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'2 Minutos De Um Novo Dia' - pacey samba-funk-MPB that originally appeared on a 7' from 1969 released on Odeon Brazil. Soaring vocals, strings and horns over alternating full and half-time funk drum breaks. Very big indeed.

'Candomble' has been a resident in our DJ sets for a long, long time. A retrained, deeper opening section drops into drum heavy, rich uptempo jazzy-MPB. Super catchy vocal hooks and piano lines sit over the top from start to finish. Taken from their self titled album from 1975 on RCA.

In the years since the release of Adrian Younge's Something About April, he has been coined America's black genius: the evocation of analog vestige in a digital era. His majestic music has garnered him reverence, likened to Ennio Morricone's best work and the Beatles' tenacity to create new sounds. Fortuitously, Something About April has made an indelible impression on modern vinyl heads and producers alike, being sampled by DJ Premier, Jay-Z, Common, 50 Cent and more. The Something About April brand is an axiom to the modern 'Breakbeat' and Linear Labs is happy to announce its successor: Something About April II. Recorded with Younge's collection of rare instruments, Something About April II advances his musical paradigm with enterprising concepts and grander compositions — it synthesizes the boundaries between dark American soul and classic European cinema. With effervescent conviction, Younge executes with an array of entrancing vocalists: Laetitia Sadier (Stereolab) and Bilal perform duets on 'Step Beyond' and 'La Ballade,' reminiscent of Serge Gainsborg and Jane Birkin; Raphael Saadiq blends 'Black Jazz' vocals with psychedelic soul on 'Magic Music;' Israeli star, Karolina, delivers haunting chants over concertos like 'Hear my love' and 'Winter is Here;' Loren Oden croons as if the apparent ghost of Donnie Hathaway created one last love song, 'Sandrine.' Younge is the experimental spirit of the modernist vanguard, looking at the past to create the future. What this album extrapolates, from vinyl culture, will become further magnified by its sampling down the line. Something About April II will replace the former as a holy grail for producers and collectors alike.

The Roundtable & Northside Records are pleased to offer this long awaited and special Record Store Day reissue of this highly collectible Australian rare groove LP.
If you can imagine the gathering of a group of Australian session musicians channelling the sounds of Herbie Hancock Headhunter's and Marc Moulin's Placebo, recording an album out of hours at a TV studio and then releasing a privately pressed hard hitting jazz funk record then what you have is Arena, one of Australia's most revered and scarce rare groove records.
This was the name given to a pick-up group of session players led by Ted White, a veteran of the British big band jazz scene (an associate of Ted Heath and Basil Kirchin) who had immigrated to Australia in the 1960s to work in the burgeoning television industry. This one-time studio project (recorded only to test out the facilities for a new studio) barely yet thankfully saw an LP release in 1975. Pressed in minute quantities only with limited distribution, the album was subsequently forgotten and obscured by time, only to be resurrected in the 90s by DJs and collectors seeking out lost and rare records.
The album has since become one of the country's most celebrated and collectible jazz funk recordings and has proved to be a pivotal point in Australian jazz, marking a shift from the modern jazz and R&B sounds of the previous decades to the cross pollinating electric jazz funk of the 70s. Characterized by the heavy use of electronically treated saxophone, psychedelic guitar, Moog and spacey Fender Rhodes, the album is a classic of the genre.
While acknowledging the often compiled and sampled breaks track, The Long One, the complete album offers much more, exemplified by its complicated and obsessive jazz rhythms, abstract and middle-eastern horn lines and pulsing electric funk.

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The first Late Night Tales release of 2016 is a very special project by Sasha.

Imagine listening to music inspired by Frahm, Richter and Steve Reich, but made by one of the UK's leading house and techno DJs. Away from the hubbub of the club, the craziness of Ibiza, there's a contemplative side to everybody. Forget the beats and the sweat and the billowing anthems; this quiet, undulating, at times pastoral piece is less about songs and anthems and more about texture and atmosphere. 'Scene Delete' is a side of Sasha you've never heard before. I love post-minimalist modern classical, I love to listen to something completely different that's quite hypnotic as well. It almost purges the system.

About three years ago, my collaborators David Gardner and ThermalBear and I wrote a song called 'Bring On The Night'. I sent it to Ultraista and within a few days she sent it back with this amazing vocal on, with Nigel Goodrich playing keyboards. We tried to do club mixes but we just couldn't get it right. So it sat there doing nothing.

Tracks like this kept building up, until finally last summer my frustration boiled over. We'd made so many tunes that I couldn't remember the names of half of them: What was that thing with a bass sound and a string line It drove me mental. At the same time as we were logging these tracks, I was listening to the Jon Hopkins' Late Night Tales and I thought a lot of the music we'd been working on was in the same vibe. So I sent the music over to Late Night Tales and they really liked it.

Initially, I thought we'd just do a Late Night Tales compilation with maybe a few pieces of my own music. But as we went through everything we'd worked on in the last two years, we realised we had about 50 pieces of music. So we started editing and compiling: 'Scene Delete' is the end result.' - Sasha, January 2016

Think of 'Scene Delete' as somewhere between a mix album, an artist album and a gentle stroll through the soundtrack in your mind. Make sure you switch off the lights before you enter.

The multi-talented musician/producer Bing Ji Ling (Tummy Touch Records/Ubiquity Records/Lovemonk Records/Claremont 56) and DJ Alex from Tokyo are very excited to share with you a brand new, collaborative track Not My Day', that encapsulates their experience in New York, as well as their friendship. It's been a few years in the making, but well worth the wait! Alex and Bing moved to New York around the same time, and met in a bar (filled with Loft heads) after one of David Mancuso's Loft parties. Bing recognized Alex's voice from his weekly Shibuya FM radio show in Tokyo, and went up to introduce himself, being a fan. Turns out, they have many friends in common in New York, Tokyo, and beyond. They were instant friends, family. The track came out of several listening sessions from Bing's basement studio in the East Village, where Alex shared some tracks he'd be digging, across a wide range of genres, eras, tempos, etc.. Everything was very easy, very natural...Back in Tokyo Alex and Isao bring their club vibe and remix the funky and groovy Not My Day' into a magnifique electronic deep house anthem!


On the flip is Bing's version of Lil Louis' club classic Lonely People' Alex has been playing non stop, providing along here his own DJ friendly Tokyo Black Star retouch club version. Bing's version was originally recorded for his covers album called Sunshine For Your Mind' that was first released in Japan on the label Rush Production. This album came about, after years of playing solo/acoustic covers with a looping pedal in Japan. Bing has since performed the song live in New York, London, and at Croatia's Garden Festival with rave reviews!


Bing Ji Ling and Alex now live just minutes from each other in New York City as well as the Catskills, and enjoy frequent meals, music and mountains. We hope you enjoy...Happy Spring!

Embracing Disco, Techno and House music in all its declinations, What Ever Not introduces now British artist Reformed Society, project started by house producer Harsh Puri as a consequence of djing and collecting records since 1998, debuting with a four track old school house EP, Optimistic Chaos coherently fitting with the Italian imprint philosophy. 'Hope' has that solar, yet dusty groove folding distorted rhythmics and joyful pads around an insistent lead dubby pattern and shimmering synths. 'Optimistic Chaos' is again smooth but lightly gloomy, until a pause intoxicates one's body and mind filling them with inebriating ambients. 'Incognito' delivers a deep driving atmosphere here, featuring dogged, crisp drums together with minimalist, yet momentary cosmic motives. For the closing cut 'Detracid', the artist cooks up a brew of acid lines with the usual charming synths and vivid hats, building a light sense of tension fired up by the warm, heady sound scapes. Each track is similar to the last, stiffening the musical timbre of the label, confirming the producer's strong artistic identity as a consequence.

Following Secret Chapter, Architectural's debut LP, and the release of Amour in 2015 with the Dutch imprint Wolfskuil, we are delighted to bring you release number 7 which continues a saga of EPs that are very effective on the dance floor without renouncing to their atmospheric and experimental roots. Presented in an elegant 10" transparent vinyl, its two tracks, 7.1 and 7.2, share the limelight and will both leave the dance floor in ruins.

In 7.1 Architectural goes back to his roots with marked low lead lines that star in a very intense episode. The resulting sound is dense and compact, and connects the American essence and feel to European abstract futurism. Many will define this track as pure Architectural.

7.2 is not suitable for heart patients. Its intense and rhythmical bassline can put the listener in a hypnotic state for several minutes waiting for something to happen. The repetitive rhythm from the start is so strong it becomes strongly addictive. The track evolves towards an end worthy of a terror movie, where the snare provides an aggressive beat complemented by striking atmospheres.

Both tracks are the perfect weapon for any DJ willing to put to the test the best sound equipments.

In August 2000, Damon Albarn travelled to Mali for Oxfam's On The Line project (about people living along the Greenwich Meridian), intent on getting together with his favourite musicians there. In the capital Bamako and its surrounding villages, he sat in on club and private jam sessions, playing concerts and streetcorners, bars and boats.

Back home in London, more than forty hours of tapes were opened to other influences - reggae, dance, rock - and then the work in progress was returned to Mali, for further contributions from the musicians there: immersive and open, back and forth.

Only 150 worldwide

After more than 10 years in the game and a string of successful
EPs to his name, Idriss D releases his first proper album on his
own Memento Records. At first conceived as a succession of
singles for his Dib 00' series (the first two being Constantine
and Alger), the project then became more of a collection of
dance floor tracks influenced by what he likes to play in his DJ
sets. The title Amalgamation' comes from the desire of
bringing together his life experiences over the last few years,
both music-wise and from a marketing and management angle,
this time exclusively focusing on himself and gathering all the
inputs in one single piece of work. Transition''s atmospheric
vibe and ethereal sounds open the LP with a blast of hazy
vocals and noises, followed by the percussive and trippy Casa
Baratas', a nod to the early 90s Acid House movement.
Karma''s pounding kick drum and stripped down arrangement
are a true example of Minimalistic Techno at its wildest. The
more personal RIP Ouarda' was composed in memory of his
grandmother who passed away: dark and hypnotic, it stands
out as one of the most experimental on the album. Title track
Amalgamation''s landscape of lush eerie synths makes it a
blissful comedown number, while Parall-el''s bouncing rhythm
speeds up the pace to high effect. Strong Hayet' is dedicated
to his mum, a source of continuos strength in Idriss' life,
both in good and difficult times: the heavy bass line and almost
obsessive looping vocals and hi-hats are icy and dramatic.
Barn''s pitch shifts and manic vocal samples swing through a
maze of rim shots and toms, its stomping groove and pulsing
beats closing off the album with a bang.

Supported by: Ben Sims, Slam, Laurent Garnier, Adam Beyer, Truncate, Jonas Kopp, Ilario Alicante, Paco Osuna,
Gel Abril, CTRLS, Pfirter, Xhin, Regen, Roman Lindau, Antonio De Angelis, Lee Holman, Abstract Division,
Juho Kusti, Krenzlin, Felix Lorusso, David Att...
With the first Monasterio release, the team behind the Moscow clubbing institution has aimed to recreate
the atmosphere that has made the club such an important part of the Russian techno movement. Each track
from the compilation strives to represent a dimension of the club's style, starting with powerful opener The
Chamber. Oliver Deutschmann, a close friend of Monasterio, references the main room of the club and takes
us on an anthemic ride full of organs and sonic spectrum requisitioning buzz. The mutating and pulsating groove
of Russian resident Unbalance follows, bringing forth a change in the atmosphere and the hypnotic synths
and austere percussion work of young Ukrainian talent Recid take the listener to the prime hours of the party.
Danish DJ/producer Anastasia Kristensen overtakes by ways of air in a high-speed modular chase, bringing the
night to a close and leaving us with high hopes for our next journey through the corridors and chambers of the temple of techno

Alex from Tokyo presents new label world famous debut release from Tokyo Black Star - Edo Express EP out in October, 2015


Paris-born, Tokyo-raised, New York-based international eclectic French DJ, music producer and sound designer Alex from Tokyo is very excited to announce the October 2015 launch of his record label 'world famous" with a new Tokyo Black Star EP (the first release in three years)!


The four different straight up house music club tracks here on the "Edo Express EP" showcase Alex from Tokyo's versatile and funky DJ style and come from a very special fun jam session that took place in January 2015 at Isao's Tokyo Black Star and phonon studio with the help of their great musician/analog equipment otaku friend Kenichi Takagi leading to Kenichi san officially becoming the third Tokyo Black Star member, bringing along some of his favorite old, new and handmade (modular) synths into the mix.


The stunning artwork for the release is done by long-time collaborator the very talented New York based Japanese artist Tomokazu Matsuyama, who has been creating the Tokyo Black Star visual identity since their first release on Innversions in 2005.


Working in harmony with music partner and sound/mastering engineer Isao Kumano in Tokyo, Alex from Tokyo formed Tokyo Black Star in 2000 while remixing Big Moses feat. Jan'elle's house classic "For you" for Kerri Chandler's label Bassmental records. Since then Tokyo Black Star has released five EPs including the first-ever release on high-profile Berlin label Innversions (the "Psyche Dance EP," 2005) and their full length debut album 'Black Ships' (April 2009, also on Innervisions), an EP on DJ Deep's Deeply Rooted House label and remixes for artists like Tony Allen (P-Vine records Japan, 1999), Carl Craig (Psyche 'Neurotic Behavior' on Planet E, 2011), Phenomenal Handclap Band (Tummy Touch Records, 2013), Bing Ji Ling (Lovemonk), and Kuniyuki (mule music), and among others.


Always looking for new challenges and sonic adventures, in the summer of 2010 the Tokyo Black Star duo were joined by top Japanese audio professionals at Isao's studio in Tokyo, leading to the creation of a new 'revolutionary' audio brand called phonon , which makes exceptional pro-audio equipment for studio and DJ use.


Tokyo Black Star's last release, in 2013, was a special musical contribution called "X" for a unique celebratory 10th anniversary compilation for Yohji Yamamoto and Adidas fashion brand Y-3. Alex from Tokyo co-directed the exclusive compilation


world famous will be presenting a wide range of dance floor and eclectic music by Tokyo Black Star, Alex from Tokyo's collaborative projects with other artists and his affiliated japanese and international connections! Mastering for all releases will be done by Isao Kumano.

Poker Flat's Forward To The Past anthology returns in its 3rd iteration, as lean and mean as it ever was and precision-engineered to make you jack, dream and all things in between. The winning formula remains the same: task a selection of hotshot veteran and up-and-coming producers with recapturing the style and mood of early club music, paying homage to the golden years between 1985 and 1992 when Chicago House and Acid, New York House and Detroit Techno took the world and its dancefloors by storm. The result is a collection of new and exclusive tracks as addictive as the stone cold classics that influenced them - a tribute and, at the same time, the cutting edge of contemporary music production. Quell casts clouds of vocals and a repeated snippet of soul over a sinuous, undulating bassline. Anaxander gives us classic acid with Gallic attitude, fine-tuned for the dancefloor. Hard-touring DJ and Back to Basics resident Denny goes back to the old school, plunging you into the midst of a heaving dancefloor with a wobbling, fluttering acid track. Glasgow's Debukas provides another Detroit-influenced highlight, letting his imagination run riot with a heartstring-pulling chord progression and contrapuntal synth lines.

Robert Crash is an alias of Italian DJ and producer Fransesco Schito and now he makes a debut outing on Creme Organization with a tidy four track EP. In the past he has turned up on Dog In The Night Records, and with these cuts lays out his singular take on outlier house and techno. Up first is 'Gigolo', a spare and weird house cut with sine waves and random claps, hunched drums and trippy synth lines. It's a unique track made in a unique way and will lead to plenty of freaky dance floor moments, for sure. 'Co. Art' is a whacked out techno cut with slap-funk claps, blistering and blistered synth lines and a rugged bit of bass underlining it all. The track is cavernous and metallic, empty and distant as if it somehow survived a nuclear blast. On the flip, 'Alzheimer' is a slow and gurgling, swampy techno number with broken drums and crawling synths that sound like their batteries have run down. Icy, watery melodies eventually rain down, but the track remains resolutely eerie. Last of all, 'Fabric' is another decaying track with subtle, heavily filtered synths and drums all making for a minimal groove that is barely there. This is heavily deconstructed music that sounds like little else out there and may well be the start of a very fast rise through the ranks for Robert Crash.

Entitas, is the second instalment of Jay Clarke's BLACKAXON imprint, and sees the label boss bring out the big guns in the form of three distinct and diverse cuts. First up is Entity, an autonomic monster which has sweat soaked energy written all over it. It's auspiciously one part deep, and more than double just as twisted. Things are far from linear with Entity, it's mercilessly the sum of it's own parts, and has the hallmarks of a true big room pleaser written all over it. A truly authentic demonstration of the old adage 'It's not where you are going, it's how you get there'. Entity is certain to be reached for by all of the major players on the Techno circuit for a long time to come.
On the flip, Ghosts Of Acid is the Yin to Entity's Yang. A plangent and introspective groove opens up with wispy cymbals, cleverly placed rims, hats and claps. Exploratory and evolving subaqueous acidic forays dare the listener to dive in a little deeper, with the reward being a very proficient and efficient take on the now classic Acid sound.

Existence Through Perception seeks to carry on where the previous two tracks left off. A driving groove and sinister hook lets up briefly midway to a near triumphant fanfare, only to be brought back to it's mischievous overture. A perfect late night/peak time track for DJ's looking to elevate the bar of their set just one more rung higher.

Support From:

(Phase), DVS1, Ben Klock, Answer Code Request, Luke Slater, Norman Nodge, Chris Liebing, Lucy, Oscar Mulero, Speedy J, DJ Deep, Tommy Four Seven, Cassegrain, Inigo Kennedy, Slam, Brendon Moeller, Nihad Tule, Kr!z, Psyk, Jonas Kopp, Truncate, Samuli Kemppi, Juho Kusti, Anthony Parasole, Eric Cloutier, Jereon Search, Moerbeck, Truss, Distant Echoes, Yac (I/Y), Philippe Petit, Thomas Hessler, Randomer, Volte-Face, Fundamental Interaction, Arnaud Le Texier, Ame, Angel Molina, Tensal, Kwartz, Stacey Pullen.
Credits

Optimo Trax 16 is a various artists EP featuring tracks from Glasgow, London, New York & Edinburgh.

First up is Glasgow dj, Beta with his debut release "Endless Plains" a broken percussive, spine tingler. 100% emo.

Next London's L/F/D/M who had the first release on Optimo Trax returns under the modified moniker Love's Flaccid Disco Muscle with something a little different. "3am at the Aqua Disco" is bass heaviness with an almost exotica-style lead line. Unique and glorious.

Side two kicks off with New York's Alex Burkat (now relocated to Philadelphia) with an 8-minute depth-charge, "Culture Full Circle" that features a mutated sample form a legendary reggae track. One to get lost in.

The EP closes out with Modini (aka Neil Landstrumm and Alan Parley) with "Ghost Seducer": bass, dub and bleeps 21st century style.

4 different artists, 4 A-sides!

MISS KITTIN & THE HACKER are the Electro duo of CAROLINE HERVE and MICHEL AMATO from Grenoble, France. The pair met during the early '90s at a rave and soon after bought turntables and began DJing. In 1996, they began writing music heavily influenced by '80s synth and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album First Album was released in 2001. Lost Tracks Vol. 1 contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused '80s European New Wave/Italo Disco with '90s Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love with an alien, sexy nightlife in Berlin, and explicit S&M leather play, all in her cheekily derisive French accent All songs have been transferred from the original DAT tapes by the band and mastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, 'We were naive, innocent, adventurous and we didn't expect anything in return."

Munich's Zenker Brothers arrive on Index Marcel Fengler for the first time with Pollioni, a four-track EP that captures the unique style that has brought the duo acclaim over a string of releases for Tresor and their own Ilian Tape label since they combined their considerable production talents as a dual force in dextrous, charismatic techno.
Each of Pollioni's tracks eschew the standard four-four in favour of insistent beat patterns that service a maelstrom of rave era-indebted synths and tumescent basslines, working themselves into grooves with their own personality and once again showing the Zenker ability to forge techno that rises above the standard DJ tool style into something more characterful and lasting.'Night Hustler' opens the A-side with a swinging, low-end-heavy groove that opens up for a sinister melody in the its second half. It's followed by 'Bias', which builds rolling tribalistic drums around a slowly rising degraded synth line. B1 'Karma Lounge' mines similar territory in the duo's collaboration with Ilian Tape colleague Philipp Von Bergmann, before 'Neunkeu' closes the EP by establishing its place in the continuum with its hardcore stabs and a sci-fi acid backbone.

Following up his debut on the label, JC Laurent successfully returns with this memorbable four tracker, Southside' EP. Using his influences from deep within Berlin and detroit, he resumes where he left off, continually blurring the lines between techno and house with an uncanny ability to make it look easy.

similar to 2013's From Nice to Berlin', we have been fortunate to cast an extremely well respected, and in-demand producer to join forces on this release. last time it was Fred P, and now Uk's Tom Dicicco provides a heady, seductive remix of the title track. Tom has been busy releasing on labels such as Run Out Run, Stockholm LTD, Ear to Ground, Inner Surface and The Corner. additionally, his globetrotting dJ skills have found him inside Berghain and also a standout appearance at Boiler room in london. we love his work and glad he's a part of it.

Hidden Recordings again focuses on quality over quantity with another master- fully curated vinyl. southside' ep looks to be the next classic in the already well stocked and established history of the imprint.

Plenty Headroom' EP is a twisted techno release from Kahuun on Scandinavian label PLOINK with remixes from anonymous Norwegian act Vakum and label boss Thomas Urv.
PLOINK started life as a club in Bergen where it has hosted the biggest techno parties in the region. 2014 saw it expand into an imprint, supporting Norwegian artists with releases from the likes of Vakum, Nordenstam, Christian Tilt and label founder Thomas Urv. Bergen producer Kahuun has been DJing across Europe for well over two decades now and saw his first 12' on Paper Recordings in 1999 followed by a string of releases on the likes of Hi Fi Terapi, Bagpak Records and Sex Tags UFO.
'Plenty Headroom' incorporates stabbing, abrasive pads that tumble downwards over a muted, staccato bass and a 4/4 beat. 'Enlargement' then gets more frantic with a faster tempo and galloping bounce, overlayed with punchy warm synth sounds. Thomas Urv's remix of 'Plenty Headroom' delivers the darkness one would expect from the PLOINK founder, underpinned by a crunchy, compressed sub bass line. Tying everything up Vakum's rendition demonstrates a heady buzzing synth that builds a tension over a pounding four to the floor.

Leisure System presents rising talent Will Ward's Interval One EP, the second in our 2015 GRIDLOCK series of dance floor 12"s and the British producer and DJ's most exuberant record to date. In addition to two prior solo releases, Will Ward is a member of the esteemed electronic trio Circle Traps along with Jack Wyllie and Duncan Bellamy of Portico. He has previously collaborated with the likes of My Panda Shall Fly and gained support from tastemakers such as Rob Da Bank and Gilles Peterson for dazzling productions that blur the lines between pumping house and windswept techno. The Interval One EP is a strong representation of that sleek sound, with tracks that are bursting with emotion and memorable detail. "Digital Design" is an aural kaleidoscope, with a shimmering melody line refracted in squiggly arcs next to murmured female vocals and resonant chords. It's a fittingly varied introduction, drifting between hot and cold poles. "Portion" features Circle Traps member Jack Wyllie, and subtle additions accrue to create waves of unease, while the melody line bounces energetically through a maze of ossified handclaps and buoyant chord stabs. Closing things out, the EP's title track builds from a woozy introduction to an ebullient peak, as if rolling out of bed and stepping immediately onto a throbbing dance floor. It's a cleansing and exhilarating feeling, the type of rare emotional response that Will Ward has proven himself thoroughly capable of creating with Interval One.

Nologo is back with 2 essential, tried and tested underground club tracks. Orlando B serves up Side A with 'Dark World', an epic, slow burning, dark-house journey. 'Dark World' begins completely stripped back before the main hook, an eerie hypnotic vocal is introduced. Funky percussive elements creep in which drive the piece forward and a deep minor pad heightens the tension setting the tone for the rest of the track. The energy builds gradually with the addition of a 303 bass line peaking just before the end, taking the listener on a dark hypnotic trip.

On the flip, is none other than house & techno legend MR G who uses the Dark World vocal but takes it somewhere new providing his own unique and distinctive flavour. Mr G's Rum Remix is a dark and twisted peak-time banger, the high energy from the off set perfectly complementing the slower vibe of the original. Plenty of sub and twisted synth action keeps the momentum high and the dark stab he uses punctuates the vocal nicely giving it a raw edge. 'Dark World' is an essential addition to the record bag for darker dancefloors.
Dj Deep: I love this, your remix is super Funky and Dark at the same time!!! Dope! Tom (Panorama Bar): Ufff nice and dark.....another Mr G gem.To be served with the Rum Rush

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

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

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

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

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

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

Butane's Alphahouse imprint kicks off 2015 with Pablo Inzunza's 'Convenience' EP, featuring three original cuts from the Chilean artist and a remix from the label-founder himself.

Pablo Inzunza is a Chilean DJ and producer most notably known for his recent long player on Butane & Someone Else's Little Helpers imprint, but also acknowledged for material on Germany's Highgrade, and French imprint Monique Musique. Inzunza has explored an array of organic and abstract Techno styles across the early stages of his career and here we see him push on with more powerful dance floor focused cuts via the Alphahouse imprint.

The original mix of title cut 'Convenience' opens things up here and sees Inzunza employ a hypnotic 303 hook as the driving force, while ghostly synth textures flutter away in the depths of the composition and sparse rhythms further fuel its undulating groove. 'Hypnotica' follows and as the name would suggest lays its focus on an entrancing, percussion and pad-led groove, which subtly unfolds over its five and a half minute duration.

Opening up the flip side of the release label-head Butane offers up a tougher, heads down take on 'Convenience', treating us to his typically rough and ready production style with gritty drum lines laid over the original's squelchy 303 lick. Then finally to round things off we have the third and final original from Pablo entitled 'Intimate', which takes on a more house tinged aesthetic this time with organic percussion, sweeping synth stabs and stuttering bass tones.

Fantasma, the latest project of South African innovator and creatve pioneer Spoek Mathambo, is
a fve-man collectve which weaves together electronica, hip-hop, traditonal Zulu maskandi music,
shangaan electro, South African house, psych-rock and punk to form a unique, original and fresh
hybrid.
The godfather of 'Bacardi House', producer DJ Spoko joins with former Machineri guitarist André
Geld- enhuys, drummer Michael Buchanan and maskandi mult-instrumentst Bhekisenzo Cele to
complete the line up.
Fused by Spoek Mathambo's futurist vision, Fantasma pulls inspiraton from all corners of South Africa:
the sounds and spirits of townships and cites as well as the rural countryside. It is diverse not only in
its membership but also in its forward-looking music.

Hot off the back of the their successful inaugural release from Quenum & Cesare vs Disorder, the young Barcelona label continues to drive forward with their mission to move people by drawing from an expansive and expressive universe of melodic and rhythmic sounds. The result of this is a carefully curated, limited edition of vinyl and digital releases, and next in line is a brand new EP from Russian producer and DJ, Tripmastaz. Andrew Guyvoronsky (aka Tripmastaz) is the one of a few underground producers from Russia to make serious tidal waves in the dance community gaining world-wide recognition and respect from fans, media and DJs alike. On top of his tracks being featured in a variety of famous compilations such as Fabric and DJ-Kicks, Tripmastaz has been focused on a busy touring schedule and on making Russia decidedly more funky for the past 10 years. This new EP melds the stripped back with the downright, dirty bass bombs synonymous with Tripmastaz's style. Title track 'Ain't Made 4 U' is a swirling house-funk journey that is built to move bodies across floors. 'Live from the Basement' takes things back a little with a more minimal approach to percussive techno then Christian Burkhardt & Andre Buljat's remix of EP opener slams us back to the heady, peak-time dance floor, before HITCH closes out the EP with his rolling and hypnotic take on the A-side. Good taste will always prevail.



[C] B1 | Ain't Made 4 U (Christian Burkhardt & Andre Buljat remix)

Concept e25 is back! Wax Classic 15 sees Concept e25's third release on the label in the space of just a year! The demand has been overwhelming for more garage house hits with that added subtle, French flourish. We heard those cries, so here we have another slammin' four track record from the man himself! The opening track of the EP, 'Sing!', is destined for greatness this summer on dance floors everywhere. For me, this will be the go-to track of the record for most DJs out there. On this track, Concept e25 combines a pumping Kerri style bassline with beautiful sustained chords, feel good vox cuts and the occasional sax line. Proper hands-in-the-air vibes here! 'Giving It' takes the EP into a deeper realm, one that evokes images of late evening summer sunsets. However, the garage swing and signature Concept e25 bass sound is still present. 'Lies' leads with moody chords before introducing a vocal that will be stuck in your head for a long time! Again, we have a smooth sax line to accompany the vocal up to the track's climax. Rounding out this solid release is 'Feel This Way'. Here, the punchy bass hits are united with an acid line that bubbles underneath, before being unleashed halfway through the track in a warehouse-reminiscent burst of resonance.

BERLIN, BRISTOL, CAIRO, JOHANNESBURG, KYIV, LAGOS, LISBON, LUANDA, NAIROBI, NAPLES
50 electronic music producers and instrumentalists from these ten cites were invited to collaborate
in studios over the course of more than six months. As a result hip-hop from the squats of Naples,
dubstep and bass from Bristol and Lisbon, experimental techno from Berlin and jazz-tnged deep-house
from Kiev are thrust upon the pumping kuduro of Luanda, the free-thinking crackled electronica of
Cairo, the afro-jazz of Lagos & Johnannesburg, and the Sheng street slang of Kenyan hip-hop and rap.
A selecton of the results of these cross-contnental experiments can be heard on this record.


















Ten Cites Masala

Adonis' comically named "Endless Pokers" project is no joke, in fact, this is some serious Chicago ACID House!

Originally released in 1987 and featuring Adonis' trademark staccato drum machine rhythms, creeping acid lines and cowbells "The Poke" is a classic (Watch out for those vocal stabs too!).

All 3 mixes featured on this 12" bring something new to the table, twisting and turning that acid line into a frenzied buzz. This is pure old school business, Chicago style! Raw, simple box jams of the highest order! A definite essential, a record like this in the right hands can produce some devastating effects and still sounds incredibly fresh today.

Re-mastered, re-pressed and brought to you in conjunction with DJ International Records.

LTD. FULL COLOUR SLEEVE 12' (500 COPIES ONLY) INCLUDING FULL RE- LEASE DOWNLOAD
Fantasma, the latest project of South African innovator and creatve pioneer Spoek Mathambo, is a fve-man collectve which weaves together electronica, hip-hop, traditonal Zulu maskandi music, shangaan electro, South African house, psych-rock and punk to form a unique, original and fresh hybrid.The godfather of 'Bacardi House', producer DJ Spoko joins with former Machineri guitarist André Geld- enhuys, drummer Michael Buchanan and maskandi mult-instrumentst Bhekisenzo Cele to complete
the line up. Fused by Spoek Mathambo's futurist vision, Fantasma pulls inspiraton from all corners of South Africa:
the sounds and spirits of townships and cites as well as the rural countryside. It is diverse not only in its membership but also in its forward-looking music. The band will be in the studio this summer recording their debut LP set for release early 2015. Watch
this space.

Saxophonist Sean Khan is a multi-instrumentalist distinguished for his ability to fuse traditional jazz with contemporary styles. His involvement in the West London broken beat scene as band leader of the cult soul/ jazz outfit SK Radicals and as a collaborator with the likes of the Bugz in the Attic collective, have seen his unique breed of jazz put to full effect in London's clubs, at nights like the legendary bruk orientated 'CoOp'.

In anticipation of Sean Khan's second album on Far Out Recordings: 'Muriel', this four track 12' release features remixes from 4hero and Nicola Conte with father of British Neo-Soul, Omar on vocal duties. 'Don't Let The Sun Go Down' is uplifting and sophisticated dance-floor jazz. Dego and Marc Mac (4hero), two pioneers of broken beat, jungle and UK dance music as a whole, re-work the single from 'Muriel' into a delicately crafted downtempo number, which tames the original somewhat with club focused intentions, yet retains all of its fluidity and groove. Along with the eminence of rhythmic elements, Omar's instantly recognizable, thick and soulful vocals are sparsely and subtly layered to create beguiling, unconventional harmonies. Elevating the track to its peak, Sean Khan's exquisite alto sax solo demonstrates both his technical prowess and keen understanding of jazz's history, whilst working to carve out its future. The B side hosts Nicola Conte's remix of 'Things to Say'. Renowned for his input and influence in the lineage of acid jazz and fusion, as a producer, Dj and musician, Nicola Conte provides a deeper, darker take on Sean Khan's unique blend of jazz. A bouncy 4/4 house beat skips along beneath contemplative, whirring Rhodes, while the ghostly soulful vocals of Diana Martinez and samples of Sean Khan's expressive sax playing see the track taken to more introspective yet still clearly club focused territory. The final track is the intro to 'Sister Soul', previewing more material from Muriel, Sean Khan's forthcoming studio album on Far Out Recordings.

Audiojack's Gruuv label returns this October with a four-track package from French producer Okain, featuring a remix from Tuccillo. Parisian artist Samuel Thalman aka Okain has quite the standing in contemporary electronic music having been a prominent name as a DJ and producer for the past fifteen years. Playing at some of the leading nightclubs across the globe such as Fabric, Watergate, Space Ibiza, Rex Club and Electric Pickle to name but a few. Thalman's also built quite the respectable back-catalogue in his time, releasing material via the likes of Tsuba, BPitch, Memento and Cadenza, and here we see him add Gruuv to his affiliations.

Kicking off the release is 'Down the Block', seeing Okain offer up a rugged percussion and bass led house cut, fuelled by swinging rhythms, rumbling sub tones, sporadic sax licks and processed vocal lines, opening up the EP on an energetic tip.

'RZ One' follows this, retaining a similar aesthetic with an insistent drive and penetrative low-end, though Okain opts for a grittier production feel here, distorting the drum sounds, instilling expansive, atmospheric reverb tails and drawn out delays alongside hip-hop imbued vocal lines.

On the latter half of the release we have two versions of 'By Your Side', the first of which is the original mix from Okain, which takes on a more stripped-back approach in comparison to the preceding composition's, laying its focus on fluttering synth sounds, a stab-led bass hook and warm motown style vocal chops. 2020Vision artist Tuccillo then rounds off the package with his mix of 'By Your Side', turning in his signature percussive-led style on the mix with intricately programmed drums and a subtle underlying tension that softly bubbles away in the depths over the cuts seven minute duration.

Took a bit of a break from demos and releases after extending the family with a cute little boy, but now we're back with some of the best deep techno and house lined up for you! But first, something completely different.
Michele Mininni hails from the south of Italy and counts everything from post- and krautrock over new wave, house and disco amongst his influences. He's been a DJ for years, but only recently released his debut EP on Optimo Trax in Glasgow. He immediately found himself on the playlists of Beats In Space and Rinse FM. We were literally blown away when he sent us his music and didn't hesitate to release it although it's not what you're used to hear from us. It's hard to describe 'Endless Ceremony'. Epic, but not as you know it. Cosmic, definitely.
For the remix we thought of Rocketnumbernine. Two brothers with releases on Soul Jazz, Four Tet's Text label and more recently an album on Smalltown Supersound. Currently touring with James Holden and Neneh Cherry. Their remix could be described as almost dreamy electronica/idm.
We think this is a really special release. The following people already agree: Gavin Russom, Âme, Ripperton, A Made Up Sound, James Holden, Optimo, Deadbeat... First pressing on coloured vinyl!

'You become responsible, forever, for what you've tamed", Antoine de Saint-Exupéry writes in his modern fairy tale 'The Little Prince', in which his protagonist travels through various worlds in search of friendship and benevolence. The quote is, no doubt, fitting for Niko Schwind, since the Berlin-based DJ and producer consistently demonstrates a deeply anchored love for and close bond to house music, the art form he himself has tamed. As a DJ, he travels the globe, having played in Europe, Australia, Thailand, Brazil, the US and Mexico, and in his sets he creates a feeling of connectedness between himself and others, as well as within the crowd. On Stil vor Talent, Niko Schwind now presents the fruit of his labour in the from of his third album: 'Grippin' World' captivates the listeners with its versatility and coherence, and kidnaps them to a world of sound, made up of elegantly reduced grooves, organic arrangements and accessible vocal-melodies. With 'Perfect Fit', the first single of the album, we are handed an absolute highlight, as Heartbeat's warm voice and a simple guitar-loop form a flawless musical symbiosis, accentuated by a synthetically creaking bass-line. Niko thus proofs he's more than capable of practicing restrained Minimalism with a pop-impact. 'Perfect Fit' then gets the floor treatment: while Niko turns in a reduced, tool-oriented club cut, the hitherto unknown Proud bursts onto the scene with a dreamy arrangement centred around atmospheric synths on his remix. Grippin'!

Alexander Kowalski is someone you should know. Not only is he a resident artist at our club, but with uncountable EPs and several albums on Heiko Laux' label Kanzleramt and others, he has contributed more to electronic music than many others. To have a separate platform for the darker and harder productions of his, he created the alias D_FUNC. a while ago. When he approached us with the tracks that are now on the record in hand, we immediately fell in love with the Mills-like energy of them. Perfect drum programming, driving synth lines two perfect tools for any proper techno set. The Dirt Mix of Revalism which is included in the digital release package puts the original in a more modern jacket with its stompy beat - another proof of how well Alexander knows what the djs need to please their crowd.
Let the dancefloors burn!

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

Max Herre hat ein MTV Unplugged aufgenommen. Das rückt ihn in eine Tradition mit Udo Lindenberg, Eric Clapton, Lauryn Hill, Jay Z. Mehr noch als ein konsequenter Karriereschritt und popkultureller Ritterschlag aber ist das Konzert eine Rückkehr zu seinen Wurzeln. Denn lange bevor er als Texter und MC einer ganzen Generation eine neue Stimme geben sollte, war er vor allem der Junge mit der Gitarre, der einfach nur spielen wollte. Das Gefühl, das er als 15-Jähriger im Proberaum suchte, hat er nun im 'Großen Saal'des altehrwürdigen Funkhaus Berlin Nalepastraße wiedergefunden.

Die Geschichte dieses besonderen Abends beginnt vor knapp 25 Jahren in einem Keller in Stuttgart-West. Dort jammte er mit Freunden zu dem Funk, Soul und Reggae, den er liebte - und legte, ohne es zu wissen, den Grundstein für das, was da kommen sollte. Zwei klassische Alben mit Don Philippe und DJ Friction als Freundeskreis zum Beispiel, die sich nicht nur weit über 500.000 mal verkauften, sondern eine ungehörte Musikalität in die deutsche Rap-Landschaft einführten. Drei Soloplatten, die den Bogen spannten von der '1sten Liebe' HipHop zu fragilem Folk im Stile eines Singer-Songwriters (und zurück). Eine Zweitkarriere als Labelbetreiber und Produzent. Und dazwischen immer wieder Auftritte, bei denen all diese Erfahrungen und Einflüsse auf fast magische Weise zusammenliefen.

Max Herre hat Rap immer in einem Bandkontext gedacht, HipHop stets in einem Kollektivgedanken gelebt. Das war Anfang der Neunziger so, als er als Kind der Kolchose seine ersten Live-Auftritte in süddeutschen Jazzclubs hatte. Das war später so, als er aus Freundeskreis die FK Allstars erwachsen ließ und mit ihnen über die größten Festivalbühnen des Landes tourte. Und das ist heute nicht anders, wenn er wie 2012 auf seinem fulminanten Gold-Album Hallo Welt! alte wie neue Inspirationen zu seelenvoller Rapmusik mit Ewigkeitsanspruch bündelt.

So ist es nur konsequent, dass für MTV Unplugged / KAHEDI Radio Show zahlreiche Featuregäste und Freunde nach Berlin gekommen sind: wichtige Weggefährten wie Joy Denalane, Afrob, Sékou, Gentleman, Samy Deluxe, Patrice, Sophie Hunger, Philipp Poisel oder US-Ausnahmesänger Gregory Porter, aber auch das 26-köpfige, eigens für den Abend zusammengestellte KAHEDI RADIO ORCHESTRA. Unter der Führung des musikalischen Leiters Lillo Scrimali kommen so mehr als 40 Musiker aus drei Generationen zusammen. Produzent Samon Kawamura und Host Fab 5 Freddy, einst erster Moderator der wegweisenden HipHop-Sendung Yo! MTV Raps, ziehen im Regieraum zusätzlich dramaturgische Fäden.

'Ich bin sehr dankbar und glücklich, dass ich für dieses Projekt mit einigen der besten arbeiten durfte: viele davon langjährige Freunde und Wegbegleiter', so Max über das mehr als zweistündige, komplett akustische Konzert. 'Sie alle haben nicht nur ihr Spiel und ihre Fähigkeiten eingebracht, sondern ihr Herz und ihre musikalische Vision.'

Den passenden Rahmen bietet das Funkhaus Berlin Nalepastraße am Köpenicker Spreeufer. In dem ehemaligen Hauptsitz des DDR-Hörfunks, in dem schon Barenboim und die Bartoli, aber auch Portishead und Sting gearbeitet haben, vereinen sich Feierlichkeit und funktionelle Strenge auf ganz erstaunliche Weise. Max Herre hat diesen geschichtsträchtigen Ort für MTV Unplugged / KAHEDI Radio Show neu erdacht, indem er seine ursprüngliche Funktion als Aufnahmeraum unterstrichen hat. Vom Publikum umgeben spielen die Musiker in einer 360°-Konstellation zueinander und empfinden gemeinsam nach, wie in den siebziger Jahren Soulmusik gemacht wurde.

MTV Unplugged / KAHEDI Radio Show ist ein erlebtes Experiment mit offenem Ausgang und maximaler künstlerischer Freiheit. Eine kollektive Verneigung vor Soul, Jazz, Funk, Reggae und Rap. Und die in Musik gefasste Botschaft, dass Zukunft stets auch ein Stück Vergangenheit in sich trägt.

Zumindest, wenn sie so klingt wie die Musik von Max Herre.

With France's long-fallow club scene back in international resurgence as Paris storms back into fighting form, Europe now has found a new source for yet-unheard music. It was a long time brewing, but names like Concrete, Katapult, Zadig, and Society of Silence, have begun to appear in the international clubbing circuit, and the growth is not limited to the capital. Further south in Lyon, a city quickly gaining its own renown for busy club parties booking bigger names, there exists a smaller circle of energetic operators whose name is also spreading rapidly and whose recent accomplishments include Nuites Sonores, Boilerroom and more. Spearheaded by Kosme, a DJ and producer of quickly increasing notice, the provincial powerhouse has already turned heads throughout France as Kosmo's Caramelo Records was snapped up by legendary Parisian distributor Syncrophone; he has a new label set to launch in 2014. It is with this background in mind that THEMA proudly offers Kosme's international debut, the 'April Moon' EP.

Kosme comes to the table with six tracks of low-slung Detroit-referencing house music laced with extra grit. 'Fondamental' rides shuffling hats and a building acid line to dramatic heights. 'Ever Shake My Mind' is slower and dirtier yet, with crushed hats and a bottom-lurking bass between Theo Parrish-esque drum-machine-down-the-stairs breakdowns. After an interlude, 'Mothafunka' resumes the beatdown with a talkover house track that escalates uncontrollably in intensity as drums shuffle before breaking down in congos & pads. 'Deep Function' dials down to sexier sounds with sultry vocal samples and sampled hiss, but it doesn't lose the drum kink. Finally the digital bonus 'A Thought for Yvonne' is the most subdued and skeletal of all with echoed drums and a lonely bassline tumbling over each other in slow motion.

Following the explosion of new sounds from the capital, it is no surprise to find the movement spreading, and THEMA arrives first with the freshest France has to offer.

After a superlative EP from Chicago's DJ Rahaan, Dublin's Fatty Fatty Phonographics is back with another installment of Pablo and Shoey's 'Rejigs', which have had support from the likes of Hot Toddy, Bicep, Get Down Edits, Leftside Wobble, House of Disco and Rub'N'Tug.

'No Good (Start The Jack) sees them take on Kelly Charles' 'You're No Good', a late 80's New Jersey house bomb and source of the infamous vocal hook from The Prodigy's 'No Good (Start The Dance). After one of the great 80's dance music clichés - an intro where some sassy mama gives her boyfriend shit down an old school telephone line - they go straight for the jugular with that big big hook, spinning the whole thing out for 10 minutes with lots of hypnotic piano loops and large chunks of the great song at the heart of it all. This is one that the crowd will be immediately singing right back at ya at 2am!

'Gonna Get Ya', meanwhile, goes for some Greg Wilson 'Edit The Edit' style shenanigans, taking on Barna Soundmachine's sly, slinky funk loops. The Barna man's original had a whole heap of Diana Ross' vocals from 'I'm Gonna Make You Love Me' at the centre but never let rip with the big hands in the air chorus. The lads have rearranged it here so it's alot less teasin' and alot more ease-in!

The 3rd track is as important to Pablo and Shoey as it is to Moodymann, so 'Funky Rump (Tribute To MCA)' pays tribute to the sadly deceased Beastie Boy by looping up some busy jazz drums from 'Paul's Boutique' and splicing it with a very fitting in concert tribute from the one and only Flava Flav of Public Enemy. The full track, when it eventually arrives, is a relentless clav funk monster that just keeps going and going....

If you are into techno, Svreca needs no introduction. This Spanish DJ and producer has been travelling around the world for a while and his label Semantica has earned its place amongst the best cult labels thanks to their support of the vinyl format and investment on incredible artworks. They also have one of the best artists rosters.

Oscar Mulero has released some tracks on Semantica and now it's time for Semantica's boss to release in Warm up... So we are really excited about this!

This release comes in two versions: a four-track EP and a six-track digital release with two
bonus edits by Oscar Mulero.

'Disorder' opens side A. A bleepy, repetitive exercise, with a solid kick and extra high-
frequency analogue percussions and sweeps.
Oscar Mulero's version follows as track A2, adding more pressure to the rhythm, more
atmospheres and some FM synth details, while preserving the original bleep.

The B side starts with 'Overgang'. Once again, an obsessing high-pitched sequence as the
absolute star, plus Svreca's traditionally insane high frequency noises, a concrete kick and
repetition as a formula.

OM's version of 'Overgang': more complex than the original, with 909 hats, more synth lines,
extra bleeps and a dynamic and constantly changing arrangement.

Closing the vinyl release is OM's version of 'Overgang': more complex than the original, with 909 hats, more synth lines, extra bleeps and a dynamic and constantly changing arrangement.

The digital version is completed with two extra versions of 'Overgang': by Oscar Mulero. The
first one, on a more straight techno vibe and trademark sound. The second one has a more
mental approach.