one of the most celebrated V.A. series of ORACULO RECORDS and is coming back.

On this new third edition darkwave substyles as synthwave, post-punk and ebm are perfectly represented again by Vore Aurora (USA), A Silent Noise (Italia), Pawns & Anatomy (USA), SM.Forma (Spain) and Werther Effekt (Brasil/Germany). All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem at Prodam Berlin.

The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

DAT's from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives.

Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’.
Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

Ironik is back for our 3rd Deep Seven Series re-issue (originally Deep 2R). Ant Miles's 1993 alias on Deep Seven brings you another 2 Hardcore destroyers. 'The Calling' & 'Believe In' Remix make up yet another sought after 12" that has been re-mastered from the original DAT and pressed onto our 180g heavyweight vinyl.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.