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TROJAN JAMAICA / BMG is proud to announce the release of U-ROY’s final full-length, SOLID GOLD U-ROY. The album was originally set to come out in 2020 with plans for a worldwide tour in support, but unfortunately, the pandemic delayed the release. Now, with the heartbreaking loss of U-ROY on February 17, the album has become a celebration of one of the most profoundly influential reggae stars of his generation. An originator of the chatty rhythmic vocal style known as toasting — a key foundational element in the development of rap in its nascent stages in the 1970s — U-ROY left behind an unmatched legacy which is clearly on display on SOLID GOLD U-ROY, with its guest appearances including ZIGGY MARLEY, SHAGGY, MICK JONES of THE CLASH, SANTIGOLD, SLY & ROBBIE, DAVID HINDS of STEEL PULSE, and more. The album arrives on
July 16, 2021.

SOLID GOLD U-ROY is being heralded today by the release of “MAN NEXT DOOR” (Feat. SANTIGOLD). One of the great reggae songs of all time, the track features an indelible guest appearance by the incomparable Santigold. “Man Next Door” is a beloved reggae standard written by John Holt and released in 1968 by his group The Paragons. U-ROY sampled the song in 1982 for “Peace and Love in the Ghetto” on his Original DJ album. Pre-orders of SOLID GOLD U-ROY will come with an instant grat download of “MAN NEXT DOOR”

DJ Sotofett and LNS have teamed up with Tresor Records for Sputters. The double-vinyl album with 15 cuts spans a hybrid of warped electro and psychedelic hypnosis, all the while remaining fixed in an unmistakable dance release. Recorded between 2017 – 2020, and bookmarked throughout by intros and interludes dug out from archival material, it's a deconstructed yet classic compound of techno-sonics.

LNS from Calgary, Canada, is rooted in braindance, electro and acid. Releasing 12inches on both her self-titled imprint LNS and Sotofett’s Wania - LNS, whilst in the studio, has often pointed out “the lacking blend of dub and electro in dance music”.
DJ Sotofett, hailing from Moss, Norway, is among a myriad of things commonly known for the extended work of his Sex Tags Mania and Wania labels, without forgetting his afro, dub and jazz releases on Honest Jon's London.
Together both artists give space to a guest appearance by E-GZR, a fellow Wania artist, to open the Sputters journey. The sinus bending drum stutter of K.O. by E-GZR collisions flanging basses and chronic-inducing synth pads to blueprint the technoid atmosphere to come. LNS & DJ Sotofett take control with El Dubbing, evoking an effect-heavy demeanour, typical of the Sex Tags Mania soundworld that DJ Sotofett is responsible for, this time rubbing up against solid electrified rhythms. The hypnotic moods carry over to Dúnn Dubbing's deep delays, freely running over a surprisingly minimal skeleton retaining a solid direction. Crafting a warmly emotive end of Side-A with sparse rhythms to perfection.
A meaner turn introduces Side-B. Hints of electro are scattered everywhere, fat basslines, ricocheting drums and synths that mourn and drift in and out of harmony. Vitri-Oil exposes a tumbling sound design, fog-lit chords of material fragility and nosedives - with an alive mix that wallows and grows in equal measures. The side closes with Shim, a classic drift between house and techno releasing sensual euphoria with the albums first big surprise – grand strings.

“LNS wanted to sell her TR-606, while my reply was for us to make a track with the 606 sounding so fresh that she'd never even think about selling it again” Sotofett states. Side-C proves the artists to be some of the most singular producers around with album centrepiece The 606. Clocking in over 10 minutes, it kicks off as a driving techno banger, chugging bass and big chords. Midway through everything falls away, and out of the void enter scattered drums and improv piano lines emerge, while twisted dubs lead us back in an enduringly warm groove.

Side-D sets the clock back to the original electroid foundation of the album, casting fires with alien vibrations. Synchronic Bass Blort is a hard-hitting electro track, steaming sonics and thrills, its melodic hook diving in subterranean motions. On Sputtering the duo raspily beams into outer space, with fizzy motives that disfigure and dazzle while the harmonies of the closing track is for yourself to experience.
DJ Sotofett and LNS deliver an album inhabiting a world full of sci-fi sonics and fierce groove. Their sound is free and live, simultaneously wondrous and sharp.

Finnish producer Sasu Ripatti has been torching the fringes of electronic music since the mid 1990s, a process that's found him melting a wide spectrum of musical innovation into his cult brand of experimental minimalism. From the skeletal jazz deconstructions of his 1997 Vladislav Delay debut "The Kind of Blue EP" to the blurred dub techno variations of 2000's "Multila" and 2012's "Kuopio", Ripatti has betrayed a restless, voracious passion for sound. "Fun is Not A Straight Line" builds on this impressive legacy, retaining his sonic signature and adding a playfulness that harks back to his beloved deep house smash, Luomo's "Vocalcity". After becoming frustrated by the inflexibility of the 4/4 house idiom, Ripatti found solace in rap and bass music's rhythmic complexity and anarchic structures. "I bought Nas's 'Illmatic' when it came out in '94 and have more or less been listening to rap since," he explains. "I'm not really sure why now, but that rap influence wanted to come through." Chopped rap vocals, booming subs and gritty, neck-snapping beats are the primary colors of "Fun is Not A Straight Line", painted into the foreground and blended into an immediately recognizable rhythmic palette. The tracks cross into the same continuum as Chicago footwork, with stuttering samples that build thick walls of bass and flurries of wordless rhymes amid a narcotic haze of beats. On 'monolith', Ripatti's love of New York rap is in full focus as he obscures chipmunked vocals with tight, crackling percussion that disintegrates into rolling kicks; 'speedmemories' is even more upfront, channeling the raw sunshine energy of So So Def electro into rhythms that are powerfully skeletal. Elsewhere, syrupy Southern-fried TR-808 bass womps are tangled with molasses-slow vocals on 'videophonekitty', fuzzed into textured, dissociated ambience. Since the beginning, Ripatti has tried to find a balance between his experimental urges and drive to create more universal music. As his more recent albums have traveled into darker, more extreme realms, he has craved something different for balance. By drawing a crooked line between DJ Premier, DJ Screw and DJ Rashad, Sasu Ripatti has emerged with the most accessible and unashamedly enjoyable album he's produced in years.

Germany’s Tilman inaugurates his new imprint Pleasant
Systems this June with the ‘Adventures’ EP, featuring
collaborations with Will Buck and Rhode & Brown. Mainz,
Germany based producer and DJ Tilman has been dropping
his twist on contemporary house over the past decade on
labels such as Shall Not Fade, Life Is For Living and Quality
Vibes as well as his own Fine imprint, run in collaboration
with Johannes Albert. Here though, Tilman marks a new
beginning with the launch of Pleasant Systems, a new
imprint designed to shine a light on vintage inspired house
sounds from both himself and friends. Up ¦rst is ‘What’s
Mine Is Mine’, a collaboration with Brooklyn’s Will Buck which
lays down an amalgamation of airy synth pads, choppy bass
stabs, bright piano lines and enchanting §ute like melodies
atop a swinging drum groove. ‘Strawberry Fields’ follows,
stripping things back to shu©ed percussion, billowing
ethereal textures and wandering sub bass tones while
§uttering brass tones and resonant leads ebb and §ow
within. ‘Velvet Park’ opens the §ip side, this time joining
forces with Rhode & Brown, embracing a classic sound with
raw crunchy drums, delayed piano chords, bumpy bass
stabs, cinematic strings and brass hooks throughout. ‘Lovin'’
then rounds out the release, dropping the tempo, featuring
the voice of Tilman himself and laying focus on off-kilter
organic percussion, twinkling resonant tones, eighties tinged

Weird.ltd presents its second reference in the hands of the AREA 51 duo made up of Camilo Gil & Rodrigo Valdivia.

Four fresh house cuts in their deep nuances, and hypnotic cuts of minimalism with a South American flavor.

Plus two remixes, like ASTRAL, by UK legend TOMMY VICARI JNR.
And the Venezuelan based in Berlin, ARGENIS BRITO.

Undoubtedly a must for lovers of dance worship.

Here I leave you the support, and the feedback from the djs, so you can listen, and hopefully these days contact Jordan, to make that possible.
support of Djs such as:

Rick Wade - Dj Aakmael - Dorian Paic - Maher Daniel - Sascha Dive - Jef K - Norm Talley - XDB - Delano Smith - Politics of Dancing - Djebali among others ..

Feedback:
Jorge Caiado: Remix for Argenis its for me.
Dorian Paic: Remix for Vicari Jnr Killer!
Gari Romalis: All the stuff its for me, thanks
Amir Javasoul: A2 and B1 for me, strong stuff.
Mariano: All tracks for me !!!
XDB: argenis brito did a killer remix --- from first listen seems to be a dancefloor weapon,
Norm Talley: World of deep, yeah!
Peter Grummich: Solid Ep, Remix Argenis Brito its for me
Djebali: "Love the Ep, great music with superb remixes! Will play"

FUSE reveal the first single from Paolo Rocco’s forthcoming album ‘Ever So’ alongside house icon Robert Owens, backed by two slick remixes from S.A.M.

Ahead of the release of his ten-track album on the label in late-April, FUSE unveil the first single from Montreal based talent Paolo Rocco’s ‘Life In Pieces’ LP as he combines with legendary singer-songwriter, DJ, producer, and one of the most iconic voices in house music, Robert Owens, to deliver the soulful and slick ‘Ever So’ – accompanied by two warping remixes from Mandar member and Delaphine boss S.A.M.

A warming and rich production from the off, ‘Ever So’ welcomes a melting pot of classic and modern influences as Rocco’s bright keys and resonant chords meet Owens’ infectious and inimitable vocals to reveal a smooth, classy slice of house music. On the flip, S.A.M’s first interpretation of the production sees the introduction of trademark swirling, spacey synths and vibrant stabs, whilst his ‘Hypnotic’ take on the production flows and journeys into deeper moments guided by arpeggiated melodies, acid-tinged basslines and sweeping atmospherics.

They Say: “Contemporary scores for visual effect”.

We say: Synth-heavy, low-slung space-funk masterpiece.

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

This is it. This is THE ONE for us: Keith “The Man” Mansfield’s Vivid Underscores from 1977. A sample freak’s wet dream and one of Be With Rob’s favourite ever KPM records. A must for fans of Brian Bennett’s Voyage (yes, THAT good). And no, we’ve no idea either why it took us this long to get round to tackling this monster of a record. But then again some things are worth waiting for.

Attention! Calling all crate diggers, DJs, beat heads, Hip Hop junkies, MF DOOM fans! Behold! Vivid Underscores makes sampling easy. Prepare to be up all night, every night, chopping, looping and splicing these endless grooves and spacey synths. The highlights are too many and too mind-blowing so we’ll pull out a few particular highlights. Trust us, this library LP is just jaw-dropping.

“High Velocity” sets the tone with its aggressive horns, wah-wah guitars, funky baseline and wobbly synth refrain. So good and so hypnotic that Memphis Bleek just had to swipe the ominous, frazzled intro for “What You Think of That” featuring Jay-Z. Also, for real drama, the 1985 Lakers retrospective “Return to Glory” used it to soundtrack the footage from the legendary game five of the NBA finals at the Forum. Heady days. “Crash Course” - Stetsasonic horn refrain? Beautiful - jazzy chase-funk, amazing warm keys, percussion and funky horns - all action.

The more restrained “Matter Of Urgency” is an utterly amazing, brass-heavy underscore. The grandiose, uplifting “Dawn Of Aquarius” still sounds like the future with its tense, thundering drums, killer bassline and swirling synths. Version II loses the drums and percussion but is no less startling. “Staying Power” closes the first side with a relentless, pounding groove which *will* snap your neck. Be warned.

“Trucking Company” is a pacey, synth-and-string masterpiece and its accompanying parts (a–c) mess with the formula to great effect. Part (a) adds echo delay to really dazzle and part (c) plays the breezy, beautiful middle section without the tension. “Hot Cargo” and “Espionage” are both tense spy-funk themes par excellence. “Interplay” is a quiet killer, with flutes over a glistening piano refrain just waiting to be looped. The intro to the menacing “Omen” might’ve been sampled by 7L & Esoteric for their classic “So Glorious” but the entire 5 minute track is a mini-drama masterpiece, one only Mansfield could create.

Even though its a mix of short themes in-and-amongst longer, full-length tracks, Vivid Underscores is still thoroughly listenable from start to finish. That’s not something that can be said of all library records and it still manages to serve as rich resource to keep even the keenest samplers busy for a while.

As with all of our KPM re-issues, the audio for Vivid Underscores comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand ident

Montreal-based producer & DJ Slick Shoota brings us Function, his debut LP and first solo release on the Teklife imprint. A native of Norway known for his renowned Oslo club night Ball Em Up, he's been a member of the elite crew since 2015, contributing tracks to the label's compilations such as On Life Vol. 2 and VIP Trax. Using a unique palate that combines both traditional footwork drums and eclectic otherworld sonics, this album expands on the signature sound he's been brewing during the course of his career, celebrating his longtime love of the Chicago soundscape, with a healthy helping of UK rave, jungle, and vibes from other fast paced club realms. Slick starts the record off with Hovercraft, a big burly mutant rap beat riding a glowing titanic wave of jungle subbass, with vicious hi-hats stabbing through the mix. Desire Path follows with hysterical horns cruising along a stampede of erratic Chicago percussion. A glitchy, malfunctioning computer meets drumline stomps on See Me Flex, resulting in a psychotic, yet psychedelic sci-fi soundscape. Ultra-distorted hardcore kicks open up Jellyneck, dropping straight into a dungeon of ghostly vocals and headlong toms. Warehouse 2K opens up the B-side with R&B chops and lasers floating on a charming cloud of pulsating pads. Mad doppler sirens loop around your head on Delahaze, as distant clangs and crashes fight an impatient, throbbing bassline. Classic rave atmospheres are met with Slick's elegant sound design on MTL Hardcore, his ode to his adoptive city. The album closes off with Special Tek, channeling the signature quirky drum sounds of the late DJ Rashad over a pounding, fast paced house beat, a wonderful nod to the Windy City and its influential sonic culture. Carving out his own sound from the legacies of Chicago, the UK, and other underground club hotspots, Slick Shoota has found his own recognizable voice within these realms of dance music, and this LP serves as documentation of that solidified voice. Years of studying the masters and immersing himself with their work has clearly paid off, and he's respectfully taking these sounds he loves in exciting new directions. Bridging gaps both historical and geographical, Function marks a pivotal point in his career, and is clear evidence that Slick Shoota is vital member of the legendary Teklife family.

The Master Scratch Band was first break-dance / hip-hop / electro funk band in Yugoslavia in 1984. The band members were Zoran Vracevic, Zoran Jevtic and Milutin Stoisiljevic, previously known as Data and Sizike. Jugoton, the biggest label in Yugoslavia, published Data 7'' and MSB's 'Degout' 12'' with limited edition cassette containing two bonus tracks. Impossible to find on the collectors market, Fox & His Friends team in collaboration with Jugoton / Croatia Records is releasing a full, complete version of the rare "The Breakwar" tape, with tracks "Tonight" and "Pocket" never pressed on vinyl. All tracks are sourced from original studio tapes. With the kind help of Zoran Vracevic on credit list and liner notes, this is now the ultimate Master Scratch Band album, released originally in a year 1984 when break-dance was in the peak of its popularity in Yugoslavia. While Data was synthpop, Sizike mellow synth-disco recorded in private studio, this release is pure breaks and hip-hop electro, done old-school way in one of the best studios in Yugoslavia, Enco Lesic's 'Druga maca' in Belgrade. MSB used impressive electronic gear and were helped by huge list of famous musicians and guests: Duca Markovic from hit-show 'Hit meseca' (Yugoslavian Top Of The Pops); Japanac on bass, Max Vincent of Max & Intro on synths, Dudu Vudu from Du-Du-A, Goranka Matic as photographer and many more. MSB sampling technique and choices are unique: from obscure industrial records to freestyle; from found-sounds to cut-up breaks and even real prank-calls. This is document of time that still sounds fresh and needs to find it's new, young audience of hip-hop history researchers, break-dancers, b-boys, b-girls and DJ's. When you know that it's produced in 1984 Yugoslavia, far away, but actually, so close to its USA & EU brothers and sisters, it's even more mind-boggling. Thanks to Fox & His Friends and Jugoton CR collaboration, this gem is waiting for your freezes, footwork and electric boogie moves. ----- Equipment used: Commodore 64 Computer, Roland MC-4B Microcomposer, Prophet Pro-One, RSF Cobol II Expander, Korg Mono-Poly Synthesizer, PPG Wave 2.3 Synthesizer, PPG Waveterm Computer, Boss DE-200 Digital Delay, Drumtraks Digital Drum Machine, Roland TR-808 Rhythm Composer, Electro Harmonix Vocoder, Linn Drum MKII, Juno 60, SH-101, SVC-350, VP-330 Vocoders, Polysix & MS10, Simmons drum module.

Philipp Gorbachev presents his latest 5-track EP "Nichego Ne Ponyal" on System 108. Philipp Gorbachev is amongst Moscow's most renowned dance music artists. The musician, DJ, and live performer is also known as the resident of MUTABOR, a member of ARMA17 and the System 108 community. His previous releases on Comeme, Trip, ARMA, and his own PG TUNE label contribute to a big variety of music genres: full live bands, church bell music, and techno. The new EP, which translates to 'I understood nothing' is an ode to isolation, where one's personal state of solitude simultaneously clashed with a global pandemic lockdown. The record was produced in the process of a fleeting stream of thought, and rather than relying on the use of automatization and the digital, it consists of recorded instruments. Drum machines, live drums, drum pads, keyboards, accompanied by bewildering vocals - all create an enticing audio tale that embodies the ethereal state of today's existence. Whilst being confined in the new secluded and virtual reality of the world, the artwork was devised via Facetime by photographer Nick Gavrilov, and just like the EP, it depicts the act of creation as such; Gorbachev's kitchen transformed into a temporary art studio where the interchange of imagination roamed free. The 'Nichego Ne Ponyal' EP is a result of Philipp Gorbachev's collaboration with System 108 and is the 3rd vinyl release of the creative platform, which is recognized for delivering outstanding events in Moscow's electronic music scene.

Washington collective, The 3 Pieces, privately-pressed Iwishcan William on their own DL Records in 1982. The 12 has Discogs, for one, confused. Is it soul, rap, jazz, go-go, funk, electro, or educational? By nature of its birthplace and date of birth, it`s all of those.

Synths shimmer in harp-like glissando. The bass grumbles, rumbles, machine-made. The beat pops and locks. The whole thing grooving and exuding positivity. One part the cosmic funk of say Cloud One`s Patty Duke. Another, the balearic chug of Will Powers` Adventures In Success. Like Brother D it looks to “agitate, educate, and organize”, and stirs in the sentiments of Razzy`s I Hate Hate. Imagine if the Last Poets jammed with sister Sarah Webster Fabio. Keys parp like car horns, a real trumpet blows a Don Cherry solo, but the track really revolves around its sweet Sesame Street call-and-response chorus:

“I wish love. I can love. I will love. I am love.”

Swiss gentleman DJ and Phantom Island resident, Lexx, produces a killer remix - smoothing out the OG`s jerky edges, upping its sophistication. Making clear the contributions of Lexx` new bubbling electronics. rescuing a clipped guitar, previously lost deep in the mix, and moving the children’s voices to the fore. Ensuring you’ll remember that

““I am” is the glory of a wish come true.”

Idjut Boy Dan Tyler then ties up the package, well he actually kinda sends it out into space - expanding everything in echo. NYC Peech Boys-esque delay. The result is a mind-blowing, psychedelic, almost ambient, Larry Levan-like, Paradise Garage dub. Where fragments of song fly at you from four corners. Trippily pan from left to right. The horn blasts now paying tribute to King Tubby`s Hi-Fi. François Kevorkian going bang!

All carefully mastered with love from the original master tapes by Sam Berdah at The Wall studios.

"Tonada de Luna Llena" is a classic song by Venezuelan folkloric singer/composer Simón Díaz that speaks of the calm beauty of the full moon. It's a spiritual anthem ingrained in the Venezuelan DNA & it's finally re-released on 10" vinyl along with the heavy deep bass & slow techno touches of Pablo Sánchez & Alexi Delano under their production moniker "Basic Need," released with the blessing of the Díaz family.

Simón Díaz was a legendary Venezuelan folk singer, songwriter, composer, comedian, and actor, among other things, who had a career spanning over 50 years. Known colloquially as "Uncle Simón," Díaz has been extremely influential in repopularising the traditional music of the Venezuelan llanos, or plains, and was the recipient of numerous awards and accolades including a Latin Grammy Lifetime Achievement Award, and "The Great Ribbon of the Liberator's Order," the highest recognition of Venezuela. Pablo Sánchez is a DJ and producer from Caracas; Alexi Delano is a Chilean-Swedish electronic music artist known for his unique techno sound. The two musicians are both currently based in Brooklyn, New York, and collaborate under the moniker Basic Need.

Our first vinyl will go with a big bang!

Early support from Mano Le Tough, Dave DK, Maceo Plex, John Digweed, Gardens of God, Ame, Silicone Soul, Hunter/Game, Kevin De Vries, Massimiliano Pagliara, Fideles, Paul Ritch, Shall Ocin, Raxon, Mind Against, Ae:ther, Ilija Djokovic, Jeremy Olander, Frank Maurel, Alexi Delano & more

Barcelona based producer Adwer returns to his Bolygo Records imprint in 2020 with five alluring cuts entitled "Our Genome" EP with remixes from Amandra and Marc Pinol. Adwer has left his mark on the overall electronic music scene in the last few years through his melodic leaning productions that've picked up support from the likes of Sasha, John Digweed, Joris Voorn and Laurent Garnier. Adwer aims to capture emotion within his music with his synth focused tracks and euphoric vibrations that continue to solidify his reputation of being a purveyor of innovative sound design and gentle sonics.

"Our Genome" EP sees him deliver the first release of the new decade on his Bolygo label where he invites remixes from the Ahrpe Records label boss and French producer Amandra and Spain's Marc Pinol who is renowned for releases on John Talabot's Hivern Discs imprint.

"Messing with the DNA" begins proceedings with thudding kicks, growling bass rolls and dreamy oscillations fluttering underneath before "Recombinant" deploys undulating euphoria through tranquil tones, deep vibrations and progressing synth notes that unravel escapist intentions.

Amandra's remix of "Recombinant" lays focus on raw, crunchy percussion, lo-fi experiments and murky pads that keep you locked throughout whereas Marc Pinol's remix of "Messing with the DNA" offers up electro-styled grooves, cosmic waves and acid-tinged oscillations that carry outer space feels.

"Our Genome" then rounds things off with meandering, 80s styled synths, ethereal, revolving modulations and rumbling bass frequencies to finish.

Repress

+ DJ Sotofett Ultra Vires Dub

SAFT is proud to present the official re-issue of the 1986 Joan Bibiloni Band classic 'The Boogie'. The vocals by Deborah Carter still sound as relevant and uplifting as ever. The sought after guitar licks of Bibiloni have appealed to a lot of generations ever since he started making name for himself in the early eighties. While in recent times some of the more experimental work has been re-issued and compiled through some respected labels, the dancefloor classic 'The Boogie' still remains the pinnacle of the guitarist more dancefloor oriented work.

In this re-release package you can find an original version (A1), that is exactly the same as on the 7" that first appeared through Bibiloni's own Blau imprint in 86'. Also on the A side, an extended DJ-friendly version that spans just over five minutes is present.

For the flipside, Norwegian dancefloor expert DJ Sotofett has crafted a surreal dub tainted experience from the original which spans over 13 minutes and touches a lot of ground. Whilst starting with a percussive intro, Sotofett uses a lot of FX and dub style delays to work slowely towards an intense dancefloor experience. Around eight minutes some grandiose synth work is being introduced while the dub elements keep on singing. DJ Sotofett's version is called Ultra Vires Dub for a reason.

In October 2018 DJ Rocca and Almunia member Leo Ceccanti joined forces to deliver “Rhythm Collision”, a three-track EP of jangling, sun-kissed grooves, psychedelic dub disco and Afro-Cosmic flavours on Really Swing. 18 months on, one of that set’s standout cuts has been given a new lease of life courtesy of fellow Italian producer Alessandro Pasini AKA Deep 88. Since making his debut a decade ago, Pasini has earned a reputation as one of house music’s understated heroes – an artist whose hardware driven, retro-futurist take on deep house tends towards the timeless, melodic and atmospheric. With a deep love of turn-of-the-90s dream house, Larry Heard productions and sun-baked chords, his dancefloor-focused productions have often been called Balearic.

It’s perhaps fitting then that his reworks of Rocca and Cecanti’s “Ever Changing Bubbles” are as Balearic as they come. His “Balearic Mix” sets the tone, with Pasini layering trippy, dubbed-out and ear-catching elements – Ceccanti’s eyes-closed electric guitar solos, jangling acoustic guitar chords, warm dub disco bass, echoing spoken word samples, fluttering flute solos, drowsy organ motifs and the pair’s delay-heavy vocals – atop a crunchy, head-nodding, live style beat. While it deviates from the duo’s original version, it inhabits a similar sonic space – albeit in a more dancefloor-friendly way. Pasini excels himself on the accompanying “Balearic Dub”, stripping the cut back to its raw essentials – drums, metronomic bass –while toughening up the percussion and adding delay-laden instrumental snippets. It’s warm, woozy and otherworldly, with echoing voices, tactile musical motifs and restless delay trails combining to create a suitably hazy and intoxicating mood. By the time the touchy-feely flute and acoustic guitars begin to dance across the sound space, you’ll be lost in the groove and too happy to notice.

A True piece of Hardcore History, Reminiscent of the early Rave era, a time when there were no rules. ‘Hardcore’, just before the fruition of what Jungle came to be. Experimentation in Rave music was at its utmost: chopping up 8 Bit beats & breaks re–inventing a fresh Drum Sound, Bassline’s that make your eye socket’s shake, idea’s that followed no rules. This is some of that missing History...

Originally produced in 1992, this was scheduled to be Dlux’s first official solo release on ‘Brain’ records. With lots of hype about ‘The Darkness e.p.’ (Bizzy B & DJ Dlux) 1993, The Fontage E.P. release was delayed, & finally shelved, making way for Dlux’s updated sounds of ‘The Realtime E.P.’ which got released back in 1994 on Brain Progression.

The Fontage E.P. is Dlux’s earliest material to be featured on the ‘Lost Dat’s’ series. The Dat’s have since corroded beyond repair, this was salvaged & lovingly restored & remastered, so this piece of History could get an outing on ‘Existence Is Resistance’.

Don’t miss out on this authentic piece of music history from a true Underground legend!

Parallel Minds Is A Group Of Like-minded Musicians, Djs, And Graphic Artists Working Together To Bring Compelling, Progressive Electronic Music From Toronto, Canada To The Rest Of The World. Spearheaded By Ciel, And Newcomers Daniel 58, And Yohei S.—who Have Variously Released Music On Labels Like Shanti Celeste's Peach Discs, Allergy Season, Coastal Haze, And Neo Violence—the Collective Offers On Its Inaugural Va Release Four Diverse Cuts Of House, Breakbeat, And Hardcore To Energize Your Body And Comfort Your Soul. The A Side Features Two Slamming House Cuts, With The A1 Offering By Discwoman Signee Ciel And A2 By Yohei S. Clocking In At A Frenetic 134bpm, "hind Sight Is 360" Is A Peak-time Dancefloor Banger Featuring What Has Become Trademark Characteristics Of Ciel's Productions: Intricate Drum Programming And Lush, Jungle-inspired Pads. "eastern Rankin" Is A Slower, More Hypnotic Percussion Track That Demonstrates Incredibly Effective Use Of Space And Delay. Its Minimalist Structure And Echoing Drums Would Sound Ideal In A Dark Warehouse. The B Side Opens With An Even Bigger Bang, With A Track That Would Best Be Described As Indian Hardcore. "mana Sadhana" By Raf Reza Under His New Alias, Radiant Aural Faculty, Is A Vibrant Mixture Of Hindi Vocal Samples Layered Meticulously In Between Freaked-out Synths And Thumping Breakbeat Drums. Completing The B Side Is The Aptly-titled "space Bubble" By Daniel 58. Drawing On Influences From Ambient, Trance, And Breaks, The Promising Toronto Artist Closes Out The Release On A Dreamy Note, Employing Nostalgic Melodies On Top Of Tough-as-nails Drums And Deep Rolling Sub-bass. As First Releases Go, Parallel Minds One Offers A Taste Of Something For Everyone, From A City That Has Perhaps Been Overlooked But Deserves A Second (third, And Fourth) Listen.

"With its latest release, Altered Moods Recordings explores the mind of Spanish talent Jesus Gonsev, who co-owns and runs the Troubled Kids record label. Jesus, who has recorded for not only his own Troubled Kids but also for stalwarts such as Prog City Deep and deepArtSounds, has made waves in both his native Spain and the rest of Europe as a DJ and producer, playing alongside pioneers such as Ernie Albacete of Minuendo Recordings and Detroit wunderkind Delano Smith, and recording a cracking EP on his own label with deepArtSounds boss Dan Piu. AMR is the first US label he has recorded for, and he brings a special treat to these shores."

Santo Sangre is a project by San Francisco-based artist, producer and DJ Gonzo Manuel. On its first release, Quetzal, perhaps a reference to the central-American bird with bright, ornate plumage Gonzo taps into a Latin-accented, tribal feel that is ably carried on rolling, syncopated percussion with an organic essence, a birdsong-like chant, sporadic and light bursts of actual song and haunting string chords that cut across the sound spectrum, adding dark energy and urgency to the track. This one will sit nicely out on its own, bringing a hybrid organic/robotic essence to the dance or would work equally well rinsed around in the mix, with all its elements appearing and disappearing at just the right time as a transition ascends and peaks.
Oakland producer Indy Nyles remix builds on the tribal theme by enhancing the syncopated aspect of the percussion. He augments this further with a pretty and drifting melody line composed of glassy keyboard sounds. The sense of drama this creates is boosted further by a breathy and repetitive voice sample. This concoction drives along nicely until around the 5 minute mark when Nyles drops a menacing, snaking thread of 303 bass, stabs of icey strings and echo and delay effects that amplify the shadowy, seductive allure of his remix. Its a new sounding track but the acid line and syncopation bring to mind some of the psychedelic, breakbeat classics of San Franciscos halcyon, rave era.
Rounding things up is the Slope 114 Remix. Here Dmitri Ponce and partner
Elise Gargalikis take the track on a house journey that is, like Indys mix, brand new sounding but possessed by the spirits of the classics. Elises vocal flourishes bring to the mind the Latin house, tribalist dynamism of Louie Vega and Indias River Ocean numbers while Dmitri nudges the bassline from chunk and funk to acid and massive without sacrifcing the subtlety of the maneuver. The subtle aspect being that a techno, a tech-house and a straight up house heads will be able to bounce this one to the box without leaving her generic comfort zone: the true mark of a classic.
This release is a strong start for this new artist, look out for more fire from this Bay Area talent

For the inaugural release on TILT, Faerber presents 070717, a four-track package of spiralling techno due 03.09.2018. As a joint venture from Hamburg's renowned PAL nightclub and Berlin-based DJ/producer Faerber, TILT will serve as a platform for a range of experimental artists to present their work without restraint.

070717 is a disorienting trip through four swirling cuts, brandishing references to electro, industrial and ambient whilst permeating warmth through vast concrete structures.

The title of this first release - a reference to the date of the G20 summit in Hamburg last year - represents a period of instability for both the nightclub and Faerber, who is a booker and resident DJ there. Ongoing heavy police presence outside its front doors resulted in a lack of visitors; so much so that the future of the venue became uncertain. Despite a series of obstacles linked to the highly controversial political summit, PAL continued to throw parties, eventually reaching a point of stability through sheer dedication and a focus on experimental bookings. Now, after a slight delay, they are ready to launch their own imprint.

070717 is the soundtrack to resistance against all odds.

Next up on Dusky's renowned 17 Steps label is the return of long term pal Kiwi. Having supported the lads on 9 of the 17 Steps tour dates and having also provided the 15th release in the label catalogue - the fellow Londoner now readies his 'Oooh' EP which comes backed up with a remix from Feel My Bicep affiliate Hammer.

Kiwi's sound is one defined by positive, kinetic feeling - joining the dots between Detroit Techno, Soul and Balearic. With previous releases on Futureboogie, Life and Death and Moscoman's lauded Disco Halal imprint, he's garnered several accolades including reaching number #85 in Mixmag's Top 100 tunes of 2017 and sitting at #1 in the genre chart for a total of 9 weeks with his 'Orca' EP back in 2016.

Now - continuing on his ascent, Kiwi lays out a pair of rapturous, gooey House jams that lands right on time for the festival season. On 'Oooh' - Vocal lines swirl over a largely beatless backing track. A rich, balmy feeling unfolds behind synth chimes and layered delays which work together to form an irresistible summer DJ tool. 'Andromeda' then follows up and blends 80's soundtrack-tinged stabs with crispy drums and thick sub bass before being accompanied by a pulsating synth line that carries the track to a delectable crescendo. Hammer then closes things up with a somewhat hallucinogenic take on 'Oooh' with LFOs, analogue sweeps and blobs of acid bleeding together to cap off an altogether warm and woozy trip.

Echocord's Echo Echo sub-label continues with its third releases this August, courtesy of German producer and Credo founder Alex Bau with his 'Zenstory' EP. Germany's Alex Bau has been a prominent name on the underground DJ circuit on his home turf, and further afield, for three decaces as well as racking up an impressive back catalogue as a recording artists for labels like Cocoon, CLR, Sleaze and of course his very own Credo label which has been a platform predominantly for his own material whilst welcoming the likes of Kyle Geiger, Takkyu Ishino and Electric Rescue onto the imprint also. Here though we see Bau joining the roster of Echocord's fledgling sub-label Echo Echo with a new four-track EP and taking the lead on the package is 'Clouds' with pulsating low-end tones, hissing analogue noise and dusty drums samples all flowing in unison with ethereal chords and sweeping pads. 'Contour' follows, tipping the focus over to bubbling delayed stab hits, fluttering sub bass and evolving white noise bursts throughout. The 'Prelude' of 'Zenstory' opens the flip side and as the name would suggest it's a cinematic build up to the title-track featuring tension-building, expansive atmospherics ahead of the original mix which features a thumping muted kick, stuttering atmospheric echoes and spoken word vocal tucked into the depths of the record.

Producer Okzharp and vocalist-artist-dancer Manthe Ribane both hail from South Africa, where Manthe still resides, while Okzharp lives in the London where he is a DJ and producer, initially cutting his teeth in LV, who in 2007 were one of the very first acts signed to Hyperdub. Manthe has been at the forefront of South Africa's cutting edge fashion, art and dance worlds for over a decade. After leaving LV, Okzharp and Manthe started collaborating, going on to release two well-received EPs on Hyperdub, 'Dumella 113' and 'Tell Your Vision', recorded in Joburg and London respectively. The recording of 'Closer Apart' reflects the title. Okzharp says 'Most of the music came out of headphone moments in hotel rooms, planes and airports in the brief periods of time that we spent together.' Describing Manthe as a co -producer, he continues 'She selected instrumental sketches and we developed them together, sometimes just keeping the bare bones or a melody or rhythm, or trying different elements or sounds.' Even though the album was built long distance, the short periods they spent together were the ground zero for creativity. Okzharp recalls 'One particular moment in Milan last year, we had a whole free day before our flight so we visited the Salone di Mobile design show. We were so inspired by an installation there just walking around, listening to the amazing soundtrack. That evening our flight was delayed, so we sat on the floor of the airport terminal putting musical ideas down for 'Time Machine' on the laptop speakers and writing the lyrics. "Tic Toc time, we'll be fine / Airport queues, cerulean blues / Viper trails cross the skies / Lights reflect in your eyes...' ' 'Closer Apart' has a softness and openness that contrasts the tougher sound of the EPs. Manthe explains, 'The new music is a 360 turn, an expression of my 'Lady' side. I grew up listening to Jazz, Classic and Gospel, I am a very soft spoken person, and it resonates with being confident with that. It's been crazy finding balance and finding a smart way to strengthen my weaknesses, I had to trust the process.'

The Saqqara Ep Is A Multilayered, Sonic Canvas From The Mind Of Chris Barratt, As He Launches His New Alias, Baratt, For Life And Death. Fine Brushstrokes Move From All Areas Of His Musical Hideout, Spreading Over Five, Varied, Aural Sculptures, Each One Warping And Weaving On Its Own Cosmic Trajectory. Pooling From Key Aspects Of His Eagles & Butterflies Project, Barratt Induces New Musical Shades, Hinting At Moments Of Disco And Funk, Through A Lens Of Psychedelia. The Title Track Is A Late-night Floor-filler - A Bold Yet Uniquely Personal Necropolis Built From Riveting Delays And Arpeggiators. Time Bending Sees Dj Tennis Join In, Stepping Up With His Trademark, Rough Around The Edges Production Aesthetic, En Route To Unknown Destinations. Barratt Hones-in On A Confident, Stripped-down Style On Khaos - Rhythm Versus Melody - Just In Time For Festival Season. 1983 Soundtracks A Ride To Utopia On A Rocket-fueled Vespa, Leading To Collider, The Land Of Un-quantised Madness, Where The Most Treasured Of Synthesisers Live Amongst Their Drum Machine Counterparts. Flowing Yet Incredibly Interconnected, Saqqara Is Best Interpreted As A Mini Artist Album - The First Of Many Barratt Offerings.

Repress

Zodiak Commune Records continues the Insectum serie with a brand new EP from Acidupdub called "Longhorn Beetle". He specially made this 4-tracker in various styles of techno and acid.

A1. War of The Worlds
This track is a perfect dj tool. Very nice progressive acid techno floor filler with heavy energy on the 303 patterns. This beat goes on!

A2. Coffee Spliff
A mysterious opening on this one. The punchy kick will make a perfect minimal techno track out of it. Let the dreamy atmosphere take over.

B1. Dark Summer
On the b-side you can notice the energy is building up. The reverb on the acid sweep creates lots of space around you. High quality acid techno.

B2. Zodiak Prophecy
He ends this journey with an uptempo acid techno piece with a dark progressive touch. The delay on the 303 glues the whole track together. This prophecy is fulfilled.

"We had a little pause on our release schedule, but without further delay we present with pleasure the next bomb by our good friend, DJ Spider!
Thema 46 was hatched from someone so deeply ingrained in the underground that he barely needs an introduction. From his RA "label of the month" featured imprint Plan B Recordings, to his thoroughly played productions on labels such as Rekids, Killekill and The Trilogy Tapes, DJ Spider has been a mainstay on the murkiest, most disorderly dance floors for years. His sound is characterized by disjointed elements lurching around in a off-kilter yet magnetic way that forces you to move in ways you didn't know you could. From the hell scorched, pitch bent echoes of "The Final Revolution" to the lo-fi groove antics of "Distress Signal", DJ Spider proves once again that no one can do it as perfectly weird as he can.

The word 'Icosahedrite' refers to the geometric figure icosahedron, and arises from the idea that the EP is an amalgam of electronic music styles with many other aspects of traditional musical genres, like jazz or blues. Metaphorically, those genres act as the multiple sides of an imaginary icosahedron. Something complex yet solid that sits outside of the conventional emerges as the final result. A1 'Phason Jazz' - This is a track where conventional jazz structures converge with electronica, and the influences Eduardo gets from Miles Davis and John Coltrane shine themselves. Twisted keyboards patterns mixed with delays and deafening effects form a place to get lost, and eventually repetition becomes hypnotism and turns into an automatic trance. B1 ' Mr Dewey D' - Mr Dewey D is referring again to Miles, and his first and second surnames.This song is much more influenced by Dark Comedy (aka Kenny Larkin) and all the records that he throws out on the french label 'Poussez' titled 'FunkFaker: Music Saves My Soul' Blues breath tirelessly in this composition where there is not much time for an objective analysis and where everything finally leads to an insane ending. B2 'Rhythmic Soundscapes ' - This track is, I guess, the most conventional part of the EP, Nonetheless, it retains special qualities. Floating pianos with delays are combined with bass sounds that go back and forth, forming a musical piece with techno sensibilities that I hope will give opportunities to the most daring DJs.

Some songs comes along that you seem to know the moment you hear it, even though it's for the first time. In the case of Spark The Universe it had exactly that impact. A mixture of late-60s psychedelic homage, early 80s new wave, white boy soul, plus a good dose of dub, all wrapped around a killer hook and super tight production and a hit was surely made.
The fact there are many deserving records that don't become a hit doesn't mean some are better than others and in fact, the joy in collecting and reissuing is finding amazing songs and bringing them back.
Increasingly heard in the sets of the more discerning DJs, Spark The Universe has become a cult play and with second hand prices now in three figures, a reissue is timely. As the label oft says, no one owns this music other than the writers, musicians and producers and their craft deserves to be appreciated.
Before going on to carve a successful career in 'electronica' project, Euphoria, Toronto's Ken Ramm had shown his considerable writing and playing ability with the 1981 debut LP Dragon and this 1983 follow up, known simply as Ramm.

Coming together through a meeting with a then relatively unknown producer, Daniel Lanois, via a mutual interest in tape loops and dubbing, it was the suggestion to bring in local vocalist Lorraine Segato that Ramm formed.
Recording at Lanois' Grant Avenue Studios, his interest in mixing past and present technology, with multiple digital delay units, harmonizers and other effect processors allowed Ramm and Lanois to explore using the studio as an instrument alongside real musicianship.

Backwards guitars, tremolo bar dives and guitar harmonics are incorporated with the vocals and percussion to perfection. With a 'Dance' and alternative 'Dub', the song's hypnotic and dreamy feel superimposed over beats pin-pointed to the later Euphoria project and with the addition of a latter day 'Discomix', from the labels' own Chuggy, Spark The Universe deserves it's place on contemporary dancefloors.

Copenhagen's Echocord Colour returns this August with Stephen Brown's 'Power Factor' EP, featuring three originals from the UK Techno stalwart.
Scottish producer Stephen Brown is a name synonymous with Techno across the globe having been releasing material since the mid nineties on imprints such as Derrick May's Transmat, Subject Detroit, Skudge Records, Ben Sims' Theory and Holland's Djax Up Beats amongst many more.
Here we see Brown join the roster of Echocord's sub-label Colour, slotting him in alongside the likes of Mike Dehnert, Nick Ho¨ppner, Luke Hess and Deadbeat in the back- catalogue.
Up first on the release is 'Sandtext', a stripped-back dubbed out opening cut fuelled by a robust kick and minute percussive hits running alongside a sturdy sub bass drive and spiralling dub stabs before 'Wet' takes things even deeper via muted kicks, shuffling shakers and delayed synth chords. 'Back Stroke' then rounds out the release with an amalgamation of airy reverberated stab hits, rumbling low end pulsations and a thunderous kick drum to once again create an understated, hypnotic composition.

Modern acid influenced techno cuts for steady floor action.

Already getting play by: Truncate, Eric Cloutier, Cari Lekebusch, Rødhåd, Jeroen Search, Nicole Moudaber, Dj Deep, Dustin Zahn, Dj Sodeyama, The Advent, Ben Sims, Dj Hyperactive, La-4a (Ambivalent), SLAM, Magit Cacoon, Dustin Zahn, Technasia, Agaric, Lando, Len Faki, Raíz, Adrian Lopez, Luigi Madonna, Carlo Lio, Alland Byallo, Agaric (Patrik Skoog), Brett Johnson, Luke Slater, Jamaica Suk, Pär Grindvik, Nihad Tule, Samuel L Session, Kiss FM, Butane, Alexi Delano, Lenny Posso, Z.I.P.P.O

When it comes to the music of Miajica, there is always a variety of influences, shameless sampling and me- lodic patterns involved that touches our hearts. His love for records is a never ending story and this makes him a fantastic DJ and selector. Miajica's passion for the extraordinary is what made us at Light of Other Days fall in love with his music when we first met him several years ago.

Miajica might mostly be known for his work with Alma Negra but he is a prolific producer of his own and had some amazing releases in recent months. He also just launched the label Fleeting Wax with Mehmet Aslan - which is already getting some great attention in the balearic scene all over the world.

Miajica's first EP on Light of Other Days «Drive Down» was created from some of his recent and most striking influences: «Breathing Again» indicates the feeling after he stopped smoking and discovered this whole new world of intense emotions and sensual experiences. «L'Ae´roport» was created in one of those lost moments when you're overtired at the airport and have to wait to board another delayed flight to your next destination while the third track «Mediterraneo» is an uplifting homage to his heritage and roots in Spain.

Shelter is one Alan Briand, a young Parisian producer with a strong melodic centre producing a sound that pulls on the Zouk, the Afro, the Balearic and the Ambient palette. Zon Zon Zon is only his fifth release and his first mini album, following the series on International Feel that has brought us material from Len Leise, Wolf Muller and CFCF.

International Feel first met Shelter on a trip to Paris a few years back. It sounds like a story from a Nick Hornby novel, but there's a record shop in Paris called L'International Records, run by a guy called Dave who has a group of young French DJs, producers and promoters that visit the store, hang out and buy and listen to music - a story no doubt currently being repeated throughout the world as new generations immerse themselves in the culture. Shelter is a producer who has sucked up all that he has been hearing around him for a number of years and is now producing a quality sound, pulling on the exotic.

The seven tracks on this mini-album are taken from an extensive pool of Shelter's melodic magic. Some people lead on the beats, some on the production, but Alan focuses on the melody, with the beat closely tied in as support. Señor Zalla starts the album with an afro vibe, closely followed by the Zouk-style of Zon Zon Zon and Port-au-Cœur's mellow Balearic tones, as Shelter twists nature's sounds into his own sonic world. Bucolica, an upbeat wonder of a track, turns to the ambient mantra of Courant Rouge and it's distant cousin Courant Bleu, a classic rhythmic balearic piece with syncopated melody and delayed drums. La Volière (the French can make even bird cage sound beautiful) brings the album to a close with a smile in the mind's eye.


Zon Zon Zon is universal. It could easily have been created in Ibiza or Canada, Australia or Africa. It was in fact recorded at Paris 11, where Shelter forged beauty through the sounds of nature and uncovers a wisdom in its simplicity. We can expect good things from Alan. Here's the first chapter.

DJ, musician, former saxophonist - there's a combination of skills you don't get to see too often. Get acquainted with DEMIAN, then, aka Damien Pontonnier, a French artist who relocated to Paris after an influential career as

electronic music pioneer and party organizer in Northern Spain. Now an accomplished producer with releases on labels such as Correspondant or Clouded Vision, he presents the MILESTARS EP for Kompakt - a quirky and vibrant track trio with an obvious knack for catchy melodic details in a kinetic techno corsage.

Having amassed quite the experience portfolio when it comes to grassroots club culture, DEMIAN knows a thing or two about inspiring a dance floor - but that doesn't necessarily account for the artistic versatility or genuine lust for sonic adventures and happy accidents that these cuts exhibit: opener DÉCLICA boots with deliciously stoic cowbell-isms that leave the doors of perception wide open for some iconoclastic, yet surprisingly effective synth action.

Meanwhile, the title cut invests in texture-rich atmosphere without forgetting about the precise amount of momentum you need to tip the floor over the edge. Closer NO HYPE FOR THE FISH takes things in a more hypnotic direction, intertwining freeform arpeggios and tape delay with smart beatmanship. Simultaneously lush and lean in its overall aesthetic, the MILESTARS EP will feed both the nerd and the dancer in you - a swiss army knife with all the right tools for masterful crowd control.

In the summer of 2014, producers Frankie Valentine and Thomas 'T-Ash' Sciurpa bumped into each other in a London shoe shop. Over a fine selection of brogues and loafers, the conversation drifted onto music. The duo quickly realized they had much in common, and a plan began to form: they would get together and make music as Vitruvians, using the alias as a vehicle for their collaborative work.
Some 18 months and numerous recording sessions in England and Italy later, the first Vitruvians record is ready for release. Dropping on Paul Murphy and Simon Purnell's Leng Records imprint, 'Spaghetti Saloon' is a banjo-pickin' hoedown at the last drinking hole in the Milky Way. Propelled forwards by a restless drum machine rhythm, the duo's original version expertly combines winding synthesizer melodies, wild honky-tonk piano solos, clanging 'closing time' bells, and the most loved-up banjo player in the galaxy. Ennio Morricone, eat your heart out.
The flipside of the 12' features a pair of tasty, DJ-friendly revisions. There's the chugging Banjo Dub, where delay-laden bells and undulating banjo lines rub shoulders with a throbbing, space disco groove, and the even more psychedelic and alluring Piano Dub. As the title suggests, this pushes the duo's distinctive keys work to the fore, stretching out the life affirming solos in a bid to incite even greater dancefloor abandon. Down a glass of bourbon, grab a partner, and get dancin

What Ever Not is the variegated music outlet from experienced Dodi Palese and Dan Mela, Italian DJs and producers supporting, selling, playing and releasing instrumental and dance music for two decades. What Ever Not tenth record, 'Galegos Bar / The Ritual', sees a split release signed by Dan Mela and Marco Erroi. Label co-founder Dan Mela inaugurates a new moniker 'Man Dela' for 'The Ritual' - the original track gets remixed by Anton Zap, with whom Mela already collaborated for a digital release on his own Ethereal Sound. Flipping on the other side, Marco Erroi, head of Common Series Ltd, continues his production career with 'XXXV Gold Fingers' for the 'Galegos Bar' side - one of the many different aliases he personifies - also contributing by realizing the artwork. 'Galegos Bar / The Ritual' offers two sides of the same coin and we can have both things with one stroke. The common denominator is the ethnical ritual. It is fully expressed in the Man Dela side with deep and hypnotic ride out turned upside down by Anton Zap with a dynamic electronic waltz. The same item, however, is magically hidden in the XXXV Gold Fingers side, where we can find it in the form of drink beer and play cards just like in most terrible bars in South of Italy.

ORYX 9 has built a synthetic complex universe, in a 70s Druillet pscychedelic Sci-Fi similar vein, mixing up a handicraft and exhaustive sound treatment through ancient machinery, and proper mind-bending literature. Abstraction trail', a conceptual whole sheaf, is the result itself and the fourth 30drop ExoPlanets reference. The evocative Subatomic Uprising in Cassiopea''s retrofuturism meets the lisergic onirism of Ethereal Aquadome'. Bassdrum goes harder on the delayed hipnotism of Magma-45 Decaying Path', a planetary decadence tale. And finally, Ultraviolet (Light of Tsih)', a cosmic endless melody from a dead constellation, winds up the EP. And continuing our 30drop Records Mix Tapes series, ORYX 9 presents this current second chapter with an exclusive DJ set, recorded live at the Simmetry Box in April 2016, that introduces its artistic proposal as a sound manifesto.

Fructose was part of the Styles Of The Abstract EP released back in 96 on Dj Hyperactive's CONTACT label. Diod a.k.a Kikoman is a michigan veteran and techno pioneer. Fructose proves that he was ahead of it's time. Featuring two remixes from Delaze.

Solimano returns to his Unlock Recordings imprint with two mellow house cuts, featuring a pair of imaginative reinterpretations from fellow Argentinean's Barem and Deep Mariano.

Originally established to promote Latin American productions in 2004, Unlock Recordings has since hosted the likes of Jorge Savoretti and Guti. Its founder, Gonzalo Solimano, has proven himself time again as a label owner, DJ and producer, working as a 'Mr. X' at Red Bull Academy for almost ten years when not performing at the likes of Creamfields Buenos Aires, South American Music Conference and Space World Tour.

'Learjet' is a low-slung groover complete with organic samples, bass guitar licks and a hypnotically looped vocal sample. Up first on remix duties, Minus regular Barem subdues the raw textures of the original to generate an understated rendition, whereas Get Slow founder Deep Mariano takes it down a percussive route where an infectious rhythm is accompanied by dub inspired synths. Finally, 'Calling Again' is a sensual deep house cut featuring the vocals of Sophie Taylor, known for her collaboration with Mathias Kaden, among many others.
Support by:
Hernan Cattaneo - Paco Osuna - Neil (Nail) - David Durango (David Durango, Poker Flat, Suara, Galaktika) - Stacey Pullen (Transmat (Detroit) - Rich Nxt (Fuse) - Hector Couto (Tribal Sessions) - Jorge Savoretti (Esperanza - Savor) - Alexi Delano (H Productions / Visionquest / M_Nus) - Rework (Visionquest / Items & Things / Loveyeah) - Martin Landsky (Poker Flat) - Leon (VIVa / Various) - Grant Dell (Giant Sound / Chicago Transit Authority) - NTFO (Diynamic) - Simone Giudici (Dirty Channels, Ovum, Hot Natured, Rebirth) Javi Bora (2020Vision / Hudd Traxx / Defected / Kehakuma) - Eddie Richards (Evil Eddie Richards)