Search:deep drive

Four slabs of no nonsense, bassline-driven rollers. ST, our favourite son and the first release on our 'slow to grow' label is back for 004. An extension beyond the deep excursions of 001, if you caught that you may know what to expect, if not... think 3am at 'Racket on a quality biscuit with the bass bins shaking. If you've never been to 'Mad Racket' then we suggest you visit sometime +++ two head-bent remixes in the form of locked grooves on each side from our other love, Jon Watts (Jon & Hugh - OTIS002). Cause life is cyclical xx

Ben Buitendijk returns to his Rotterdam based label, Oblique Music with three stirring techno cuts entitled 'Alternative Hypothesis'.

After Buitendijk's quintessential 2013 'Promised land' track on Mosaic, his sound's transition into tougher territories, prevalent in his series of releases via Oblique that demonstrate a palette of space-induced modulations. The label continues to create
emotionally driven techno of a deeply layered nature, having also released music by Deniro, Koen Hoets, Emmanuel Top, Refracted, and more.

Kicking off with a journey enveloping 9-minute track, 'Contamination Zone' is delicately filled with synthetic ambience and undulating minimalism. The track's energy gently grows throughout as the bleeped synth line and looping percussion patiently rises in intensity. 'Stardust' follows, continuing to transcend visionary type melodies in symmetry with acutely composed drums.

'Alternative Hypothesis' adopts a left-of-centre drum groove, harmonising authentically with the uplifting, otherworldly swells constant throughout, keeping the force of the track totally balanced.

Rothmans Label Boss Rejoins His Australian Production Partner Dawn Again To Create A Masterful Ep Of Outdoor Electronics Aptly Entitled Fern World. After Delivering Top Notch Productions On Labels Such As Diablo's Social Club, Wonder Stories, And Rothmans The Duo Returns To Offer Two New Originals Fitting For Roam Recordings.

The Ep Is Backed By Two Excellent Remixes. Canadian Disco Maestro Eddie C Takes On The Title Track Fern World And Brings Up The Energy With A Cutting Break And A Jungle Esque Bassline. Roam Alumni And Wonder Stories Head Honcho Aimes Takes On Clockbert And Pushes It Further Into Psychedelic Territory With A Stunning Synth Lead Swirling Around The Hypnotic Rhythms Of The Original.

All Four Tracks Come Together In A Cohesive Slab Of Synth Driven, Dreamy, And Psychotropic Melodies Perfect For Both Deep Woods Adventures And Intimate Club Happenings.

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

Thomas Fehlmann steps away as co-member of The Orb following two acclaimed full lengths on Kompakt (COW - 2016, Moonbuilding 2703 AD - 2015) and embarks back on his solo career with a career defining album 'Los Lagos' - from Detroit to Schaffel techno he conducts a broad spectrum of electronic music into a seamless flow.

Thomas Fehlmann has been active since the late 1970's from Palais Schaumburg, the Tresor defnining trio 3MB (with Moritz von Oswald and Juan Atkins), Ocean Club (together with Gudrun Gut) and of course The Orb.

Artwork direction and design by DESIGNERS REPUBLIC.

'Los Lagos' is Thomas Fehlmann's seventh solo full-length, his 4th for Kompakt following his Berlin inspired 2010 full length 'Gute Luft'. in the musician's own words it's about "checking the juice".

Establishing a picture of his current artistic condition, as suggested by the title - los lagos / die lage / the situation (literally translating to 'the lakes' but taking the meaning of 'wassup' in the context of a relaxed discussion between friends), the album refers to Fehlmann's "musical motivation, dreams and wishes" through the language of music exclusively: a way to "allow myself to techno" he says, "to techno as a means to deconstruct and rebuild again. Set up an area of tension, loose it in the flow of the grooves. Magnifying some detail out of proportion, regroup around that and slowly knit a texture. Expand."

"It was time to take a bend and head where the sun rises or sets, wherever my heart drives me." This is pretty much the kind of decision Thomas Fehlmann has made. 61 and shining, longstanding member of The Orb, multi-talented composer and boundless experimentalist, had to make in the twilight of his collaboration with Alex Paterson, eager to taste the flavours of the unknown on his own again. "It was the moment when felxibility would have become compromise'. Far from being the demise of their joint dream, this was bound to split it in two distinct, parallel fantasies - rich of their own singularity.

As goes with that essential love of his for the free-flowing nature of electronic music, a fascination born out of its "lack of borders", capable of "inventing, changing the emphasis, experimenting with an unpredictable outcome", 'Los Lagos' "freely connects disparate extremes. Art, disco, minimalism, schmalz, jazz and funk". As he likes to say, Fehlmann's head functions as a sampler, capturing elements and re-assembling them under his own embracing perspective ; not afraid to leap from a deep, dubbed-out hypnotism ('Window', 'Morrislouis', 'Freiluft') to the playfulness of '90s-style bleepy schaffel ('Tempelhof' featuring Max Loderbauer), through out-there, muscle-flexing dancefloor cuts ('Triggerism') onto the calmness of ambient ('Geworden').

In need to keep his inner balance in check, Fehlmann committed himself to "switch off the control" and follow his intuition, which isn't so much of an easy process as he also wanted to incorporate the side disturbances experienced: "it's a complex process of search and destroy to bring out a new beauty trying to expand my vocabulary". With 'Los Lagos', Fehlmann looked at finding "the structure that's surprising, disturbing and rewarding". The artwork for the record, courtesy of contemporary artist and friend Albert Oehlen whom he shares lots of artistic ambitions with, echoes the producer's "funky use of shape and space, sludge and clarity" like a second skin. A search for light and harmony that Fehlmann sums up eloquently: "Does your inner musical voice respond", that is the question. Then "doors open up in unexpected corners, rays of light appear; you follow through and you're in - in your oasis."

Detroit label My Baby focusses on letting underground local talent shine, and that is the case with the second EP, a various artists affair featuring label boss Mister Joshooa, plus Remote Viewing Party and Tammy Pickle with a remix from My Baby.
The acts featured on this release are all residents of the famous TV Lounge/TV Bar venue in Detroit. The 12" includes Eddie C along with My Baby boss and TV Bar booker Mister Joshooa-who work together here as Tammy Pickle-plus Rickers, who is one half of ATAXIA, and How to Kill Detroit co-founders Remote Viewing Party, while Rickers and Joshooa also link as My Baby to remix one of the tracks.
First up are Remote Viewing Party with the superb '410'. It's five bumping minutes of silvery tech with whirring machines and gurgling synths all weaving around well programmed and punchy drums. Sure to infect real energy and freakiness into any club set.
Mister Joshooa makes his first appearance with the alluring 'Alright Fine', a slow and absorbing track of gloopy bass, percolating drums and unsettling vocals. Subtle acid lines and prickly hi hats all make this one really jump out of the speakers.
Next up, Mister Joshooa links with Rickers for a standout remix of '410' that is even more physical and driving. The metallic groove is run through with alien sounds, shooting synths and ghoulish voices that are filled with paranoia and will make a great atmosphere in the club.
Joshooa and downtempo disco don Eddie C then collaborate as Tammy Pickle for 'Indifference,' which is a perfectly slow and sensuous number with elastic synths and bass. Crisp hits drive it along and encourage you to sink deep into the groove.
This record is jam packed with talent and original ideas, and one that marks out this label as one to watch.

Hitoshi Murakami aka First Floor debuts on Local Talk.

Opening track 'You Dubn't Know' got a heavy bassline, deep chords and hypnotic textures and sounds like it was tailor-made for those dark and late after hours in the club. A righteous lesson in bumpin' deep House...

On the flip, 'Delight', shows a different side. A piano driven house track with a great sense of melody that just keeps on keeping on - and that's a good thing.

The heavenly 'Skywards' leads the way upwards with tenderly treated spacious drum programming and light-as-air atmospherics while darker and deeper cavernous tones create the yin-yang balance of lightness and dark. 'Broken Spell' continues the uplifted vibe of a spell that when broken, blooms open with an intoxicating permeating sweetness like an exotic fragrance that lingers in one's memory. 'A New Day' leans slightly more towards a heavier driven track featuring a funky bassline with bright electronic notations as counterpoint while drifting, dreamy pads keep the overall mood airy and light. The off-kilter knob is turned way right on the bouncy final track 'Disjointed Route', injecting dashes of wry quirk alongside a lightly moving groove.

Earthboogie's debut album, Human Call, rightly earned praise on its release earlier in the year, with listeners responding positively to its sticky and humid dancefoor fusions of African and South American rhythms, chunky dub disco, retro-futurist house,
spacey analogue electronics and sun-kissed Balearica. Hot on the heels of that release, Leng Records has sourced new remixes of two album highlights - 'High Minded Man' and 'Silken Moon' - from Running Back label boss Gerd Janson and synthesizer-wielding Balearic boogie stalwart Pete Herbert.
It's Janson who steps up frst, offering up two total overhauls of 'High Minded Man' that re-cast the undulating, Afro-fred original as a dreamy, drum machine-driven chunks of vintage deep house goodness. Where Earthboogie's album version bobbed
and weaved around horns and live bass, Janson's Deep House Mix places the duo's original chanted vocals above a bouncy, polyrhythmic rhythm track, Larry Heard style chords, Kwaito-esque electronic bleeps and a smooth, soul-stroking bassline. Janson's
Deep House Dub, which strips out the vocal for a more sparse and ethereal listening experience, is also included on the EP.
The EP's other remix comes from sometime Reverso 68 member Pete Herbert, who gets his mitts on previous single 'Silken Moon'. While he retains some key elements from Earthboogie's original - specifcally the vocals, Afro guitars and house stabs - he
naturally adds a little of his own rubbery electronic disco favour via spacey synthesizer fourishes and a massive electronic bassline that brilliantly tracks the rising and falling
movement of the main melody. It has the feel of a terrace anthem in the making.

After their psychedelic tour to Alice's Wonderland on their adventurous second album, CRuNCH 22, the Tel Aviv based Rhodes, turntables & drums power-trio, is back with "LUSH FLUSH", a fiercer than ever EP of raw, in-your-face grooves.

Opening track "Cairo" places a persistent Egyptian orchestra sample on top of a Led Zepplin-styled heavy beat; "Osaka" sounds like an early 2000s indie-pop with vocals sampled from a japanese folk song; "Baba" fuses Middle Eastern leads with broken beats; "Minderbinder" is a quirky afrobeat and "Young & Happy" is an odd metered pseudo-house track. While this list might seem as eclectic as you can get, the band's unique instrumentation and live playing style manages to make it sound completely coherent.

On the flip side of this 12" vinyl are three remixes by some of Israel's finest producers: Markey Funk's space-rock version of Cairo; Mule Driver's techno edit of Baba; and Obas Nenor's house remix of Young & Happy take these tunes deep into the dancefloor, making the "LUSH FLUSH" EP an important tool in any DJ's arsenal.

Echocord's Colour sub-label returns early June with a four- track EP from Eindhoven's Albert Van Abbe in the shape of 'Klangbilder'. Dutch Techno artist Albert Van Abbe has nearly two decades of experience under his belt in various forms of musical and visual expression, releasing on his own Vanabbe imprint, Figure Jams, Semantica and No Comment, as well as playing live and DJing at hot spots across the globe such as Berghain, Tresor, DGTL and Awakenings festival. 'Klangbilder 1' leads with a robust rhythmic drive, employing bumpy toms, shuffled hats and lumpy kicks at its core as vacillating synths, tension building drones and menacing pizzicato strings develop throughout. 'Klangbilder 2' takes things deeper next, retaining the dusty drums sound of the previous cut whilst stirring in airy ethereal pads and choppy, resonant stab sequences. 'Klangbilder 3' kicks off the B-Side with modulating synth whirrs, emotive organ tones and a muted drum tones throughout before 'Klangbilder 4' closes the package, taking things beatless and cinematic via emotive synth leads, droning subs and expansive echoes.

Violet-the Color Of Royalty And Majesty, Of Dreamy And Calming Consciousness...here Translated To A Spirited Collection Of Absolute Music
Drivetrain (detroit, Usa) - breathe'
Derrick Thompson Engineers Another Captivating Late Night Soul-bender. A Commanding Filtered Bass Groove, Dominates Melodic Chord Progressions With Accentuating Dynamic Percussion And Spicy Vocal Support
Mattimoe-perrine (toledo, Usa) - llucid'
Nathan Mattimoe And Todd Perrine Return With A Composition Of Charismatic Rhythm Intelligence. As The Journey Builds, The Elements Become More Intense, Evolving To A Vocal Crescendo Of Synthesized Deepness
Trecci (paris, France) - sagami'
Soiree Proudly Welcomes Trecci And His Tribal Inspired Floor Filler. Drum Manipulation Integrates With Vocal Energy To Ultimately Dissolve In A Hypnotic, Quintessential String Refrain
Funtom (zagreb, Croatia) - french Connection'
Another Newcomer To Soiree, Funtom Musically Animates The Essence Of High-tech Sensuality. An Alluring Female Voice Subconsciously Unveils A Bed Of Infactuating Pads, Stabs And Inflections

Quarion is back on Drumpoet with an enchanting new EP that leaves nothing to be desired. Cobblestone takes the dancer on a deep sensual journey, builds up continuously and subtly into a truly emotive peak. Sunday Night Pt. 2 tops it by captivating with rhythmic chords, which remind of the early 90ies. Jamaican Morse is a driven drum track, spiced with dubby sounds and a higly addictive beat. Once again, Quarion proves his outstanding quality.

Following the success of Joey Negro's 'Produced With Love' album, four of the album cuts get the remix treatment from an all-star cast of producers each with their own particular flavor.

Kicking it off Chicago legend Ron Trent takes the original funked out, Arthur Russell flavoured, 'Distorting Space Time' and turns it into a deep house groover complete with a strong walking bass alongside adding a soul & richness to the elements that only he knows how. Crackazat step up next to take on 'Lactican Boogie' crafting it into an uptempo piano driven, emotionally charged stomper sure to do some damage this summer.

Flip it over and Lay-Far delve into 'In Search of The Dream', adding squelchy synth stabs and a deep bass to give a more hard hitting edge to the track whilst retaining that disco flavor with Angela Johnson's emotive vocals.

Closing out the e.p. Fouk come full circle, bringing their hazy, jazz tinged style to 'Distorting Space Time' - building the remix around those warm Rhodes chords, shuffling rhythm and dynamic bassline.

Gold once again from the Z Records camp!

Deep, hypnotising atmospherics driven by incredibly effective broken rhythms. Man Band are proud to present Twoman (Konrad Wehrmeister & Jakob Hohmann)

Unnatural, uneasy, unexpected. 'The Great Filter' keeps you on your toes constantly, it makes your fingers tingle with anticipation and the hairs on your arms stand up from the tension. It is eerily calm and controlled, while it takes you to faraway places in the twilight, that don't actually exist. Subdued, bright yellow light with no sun in sight. Wide plains with an inherent structure that can only be illogical. Unorganic sounds, alien voices, excited synths and sobering organs. Reality is so mundane. The way we are now expecting it from Krink, he does what is unexpected and stretches conventions somewhere around techno and deep house. The music is driven by imagery rather than song structure. The EP puts cutting rhythms over comfort and sound over beauty. Like a focused dream, it is concrete and abstract. Let's get found in the universe. Vital Sales Points: DJ promo, German print & online, UK/international online

e mighty Man Power returns to Correspondant. One of the earliest labels to champion his explorative technoid landscapes, and deliver his debut album, the Mexico based composer makes a welcome return with three truly singular trips...

'The Zen Of Xen' comes in two segued parts, comprising almost 13 minutes of full intergalactic immersion. Laced with the alluring deep-dream vocals of Tel Aviv's Xen, anchored with tripped-out humanized harmonics and weaved with soaring pads, it's a genuinely emotional narrative that's been cooking away on Man Power's creative wishlist since he first met Xen at a show five years ago.

Elsewhere 'Heart For Yes, Life For No' will have you spitting rainbow emojis all night. An incredible piece of vibrant melodic techno rooted in synthesis, galvanized with emotive layers, driven by feels it sets us up perfectly for the fantastical finale 'Hubris'. Cosmic, soft-focused, sparkling but topped with a choral chant that comes in from nowhere and arrests every sense as the elements rise and fuse with theatre.

By far one of Man Power's most techno-focused and biggest records to date.

After their Butterfunk EP from last year, Fouk are back again with their new offering 'Mating Call EP'.
As the name suggests, this three track EP is made for the hot & heavy moments while dancing away, during those infinite summer days. The title track 'Mating Call' is a funky beast, driven by a very infectious bassline and live instrumentation, edging the line between disco and house, as has we have come to expect from the duo. The next track on the flip furthers the fact that this release is all about the groove. Housey vibes with a classic hint, Rhodes floating on a solid rolling funk bass. 'Just Feel Good' Yup! Finally we come to 'Down Below'.
You might wonder "what's down below". Well, there you can find a dreamy thumper, driven by the compact kick, repeating drone and deep bassline, while the synth pads in the middle tie it all together.

Norm De Plume has been quietly making a name for himself the last eight years with remixes for Tornado Wallace and Ben La Desh and EP's for Kolour LTD and his own vinyl only imprint Plumage winning him a solid fol- lowing along the way. His passion for all things disco and deep, dubby, un- derground house inspired by his musical hero Ron Hardy feeds through into his production style as well as his recently formed Peaches & Prunes party which boasts an audiophile sound system and vinyl-only sets from the DJ's. So when the opportunity arose to do a full EP with Norm we jumped at it. Here we present you with the Castlecrag EP, a nod to the Londoner's new adoptive home of Sydney, Australia, and whilst his sound may be more akin to the recent musical movements of Melbourne, the laid-back sun-kissed melting pot of The Harbour City certainly shine through in the two originals and Folamour remix on offer here.
Title track Castlecrag leads the charge with a deep mood-setter driven by a cowbell riff and filtering pads. The spacious mix and less is more arrange- ment ensures that the drums and rolling bassline punch through making for a track that sounds both unique yet accessible and demonstrates Norm's sense of musicality as well as DJ instinct for setting the right mood on the dancefloor. Next up we have Whole In One which treads a similar path whilst dropping the BPM's a touch and building up layers of synth strings to create a subtle yet engaging track to immerse yourself in. Finally, man of the moment Folamour gets busy on the remix of Whole In One working his magic by upping the tempo and going heavy on the jazz- inspired drums. By laying down a driving groove and pushing the string stabs to the fore, the Lyonnais producer behind the wonderful Moonrise Hill Material label has delivered a fresh-sounding take that will work like magic on discerning dance floors out there.

The Ep "a Form Of Travel Unknown To Humans" Is Chasing Us. Guiding And Forcing A Way Simultaneously. The Sound Is Harsh But Has An Immaculate Precision To It "void Of Air - Compelling The Listener Toward A Light, Seducing Us To Tear Through The Night.

We Enter With "s.m.o.d. - Sticks" A Deep And Magnetic Sound Opening Up Slowly, Starting To Breathe And To Merge Into "s.m.o.d. - Cell Culture" Which Gives A Much More Metallic Flavour But Never The Less Beat Driven - Fast And Strident - Maybe Even Hasty, Pushing To Skip A Beat Of The Heart. To Finish Off With "s.m.o.d - Pulse" Carrying An Unsettling Almost Disturbing Quality, Formulating A Mechanical Sound Alienated From The Human Experience. The Ep Creates A Seductive Space Outside Our Comfort Zone, Inviting To Explore A Space And Travel Unknown To Humans. Gimme More.

Prairie is the project of multi-instrumentalist and producer Marc Jacobs, hailing from Brussels with roots in The Netherlands. He previously released an EP (I'm so in love I almost forgot I survived a Disaster - 2013) and an LP (Like a Pack of Hounds - 2015) on the Berlin imprint Shitkatapult. On stage, Prairie plays with two or three musicians and together they re-create a free association of musical ideas and atmospheres. Prairie has played in selected venues and festivals across Europe and toured with Apparat in 2016.If the apocalypse was painted in several layers of pastel gouache, its soundtrack might be PRAIRIE's Flash Flood. Listening to the album, we drift through a series of frozen landscapes that gesture at a post-apocalyptic ambience. This is a kind of blackened music that has been left to sediment, excavated from traces in ice core samples. Flash Flood showcases a deep sensitivity to narrative and rich cinematic textures as Marc Jacobs returns with palimpsestic sonic layers. It has been three years since PRAIRIE's last release—the 2015 Cormac McCarthy-inspired Like a Pack of Hounds—and it is clear that it has been several years of pensive reflection. Now, PRAIRIE takes the sentiment of his 2012 debut, I'm So In Love I Almost Forgot I Survived A Disaster, several steps further: it is after the apocalypse, and no one has survived. And yet with Flash Flood, we can hear the hum of this impossible future.

'After the Flash Flood' introduces the sonic ruins of distorted guitars, field recordings, drum programming and synths that create the textures of the entire album. The melancholic and subdued black metal churn of 'Raindeath' becomes the cold backdrop for unnerving, paranoiac speech. The third track, 'Sisters', foregrounds this coldness while slowly moving away toward alternate vistas where the acoustic timbres of the saz-driven 'A Permanent War Economy' take over. 'Underwater Body Hunting' and 'Rabid Ibrahim' are hard hitting beat-oriented tracks that insist on burning slow. There is a patience with PRAIRIE's FLASH FLOOD that is difficult to deny. The lamentation of 'Elephants Will Rise Again' perhaps signals that it is not only the human that is lost after catastrophe. The album closes with 'Hard Water: Cracked Ice' and 'Hayashi Clock'. The former is a beautiful coalescence of clean harmonious tones and softly overdriven drums, while the latter brings us back to a meditative state, drifting through the final pastel tapestry.

"... his cosmos is located somewhere between Bohren & der Club of Gore and Sunn O))), ambient is as familiar to him as brachial sounds, and he is as much acquainted with guitars as with synths and modern technology" (GROOVE)

"... Like Ben Frost, (Prairie) exudes a certain harshness while tempering his work with moments of sublime beauty. This isn't club material, it's music for the hammer in one's hand, the confrontation of the demon, the soul-shattering revelation." (A Closer Listen)

A continuation of his kaleidoscopic sun-dappled cosmic-disco, Neon Leon was the much-loved CD-only sophomore album by Sorcerer. Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

A perfectly formed suite of ten tracks featuring soft guitars, subtle synths and lightly grooving percussion, Neon Leon magically evokes that elusive summer feeling throughout. The guitar-driven "Algorhythm" serves as the album opener, blasting bold, sun-drenched jazz chords atop bright synths and groove-based drum programming. "Ride The Serpent" and "Distort Yourself" are guided by a more sultry, slo-mo disco impulse whilst the staggering "Chemise" and strident "Face It" merge 80s West Coast production sheen with Sorcerer's trademark laid back, gentle disco. "Raydio"'s undeniable head-nod groove adds a rare vocal to the proceedings, joyously combining with the bubbling cosmic funk.

Since its initial release in 2009, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"Neon Leon's is the name of a bar in a Elmore Leonard book I was reading on a vacation to Belize with my future wife. I was soaking up his brand of noir during the making of the songs on this record, along with another favorite Ross Macdonald. We were living in a small apartment in the Mission District of San Francisco where i had my own room to jam. It was painted Orange and Turquoise and was a very inspiring place to create and focus. I could walk out of my house to any number of hole in the wall bars where people were deejaying, hanging-out, and knew about me and my music.

After White Magic I developed more confidence in my style and process so I stuck with it and I believe it shows in the tunes I selected for the record. The sounds are rich and I dug deeper into sampling from obscure dollar records and getting looser musically. I made a handful of collage videos for the tracks at this time as well, which represent where my mind was at visually. In my mind it's Cosmic Funk that rules the day and I am thankful to have the opportunity to share it with the world again."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

WHEN YOU'VE FINISHED LOOKING AROUND THE WEBSITE, YOU CAN FIND US ON THESE SOCIAL CHANNELS

Following the 'Screaming Ghosts' collection highlighting the music of C Cat Trance, Emotional Rescue and Malka Tuti return with the first of two EPs where the band's music is given over to a selection of artists, friends and collaborators for reinterpretation, re-editing, replaying and remixing to provide a modern outlook on the bands mixture of East meets West musicology.
Very much the vision of Malka Tuti and close to their ground-breaking releases of the last two years, the genius is out of the bottle with a who's who representing both labels. First, Autarkic go supergroup in enlisting Tel Aviv's White Screen for a cover of Screaming (To Be With You). Totally replayed, this is the perfect opening, with wide-screen production, updated arrangement and decimal delivering vocals setting the standard.
Following comes an effusive, simple and on-point remix of Dalbouka by the inspiring ledge that is JD Twitch. Platitudes aside - enough has been said by others - but the fact Twitch is as enthusiastic and driven as ever is testament enough. The simplicity and genius of his rework, where 909 is added alongside fx to speaker shaking effect, shows that less can be much more.
In Sneaker (DJ) we have a name moving steadily from the (cult) periphery to become one to consistently check and respect. Following EPs for Rat Life and Bahnsteig 23, the singularity of his reversion is audacious and entrancing. Brevity, purity and ultimately intensity of percussion, horns, bell and guitar. Enter.
To end volume 1 comes Die Orangen. Kris Baha and Dreems' bromance of Aussie label (red) heads, united in post-industrial explorations. With a deep, expansive album incoming on Malka Tuti, their brooding, rattling, ghostly mix is one for late night thinkers, that steps up to encapsulate an EP that successfully marries old and new, bringing C Cat Trance's music present.

From deep inside of Berlin's 24/7 darkrooms, here comes DJ City's debut maxi single. Two house trax made out of body fluids, pain and laughter after, to accompanize the teenage sex drive that want never ever fade away.

For his third album for Far Out Recordings, London based multi-instrumentalist and one of Europe's finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal. Taking its title from the escaped slave settlement 'Palmares' in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan's utopian jazz message for the world, and features Azymuth drummer Ivan 'Mamao' Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel.

Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee, and having been turned away from Guildhall School of Music for being 'too raw', he became disillusioned with what he saw as the exclusivity, elitism and dangerous institutionalisation of the jazz world. Yet Sean's love for music and the drive to create never faltered.

Hermeto Pascoal, the man Miles Davis once dubbed the most impressive musician in the world', is a similarly independent artist. A true maverick whose ingenuity and freedom from conventional restraints is so great that he has essentially conceived his own musical language, made him the dream collaboration for Sean.

Aspiring to inclusivity and equality also informs the message in Khan's music. Inspired by the 17th Century settlement of Palmares in Brazil's Alagoas region, which was free from the Portuguese crown's murderous exploitation of South America for a century, Khan notes his fascination with the fact that while majoritively made up of escaped African slaves, many deserter conquistadors also joined the settlement.

Hearing the deep-grooving title track with this history in mind, the listener is transported to a futuristic musical eden, with Mamao's insatiable 10/8 rhythm back-boning Hermeto's wild improvised vocals, rhodes and whistles, while Sean's harmonically brilliant sax and flute add more layers of moody, characterful expression. 'Moment of Collapse' is Sean's poetic study on the uncertainties of modern day western civilisation, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto's own 'Montreux' (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento & Lo Borges MPB classic 'Tudo Que Voce Podia Ser' featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros.

The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out boss Joe Davis in the summer of 2016, which also saw the sessions for Azymuth's Fênix and a forthcoming album from Uruguayan fusion legend Hugo Fattoruso.

Fantastic' Gilles Peterson

Loving this!' Opolopo

Thank you!' Sassy J

Proper! Great track.' Colin Dale

this is great!' Yannick Elverfeld (RBMA / Needs Records)

I've enjoyed Sean Khan's earlier releases, but this really seems like he's grown into his fairly considerable talent.' Mark Sampson (Songlines)

His last album was his best so far, but I think this one may be even better.' Laurence Pragnell (Soul Brother Records)

dope!!!' Kyri (R2 Records)

this is great - really cool vibe!' Sam Redmore

wonderful track - can't wait to hear the lp.' Simon Harrison (Basic Soul Radio)

This is very tasty indeed.' Gavin Boyd (Soul Has No Tempo)

Stunning!!!' Mark Milz (Further In Fusion)

Oi Oi' Samuel Lloyd (Balamii Radio)

PRESS / ONLINE

VINYL FACTORY (UK) News (Anton Spice) 09/03/18 online

SOUNDS & COLOURS (UK) News (Gabriel Gahan) 09/03/18 online

THE WIRE (UK) Review confirmed (Joseph Stanard) print

EVENING STANDARD (UK) Review confirmed (Jane Cornwell) print + online

ECHOES MAGAZINE (UK) Review confirmed (Laurence Pragnell) print

LIBERATION (FR) Feature confirmed (Jacques Denis) print + online

MUSIC IS MY SANCTUARY (CA) Premiere confirmed (Mike Jones) online

JAZZ MAGAZINE (FR) Review confirmed (Frederic Goaty) print

SHINDIG! (UK) Review confirmed (Grahame Bent) print

MUSICA MACONDO (UK) Premiere confirmed (Tim Garcia) online

RAWCKUS MAGAZINE (USA) News (Randy Radic) online

KIND OF JAZZ (UK) Review confirmed (Fernando Rose) online

TONART MAGAZINE (DE) Review confirmed (Michael Moehring) print

WORLD MUSIC NETWORK (USA) Review confirmed (Raul Da Gama) online

BADD PRESS BLOG (USA) Review confirmed (Kevin Press) online

ORKESTER JOURNALEN (DK) Review confirmed (Patrik Sandberg) print

LIVE

WORLDWIDE FM (UK) Sean Khan live session confirmed (Gilles Peterson)

RADIO

BBC RADIO 6 (UK) Gilles Peterson - Palmares Fantasy (24/02/18) link

OTHER

BRITISH AIRWAYS On board BA flights (June 2018)

2023 Repress Spice 1 is an undisputed West Coast legend, who first hit the scene after the N.W.A. and – closer to home – Too $hort explosion of the late ‘80s. As history showed, he continued that bloodline with finesse and authority. His nasal flow is menacing and strong, and fans have been consistently captivated by his ‘hood tales since his self-titled debut in 1992. If you want thematic range with your MCs, Spice isn’t that dude – he is all about crime tales and the perils of ghetto life. And he attacks that storytelling sweet spot with each new cut. Spice 1 boasted four singles by the time it was all said and done, and breezed to Gold status on the strength of cuts like the catchy “East Bay Gangster”; the heartfelt tales and truths of “Welcome To The Ghetto”; and the thick, grooving “In My Neighborhood.” He even produced the alcohol-themed “187 Proof,” another of the album’s singles, and the hands-down cleverest vocal outing on the LP. Sonically, the backdrops on Spice 1 range from plunky, keyboard-bassline funk to deeper, fuzzy ‘70s samples – and he sounds strong on top of both. “Break Yourself” is fueled with an electro-funk drive; “1-800 Spice” brings reggae flavor; and “Peace To My Nine” gets chunkier, with a well-placed P-Funk “One Nation Under A Groove” sample. Presented here on official retail vinyl for the first time since its initial release 26 years ago, Spice 1’s debut holds the test of time and carries the California gangsta flag with pride. Some colors just don’t fade.

Lithuanian based label Sodai started its journey in 2016, making it a label still in it's infancy but making a big impression. Owned by artist Gardens Of God, who started the label to create his own 'no limits' platform for his experimental sounds and projects. While at the same time a platform to give other artists the chance to also have freedom with art and music.

With releases from Raxon, Few Nolder and Alex Krell under their belt, they can announce the exciting debut from UK producer Third Son this April. 'I've been an admirer of Gardens Of Gods' music for a long time, when he asked me if I could do something for his imprint, I was more than thrilled!' adds Joseph.

'Syncope's' synths spread far and wide, making this a journey of a track, modulating and panning in and out, pushing and pulling along a percussive drive. His broad musical range can be felt in this mix, with its slightly hypnotic tones.

'Irony' has a punctuated low end, which creates a deep and dark groove. The synthetic elements in this track gain in attitude, on top of ambient pads, leading nicely into 'Bach' to close out the release. It's driving and determined bass makes the backbone of the track, with a modulating hook line, along building and expanding frequency ranges.

The whole package makes for a very strong first release from Third Son, and Sodai are excited to be welcoming him to the family.

Losoul's Another Picture label follows on from EPs in 2017 by Honesty and the label boss himself with a new two tracker by Japanese artist Sasaki Hiroaki. The Yotsume label owner is based in Tokyo and his sleek sounds take cues from 80s new wave and look for a soulful vibe in electronic music. 2018 has already seen him release on Open Recordings and now he offers up some warm house rollers for Another Picture. 'EO1' is eight minutes of rubbery drums and loose, scattered percussion, tumbling toms and clicks. Dreamy chords light up the background and the whole thing drives ever deeper into the night, always evolving as it goes. On the flip, 'Plain Song' is just as heartfelt, but icy hi hats and metal stabs are more upright, getting you on your toes and keeping you there for another eight minutes of organic, authentic deep house bliss.

With the Split EP, the fourth release of their own label Rapid Eye Movement, Memorial Home and VII Circle head the way with two original cuts both and sign another stunning dark and hypnotic techno odyssey with a strong emotional pattern.

The opening track 'Metaphysical Functions', starting with a slow building atmospheric overture, encompasses much of what the VII Circle's sophisticated sound is about. A combination of compelling and dark pulsing kick drums with deep and melodic synth lines and dramatic ethereal breakdowns.

'Dogma' is stamped by a strait cavernous and rugged beat, powerful and catchy basses as well as propelled by uplifting and immersive melodic motifs that have a fierce cosmic appeal.

Following the path, Memorial Home delivers with 'Second Floor' an intense ambient-driven piece, harnessing haunting and misty cinematic textures with a tension-building repetitive bassline which provides a rising magnetic and powerful effect.

Closing the journey or rather keeping the flame high and firm till the deep end, 'Ampere' evinces a more pin-sharp and frantic percussive techno approach overlaid with highly suggestive atmospheric swirling synth effects.

Four captivating weapons which display an aesthetic quest focused and driven both by dancefloor-orientated climax and underground-rooted emotive escapism.

The Safe Trip Organisation Has Been Broadcasting Their Musical Version Of A Traditional "numbers Station" On The Frequency 5079. Human Intelligence Suggests The Agent Behind Four Regular, Ear-pleasing Transmissions Is The Safe Trip Associate "artis".
.
Using A Specially Modified "one-time Pad", We Were Able To Decipher These Undercover Operatives. The Ethereal, Dreamy, Arpeggio-driven Throb Of "panthera Pardus", With Its Poignant Tone And Undulating Lead Lines, Was Clearly Meant As A Warning.. The Same Could Be Said Of "cetacea", Where Melancholic Synthesizer Sounds And Meandering Electronics Gently Wind Their Way Around Hybrid Electronic/acoustic Percussion.

Panic Set In Once We Deciphered "giganthopithecus", A Composition Littered With Frequent Increases In Percussive Intensity And A Mind-altering Melodic Refrain. Our Hunch That Artis Was Ordering Immediate Action By Agents Was Confirmed By "delphinae", Whose Colourful Melodic Fluidity, Futurist New Age Construction And Layered Wooden Drum Hits Deeply Affected Our Researchers. We Ordered Our Own Agents To Raid The Station, But Artis Had Long Since Scuttled Off Into The Hazy Morning Sunshine.

Keshavara debuts on FILM.

Taking it's influence from downtempo Alt-Pop and Hip Hop, but with nods to blissed out Dub and World Music - the Indian producer arrives on the Berlin based label with Creators of The Rain. Danny Wolfers takes control on the flip - turning in a gorgeous, transcendental remix under his Legowelt alias.

Live instrumentation provides the backbone of the work - dusty drums drive the music forward, complemented by shifting dub-guitar leads, off kilter bassline licks and delayed drum machine breaks. Singer Gio's vocals sit com-fortably at the back of the mix, soft but inviting - present but realised with a distinctly otherworldly energy. There's a fine, organic feel to the recording - ambient surface noise shifts and warps between elements, and live FX pop and duck in and amongst instrument strikes giving the work a rolling, hypnotic feel. It's a deep and fully realised piece of music - wonderfully three dimensional in it's execution, and a striking homage to the artist's wide frame of refer-ence.

On his remix, legendary synthesiser enthusiast Legowelt draws for a characteristically Sci-Fi finish, in keeping with the best of celebrated output for Clone, L.I.E.S., Creme Organisation and more. Maintaining the tempo of the origi-nal piece, but augmenting the work with a growling Reece bassline and hazy lead synths, the Dutch producer care-fully shifts Keshvara's recording up a gear. Where Creators of The Rain began life as a grooving, Hip Hop indebted piece of World Music - immediate but markedly laid-back in it's execution - Danny Wolfers injects a more anthemic, uplifting sentiment, highlighting the dub elements with a delayed drum machine line and pushing the vocals back with a touch of reverb to give his glorious synth-work space to breathe. It's a wonderful take on an already accom-plished piece of music; respectful but inspired - and no doubt some of the Hardware Occultist's finest work.

Seb Zito has been one of the main movers for Fuse London since the labels inception and his 'Good To Me EP' continues the producer/djs accent. 'Take No One' kicks things off, its 90s tech-house influence being worn on it's sleeve with it's no nonsense b-line driven groove. 'So Good To Me' delves somewhat deeper, pads and synth work offering up warmth for a blissful 4am ride. 'Hit' ends things with an altogether quirkier affair.

One of the most exciting artists to emerge in techno circles in recent times, Drumcode is excited to present the label's first EP from Boxia. Over the last 12 months the UK artist has impressed with his classy take on techno that mines two decades of rave.

Last year's 'Colour Sequence' EP on We Are The Brave marked one of 2017's standout releases, before being tapped by Maya Jane Coles to remix a track from her latest album 'Take Flight', while B.Traits also shone the spotlight on him for a Future 12 residency on BBC Radio 1 throughout September.

Boxia first came into contact with Adam Beyer when he opened the Car Park at Tobacco Dock for LWE's NYD event in 2016, and since then the pair have spoken regularly sharing similar tastes in music and DJing. He dropped his first cut on DC during the summer of '16, with 'Revolution' that featured on A-Sides Vol. 5, making him primed and ready for his first full length EP in 2018.

The four-track work lives up to his growing reputation for crafting beautiful, nuanced and ultimately very powerful electronic music. The EP opens with 'No World Order', a deep transcendental slice of techno propelled by a wicked acid line and vocal that leads to a galloping finish.

'Only Human' is drenched in atmosphere and old skool wonder, a brilliant composition of punchy multi-layered drum work, catchy synth lines and cutting acid that reveals its tender side with emotive broken beat interludes. 'Unreal' is a big peak time belter, raising the tempo to sweaty palms level, as a propulsion of acid and a memorable riff fill the techno sphere.

The title track 'Ethereal Education' closes out the work, a beautiful chord-driven vocal cut that evokes images of the classic dance that characterised Boxia's earlier years and makes a fitting outro to this outstanding EP.

Foxy Red Recordings is proud to announce their first vinyl release consisting of four deep & funky House tunes by TiTLEZ!
If you're up for the warmth, depth, and feel of the classic House sounds of Chicago - look no further! TiTLEZ's new EP delivers the goods while going for a diverse, organic, and eclectic productionapproach. You can expect punchy drums combined with live(ly) percussion samples, jazzy piano chords, and spacey pads, among otherstudio trickery.
The tracks on TiTLEZ's new EP are carefully produced and naturally dynamic, not only mesmerizing the audience with beautiful
soundscapes but also telling powerful stories in a heartfelt, honest, and emotional way. 'Family Affairs' is all about taking the listener on an atmospheric journey and exploring the needs and desires of human beings... while bringing massive grooves to the floor!
Side A features 'Longing' and 'Love', two tracks that focus on the story of love and loss, making for a dreamy, spacey, and nostalgic tone and stretching out the line between love that imprisons and the one that sets free. On side B, 'Fame' and 'Richness' tell the story of wealth and recognition, putting a modern twist on the classical notion of these concepts.
TiTLEZ is a driven, talented, and diverse music producer and his sound is influenced by Afrobeat, Latin grooves and jazz, which all play a vital role on his tracks.
As a result of his kaleidoscopic influences, TiTLEZ developed a unique blend of deep house with a tech and afro twist with an edgy and authentic feel. His work is all about telling stories and conveying that deep, warm feeling to his audience. TiTLEZ's tracks stand out for their diverse approach and catchy vibes, showcasing world-class production aesthetics and excellent musicianship from this promising artist.

Black To Comm's Marc Richter returns under his Jemh Circs guise for a 2nd album of sonic abstractions. In contrast to Black To Comm's analogue tape and vinyl based sound, in Jemh Circs he works with digital sources by primarily sampling modern Pop Music (and various other oddities) on YouTube (et al.) and sending chunks of it through a variety of arcane transformations and mutations.Using similar esoteric methods as on his 2016 debut album but with very different results the record deconstructs the hypermodern sound of Pop Music with a Post Punk attitude, energy and primitivism. Richter's combining disparate elements that shouldn't really work together but somehow all the chaos is making strange sense creating a collection of oddly diverging sonic vignettes with a surreal and anarchic spirit. This is music deeply rooted in the present but still difficult to pinpoint to a certain year or style."(untitled) Kingdom" converts a seemingly one-dimensional concept into a complex puzzle of ideas, sounds and narratives, completely assimilating the original sources and transforming them into novel entities with an unexpected melodic and rhythmic quality.Some press clips for previous releases:The overall effect is quite remarkable. Each track is like a hologram of pop music itself, a tiny part that reflects the whole. You almost feel that you could open them out and re-create entire popular music cultures. We'll be grateful for that when the next solar storm fries all of our hard drives. (Ian Sherred / The Sound Projector) In that way Jemh Circs is a record about process - not just how Richter loops and distorts and mutates his samples, but how the sounds of pop music create a particular sonic signature, one that gets more interesting the farther they're pulled from their original context. (Marc Masters / The Out Door) Recycling random audio off YouTube, Jemh Circs' process couldn't be less sentimental, but the results turn out to be sneakily emotive. (Philip Sherburne / Pitchfork)

AB SYNDROM, the Berlin Duo, is coming with their third album. PLASTIK is a bit like the coming of age album of the band. It tells stories of growing up emotionally and being played into a hard and post capitalistic environment. Nevertheless you will find some quite romantic lyrics and songs between lyrical metaphors and a rough and urban reality in Berlin Neukölln, their neighborhood. The music on PLASTIK is mainly a percussion driven and electronic laden journey. Not your average pop arrangements but subtle compositions and laid back vocals with a certain chopped and screw twist. The bands musical projection is a most consequent advancement of their three albums and their body of work so far. Bennet Seuss, singer and composer is defining his own style in writing autobiographic lyrics with a certain twist to the obscure and umtransparent. A great album for sure. Tracklist LP A Seite Keine Geister Feng Shui Patchwork Waterboarding U8 B Seite FFM Fake Starring Contest 2009 Hattori Hanzo Schwert Deephouse und Tiefenrausch

* Breaking into a new century, following last months 100th release on the label, Ishan Sound collaborates on 2 killer tracks with Bristol-based Hodge and Alex Hughes aka Muttley.

* 'C5' refers to cold explosives and makes for a perfect title for this stark, cold rhythm. A circling melodic synth line sets a moody context before the floor drops out and an industrial strength sub drives things forward at 130bpm. Deep, hard, dark, original. Exceptional quality from Ishan Sound and Hodge.

* Flip for a 140bpm excursion from Ishan Sound & Muttley, melding elements of trap, grime and dubstep meticulously to form an engaging sonic that is both fuel for the dancefloor as well as providing introspective qualities for bass weight meditation. 'Still Smoking' sums it up appropriately.