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In 2017, Benedikt Frey released his breathtaking debut album with the ESP Institute, Artificial, and now as we finally come up for air, we're more than proud to offer an eclectic collection of remixes that's nothing short of essential. Side A leads with H For Hysteria remixed by a beloved hero, Nicolas Chaix a.k.a. I:Cube, one of the most prolific and respected electronic artists Paris has to offer. His touch is considered and elegant, imbuing the track with a tasteful 303+808 backbone to support an array of patiently floating melodies and angelic vocal samples. Following this, Tolouse Low Trax of Du¨sseldorf's infamous Salon Des Amateurs remixes the same track, stripping instrumentation down to a skeletal palette of bass guitar and stabbing percussive punctuations, chopped up inna minimalist stylee that has become his beat-making signature. Side B leads with a remix by another Du¨sseldorfer, DJ Normal 4, whose re-imagination of Private Crimes takes us for an even more menacing ride, half-timing the tempo and skillfully rolling out a barrage of jungle snares from rave days of yore. Closing the release is the most aggressive remix of them all, a bonafide techno beatdown of the same track by DALO, the co-producing artist to whose haunting vocals lace the original version. Her dark vision opens with sparse industrial drums that blossom into a driving assault of raw machinery, definitely not for the faint-of-heart. An all-around solid release here, fun for all the family... more than just the tip!

While notorious in the Chicago streets, RP Boo's music had been unfairly confined to a few white labels and self-released mixtapes until his two archival Planet Mu LPs Legacy and Fingers, Bank Pads & Shoe Prints introduced broader audiences to his sonic history, some of it fifteen years after it was first recorded. I'll Tell You What! is the next step in his mission, and the first time he's released an album of contemporary material. The title, a favorite maxim of his, welcomes listeners to sit down and let him narrate in the unforgettable abstract fashion he's known for. He explores familiar motifs such as the cosmos, movement, and opposition, using densely interwoven vocals, unpredictable percussion, and evil humming bass as his tools of choice. RP Boo's music doesn't follow the traditional rules that most compositions do. Layering decades of samples from yesteryear to the present over his commanding vocal cut-ups, he transports the listener to their own realm of the space-time continuum. The main difference between this record and his prior work is now we hear Boo tell new stories about preaching his gospel outside of Chicago, from his experiences frantically touring the globe over the last five years. The words 'things ain't been the same / since I hopped the plane' are repeated on top of engine sounds and rumbling bass on Flight 1235, a glorious paean to his new jet-setting adventures. The spirit of competition runs through RP's veins as much as blood does, something you can't unlearn when you've been making music for Chicago's footwork circuit as long as he has. The local culture has served as a shelter from the violence that has plagued the city, pitting kids against each other with their feet rather than weapons. On At War Boo reminds us 'we are at war in the streets', a double meaning to both the mayhem in this world and the sweetness of rivalry on the dance floor. Another battle-themed track Cloudy Back Yard, one of the spacier moments on this album, is an abstract on the state of footwork's home. Chicago remains the backyard of this artform even though it's left the porch and traveled to new neighborhoods worldwide. Back at home though, competition among the DJs and dancers continues, and as the man himself says, 'with all this hate, there's smoke, and it's cloudy'. I'll Tell You What! throws more than a few curveballs into the mix. Footwork has always borrowed from hip-hop, and many vocal tracks are almost condensed raps, dating back to the street chants pioneered on Dance Mania Records in the ghetto house days. On Bounty, Boo grabs the mic and brazenly lays down a full-on verse of terror over a thick atmosphere of his signature sweltering low-end and erratic Roland R-70 patterns. While he's most famous for his confrontational battle anthems, his melancholy moments are just as powerful. You get the best of both of those worlds on U-Don't No, with soulful samples finishing his own cocky sentences, one of the most elegant tracks RP has made to date. Deep Sole closes the record out, with the words 'It's always beautiful at the end' looping over waves of hypnotic synthesis, confidently looking death straight in the eyes.

You know when the dj drops something so special you're mentally forced to ask for the track and the reply you get is 'its my own unreleased track'. That's how I (Art Alfie) stumbled upon all three of these. About ten years ago I witnessed Van Rivers & The Subliminal Kid (Peder Mannerfelt) turn Berghain upside-down with the dark techno epos 'Mars Attacks'. Around the same time I had the luck to see Nils Westerlund boogle minds with the broken beat psychedelics of 'Suspiria' at a Stockholm Open Air. Last but not least, a couple of years ago I heard 'Thicker Than Blood' for the first time, like the Sirens in greek mythology, it lured people on to the dance floor at Stockholms classic summer hot spot F12. I've been playing these tracks ever since and Im beyond happy I get to share them with the world at this point. //Art Alfie

"phantom Dancehall" Is The Exploration Of The Greensleeves / Vp Records Catalogue By Dj Spooky Aka Paul Miller. The Musical Tapestry Is Built On Samples From Familiar (and Not So Familiar) Reggae Tracks Over Electronic Beats And Melodies Produced By Miller And Protégé Stephen Levitin (stage Name Apple Juice Kid). Selected Tracks Include The Keyboard Work Of Alex Thompson Aka Fourth Shift. Guest Vocals From Walshy Fire (major Lazer) And Dancehall Newcomer Sanjay Added To Vocal Samples Of Busy Signal, Lady Saw And Garnett Silk Give The Project An Eclectic, Modern Dancehall Flavor!

Paul Miller, Better Known By His Stage Name Dj Spooky Is A Music Producer, Arranger, Dj, Author And Performance Artist. His Unique Brand Of Experimental Hip-hop, Dubbed 'illbient' Has Resulted In Collaborations With A Diverse Range Of Artists Including Ryuichi Sakamoto, Kronos Quartet, Lee "scratch" Perry And Killa Priest. With Remix Projects For Trojan Records, Manifold Records And Six Degrees Among Others To His Credit, Miller Created "phantom Dancehall" For His Exploration Of The Greensleeves/ Vp Records Reggae Catalogue.

For Fans Of: Major Lazer, Dj Shadow, Kevin Yost

Newly signed to Rhythm Rollers, Mr. Wonderful & Technical J introduce The Boss, a 7' vinyl scratched masterpiece with outstanding production and a compilation of diverse and unique scratch samples to DJ/Producer to utilize.
This unique piece of vinyl has a 'Skip Proof' scratch side dedicated for the DJ/Producer with over 4.30min of vocals, drums, synths, bleeps and basses that can make any DJ/Producer standout from the rest.
The Boss is a live Studio scratch track that will have any crowd rocking.  Super low sub frequencies, punchy drums and ear pricking scratches that only Wonderful and J could produce.
Samples
Choosing the right samples for our record was the major focus for this release. We wanted DJ's to standout from the crowd, so spent considerable time getting vocalists and secessionist in the studio to record some very individual samples for DJ's to use.
Skip Proof Technology
'Skip proof' technology - is a way of recording scratch records so that they do not skip from one sample to another. This is achieved by first calculating the time it takes for one revolution of the record (1.8sec). Once you have this information you can then customise your DAW to that specific measure (133.3333bpm). Then layout your samples so they repeat at the start of each bar.
Extra Deep Grooves
The record plant cut extra deep grooves perfect for the more aggressive style of scratching we all love (these will not jump). Making sure the weight of the vinyl was correct giving that nice feel and long lasting audio sound.

The Four Tracks Composing All My Time Reveal A Unique Bird's-eye Perspective Over The Contemporary Pop Landscape, With Its Ambiguities And Fictional Public. By Developing A Personal Approach In The Bosom Of A Universal Notation, Mechatok Informs Naturally His Compositions With A Deep, Emotional Insight. Ornate But Undisposable, All My Time Glides Through The Skies Of Today's Music With A Rejuvenating Melody. Limited Edition Vinyl. Includes Dl Card.Timur Tokdemir Aka Mechatok Hails From Munich But Now Calls Berlin His Home. With His 2016 Debut 'see Thru' Ep On Staycore The Young Producer Exhibited A Rare Gift Of Honing A Distinct And Unique Style At Quite A Young Age. The Title Song Was Accompanied By A Captivating Videoclip Shot By Benjy Keating On The Stairs Of Athens' Panathenaic Stadium, Able To Reflect Both The Wide Scope And The Intimacy That Defined The Compositions. Mechatok Also Attracted Attention Thanks To The Single 'still Life' (co-produced By Toxe) Which Scored The Kenzo Fw 2016 Prints Presentation. The Allure Of Mechatok's Compositions Can Be Partly Traced Back To The Fact That He's A Classically Trained Guitarist, But A Distinct Expertise Can Also Be Recognized In His Dj Sets, Where He Instinctively Juggles Melodic Pieces With Club And Pop Music, Conveying Feels From Vulnerability To Bliss. In His Mixes For Dazed And Mixmag, Mechatok Tells Stories Of Melancholy, Always Radiating With A Moving Energy. Mechatok Has Also Shown His Face As A Top-notch Pop Producer, By Providing The Instrumental For Uli K And Yung Lean's "schemin" Or By Remixing Sinead Harnett's "rather Be With You" Or Mr Mitch And Palmistry's "vpn", Which Got Recently Published On Planet Mu.

Marquis Hawkes is an alter ego adopted by long time electronic music producer Mark Hawkins, founded for his house music focussed activities. Hawkins decided it was time for a reboot after being head-hunted by old friends Dan Monox and Kenny Wasp, who had just founded Dixon Avenue Basement Jams in 2012, particularly as the material differed from what he'd previously released.

Hawkins solidified his sound during this period, taking influence from house music's Chicago, Detroit and New York home bases alongside the UK's deep house sound. Fusing these styles with contemporary production values, he developed a style synonymous with his Marquis Hawkes alias.

Whilst branching out to release on other labels like Clone and Cremé Organisation, he caught the attention of London club fabric's artist-led label, Houndstooth. They signed him on a long term deal, giving visibility to his DJ profile that meant he could play music full-time.

In 2016 his debut album 'Social Housing' was released to critical acclaim, and the following year, a stellar string of releases on Will Saul's AUS Music label culminated in the ubiquitous club and festival hit, 'The Basement Is Burning'. A track inspired by Hawkins' own shocking experience of a fire in his apartment block, it was played heavily on radio across the summer of 2018.
Looking forward, this new 12' EP for Houndstooth under the Hawkes alias is scheduled for release on June 29th, and features a vocal collaboration withUrsula Rucker, Hawkins is also pursuing other music projects and identities, some known, like his Juxta Position project, which he uses for more industrial but groove based techno material, but others which are more incognito, and may well remain as such.

From the church to the library, it's now time for 'A Sweet Excursion', courtesy of our favourite French funkateers, DJ Soulist & Fulgeance aka Souleance, offering up three tasty edits to feed the dancefloor.

'Fantasie' opens the set with an idyllically relentless rhodes-riff riding a slice of sugary boogie, with a super squelchy bassline and a healthy layer of disco percussion spread on top, for those with a sweet tooth.

The righteous horns of 'Lord' blaze into play next accompanied by a 4/4 disco kick, before the sugar rush kicks in and the band let loose an almighty groove. Even a soulful set of angels begin to sing, guaranteeing this one will bring out a lil' bit of that holy ghost within.

We end out with 'Funkin' which does exactly what it says on the tin. A solid five minutes-plus of delectable heads-down funk containing all the right ingredients, and the French duo's own special sauce mixed into the pot for good measure.

With a decades worth of collaboration behind them, and persistent party rocking at festivals and clubs, Souleance continue to create tried & tested moments of sweetness on dancefloors across the globe. This three-tracker is no exception, and makes this another essential one for the record bags.

'A Sweet Excursion' is released on Excursions on Friday 29th June 2018 on limited three-track vinyl 12" only.

LOYOTO are the East-Berlin born Eva Be and Cle from the western part of the formerly dived city. Both started their DJ and producer career almost at the same time in the heart of the then developing scene, the very center of Berlin, just after the wall came down. Originally rooted in very different styles of music, they encountered for the first time DJing together in 2011, finding common ground in more than just music - a gig, that should lead to more: They decided to combine their talents and knowledge and build a studio together. Here, and during legendary back2back DJ sets, they finally united their different musical backgrounds - dub/reggae and underground house music - and defined their very own sound.

We present you the third release in our very successful collaboration series with "Roar Groove" and "The Revenge'.
Straight after his new brilliant album "When the Thrill Comes" that was release in May this year Graeme Clark is back
on Dirt Crew with four new gems.

The opening, funky and twisting, "Times Get Tough" is a deep rolling down tempo Disco/ House stomper that builds into this
ecstatic groove we got to love so much from his previous outings. Pure good times and hands in the air action promised on this one!
"Subconcious" is that darker and meaner side of House track with a slammin' Chicago beat he delivers this old school jackin' feel.
Big bass lines and soulful vocal samples tied together by "on the fly" drum patterns.

The B-side of this new EP opens with an hypnotic jam that builds and builds till those sweet synths start soaring in.
All carried by this ultra phat bass line, we can only imagine how this one will sound on a massive sound system!
"Searchlight" is def a highlight of this release. Can we go even deeper and darker oh yes! With "Come Down" we get
a proper come down to close this EP. Deep sub basses with floating tops and again that classic Jack House beat.
Certainly a late night track made for those sweaty and long dj sets.

Summer is here and "The Revenge" has the perfect soundtrack for hot and steamy nights, inside or on the open field!

2025 Repress

After a wildly successful collaboration on Thatmanmonkz's 'Turn It Out' from the LP, Columbus-ing, Dave Aju suggested they should continue their production streak for a new percussive tracks project. At the same time, Aju had finally kept his word to legendary Bay Area club/underground MC and personality, Foxxee aka Foxxee Brown aka Lawrence Petty, to work on a track together as well. Petty being a core part of the infamous Ya Mama's House radio show on 106 KMEL alongside Pete Avila and David Harness that introduced legions of young Bay Area DJs to real House Music, includ-ing Aju, in the early 90s. While Aju & Monkz had originally been working on more of a slick club romance narrative angle over some robust tumbling drums, some very tragic news had struck their hometown - at an under-ground event in Oakland California, more than 30 people including many dear friends and stalwarts of the local dance music community had been trapped inside a building and killed in a fire that broke out while doing what they love, in the now-infamous Ghost Ship. Lawrence and Aju immediately acknowledged and agreed that the track should serve as a tribute to the event and the loved ones affected by it. But decidedly, rather than it being a solemn requiem of sorts, it should reflect the communal power, strength and uplifting spirit of the underground scene they all helped build and knew so well. At first entitled They Sleep We Live, a representative reference to the iconic arm tattoo of the late Jonny Igaz aka Nacht, one of the more well-known and active DJs whose life was lost that tragic evening, and a lyrical direction idea for Lawrence for a direct tribute to the SF Bay Area scene,

Very little is know about the apparent duo Stevens & Foster who had this self produced release in 1977 on the Jerri Records label from Atlanta, Georgia that had national distribution though T.K. Productions Inc. Nevertheless original copies are now very scarce and crazy expensive. For decades, the B-side's piano intro has rescued a DJ's dancefloor all over Europe, with it's seductive qualities of lush strings, muted Wah-Wah, simplistic but addictive piano fuse into a must gulp down cocktail of soul delights. In more recent times it is the A-side, that formerly lived in the shadows of that essential DJ tool, is also gathering a strong following, using the same instrumental approach but taking the pace right down. Ballad fans will immerse themselves in the real feelings the girl lead projects as she gets more poignant the deeper she gets into the lyrics. Fully restored and officially licensed, this is your chance to obtain this great soul and funk record as a top quality European re-press at a regular price.

One of the world's most iconic drum & bass acts, Pendulum have announced their return for 2018 with a brand new album and brand new live shows. 'The Reworks' is a project unlike any
other released by the band before, and marks the end of their seven year hiatus, officially launching on 16th March.

To mark their return, the band have announced their first headline show since 2011 at London's unique new space, Printworks . The show sold out in under an hour and will be both an auditory and visual spectacle for fans.

Also announced is Pendulum's return to one of the UK's biggest events - Reading and Leeds Festival . Headlining the BBC Radio 1 stage - the same slot they graced the last time they played in 2010, the shows mark a welcome return for the band in the UK.

The news will undoubtedly be well received by Pendulum 's legions of fans, with the band having hinted at a comeback by returning to the live stage last year, headlining the UK's South
West Four and Nass Festival , and confirming for this years Snowbombing festival in Austria.
For 'The Reworks' , the internationally-renowned band have tapped some of the most innovative talents from over the past few years to deliver dynamic and refreshing interpretations of their
biggest hits and some of their personal favourites. Friends and collaborators Skrillex , Icarus ,Knife Party and Matrix & Futurebound take their turn on this who's who of electronic music
royalty, whilst Noisia 's explosive cut of the now-iconic track 'Hold Your Colour' will be available with the album preorder from the 16th March.

'The Reworks' album will be available in both CD and vinyl formats from the 29th June.

This exciting announcement marks the beginning of a new era for Pendulum , who have long been considered one of electronic music's most important and pioneering acts, famed for their
no-holds-barred live shows. With more huge festival dates TBA across the summer and new originals on the horizon, 2018 marks the an exciting chapter in Pendulum's already lengthy career.

Noisia' s remix of ' Hold your Colour' , the first single to be taken from Pendulum 's 'The Reworks' album, is set for release on 16th March alongside the preorder, with the full album set to drop on 29th June.

Swinging Flavors is BACK! After releasing material from names such as Simon Off aka Sun People, Moresounds, DJ Madd, Ticklish, Sully, Addison Groove, Itoa and Lynch Kingsley our 7' vinyl series devoted to Bass Culture and dancefloor vibes is back again with the the Sixth One aka BMRSF006. After having a Japan vs USA Chicago Footwork sound clash with DJ Fulltono and DJ Earl's 'Tribal Dancer', now it's time for an atlantic connection - in the name of Bass Music obviously.
On the A Side you'll find Sinistarr's '55555': the Detroit bass producer - with a 10yrs experience in sound design and recently appeared with an astonishing work on legendary dBridge label Exit Records - gives us a pure example of his sonic craziness with a minimal-but-high-impact work, with chopped vocal samples, magic flutes and heavy basses.On the B Side '55555' gets a full treatment by Philip D. Kick: Cosmic Bridge honcho Jim Coles - well known in the worldwide bass scene as Om Unit - surprisingly comes back with his iconic footwork moniker giving to the original vibes a more accentuate rave touch, with hyper speed drum patterns, amen breaks and piano notes.

Continuing Ostinato's Series Of Cape Verde 45s Showcasing Diasporan Bands That Are Staples In Europe's Cape Verdean Communities, Ostinato Records Presents Timeless Dance Music For The Summer By Conjunto Jovens Africanos, Founded By Ze Orlando, A Respected Producer Originally From São Tomé. Formed And Originally Based In Lisbon, The Band Fused Raw Funaná Rhythms From The Cape Verdean Island Of Santiago With Syncopated Electric Guitars, Raucous Synthesizers, Relentless Percussion, And Addictive Vocals That Kept Their Compatriots On Their Feet Across Little Known Krioulu Nightclubs In Europe's Major Cities. First Released In 1984, Conjuntos Jovens Africanos' "nhu Jhon" And "volta Pa Terra" Are Stellar Representations Of Modernized Funaná's Endless Energy.

An ode to a special place and time. Label-founder Dj Balduin is presenting 6 songs of dreamy ambient and house on his debut Mini-album.

Who Do You Go To For Your Very First Session When You Have Just Been Gifted Your Very Own Top-flight 'stradivarius Of Synth Based Studios' Enter 'the Grid' ...mr David Ball: One Man Band Of Pioneering Electro-pop Distorters Soft Cell, Part Time Psychic Tv Personality, Film Soundtrack Composer And All Round Synth Afficionado & Richard Norris: Eclectic Beat-meister & Ambient Dj, Record Producer, Commited Psychedelicist From 'beyond The Wizard's Sleeve'. The 1990's Saw Worldwide Commercial Success As The Grid Scored 10 Uk Chart Hits, Many A Euro Hit Including 1994's International Mega-hit 'swamp Thing' Featuring A Twisted Use Of Sampled Banjos Lifted From The 1970's Okie Shocker Movie 'providence. In 1996 The Grid Went On A Holiday And They Didn't Return Till 2005. In The Initial Week Of The Moog Sound-lab In Early 2015 As The Studio Was Literally Put Together Around Them, Our Abiding Memory Was Their Absolutely Delighted Grins As Each Moog Unit Was Added To The Lab. Dave & Richard Created This Benchmark Album Of Deluxe 'tronic Trax That Showcased Their Prarie Wide Knowledge Of Electronica & Their Ocean Deep Skills As Both Technicians & Original Soundscapers - Kraftwerk-ian Werk-outs, Space Noise Jams, And Slinky Grooves With Subtle Pop-tones.

Wislov might be a new signee to Knitebreed, but he has been releasing material for years, and the Spanish (not Russian) maestro is already known around the world for his awesome breakbeat creations. It was only a matter of time before a label snapped him up, and he is a producer easily capable of dropping huge tunes in both dark and lighter stsyles. This EP showcases his talent, with four tracks specifically designed to compliment the Knitebreed sound while carving his own niche into the label.

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

As I'm sure you're aware D&B doesn't pass through state51 that often but here we have a 12" that can quite rightly sit proudly amongst our more usual esoteric offerings.

With legendary label Juice, Rhythm Rollers present these 2017 remixes of Undercover Agent's 1994 classic 'Babylon'. The original is without a doubt one of the most highly rated jungle tracks and this time round DJ Future has delivered an absolute tearing remake and brought it into the 21st century. On side B, for the original heads who loved the first press Blade Runner has rebuilt the original masterpiece from scratch.

DJ support: Andy C, Randall, Uncle Dugs, Ray Keith and many more.

For A Long Time, Electronic Music Has Been Understood In Terms Of Sounds Rooted In Particular Places: The Styles Of House And Techno Inextricably Wedded To Detroit, Or The Early '90s Jungle Sound Which Carries Echoes Of London. But That's Something Which Is Changing - In Latin America More Than Anywhere Else. A New Project, Led By Gilles Peterson And Rum Maker Havana Club (that Created The Havana Cultura Platform In 2007 To Promote The Island's Contemporary Culture), Shines A Light On Cuba's Fast-mutating, Rhythmically-adventurous Underground. It's A Scene Where Old Ideas Are Transplanted Into New Contexts, And Like-minded Scenes Are Brought Together In New Dialogues.

Havana Cultura: ¡su´belo, Cuba! Showcases An Extended Network Of Like-minded, Forward-thinking Musicians Driving Cuba's Music Forward. Following Repeated Trips To Connect With Venues, Collectives And Djs, Peterson And Will Lv - One Half Of Lv, Who've Released On Hyperdub And Keysound Amongst Others - Linked Up With Dj Jigu¨e, A Much-respected Producer And Dj, Whose Guampara Label Has Charted New Directions For Cuban Music. He's Been Profiled By The Fader And Vice, And The Album Features His Extended Network Of Collaborators, Connecting Afro-cuban Traditions With Contemporary Movements And Ideas.

The Album Provides A Snapshot Of A Unique Club Culture That's Fast Evolving. On The One Hand, It's Indebted To Cuba's Unique Characteristics, Where Regularly-practised Traditions Are Coloured By Intermittently-experienced Cultures From Outside. On The Other, It's Part Of A Global Shift Toward De-centred Club Music, With Homegrown, Influence-grabbing Dance Cultures Tilting Attention From Club Culture's Traditional Epicentres. It Offers A New Side To Havana That's Firmly Rooted In Its Past.

Extremely hot on the heels of 'A Library Excursion', Earl Jeffers teams up again with Don Leisure, his partner-in-beats for another EP of Darkhouse Family goodness. Following on from their highly acclaimed debut album 'The Offering' from late last year on First Word, the Cardiff duo have hand selected a group of friends, dons and legends (including DJ Spinna & Kaidi Tatham) to serve us up 'An Extra Offering'. Five remixes curated by the crew.

For the refix of 'The Accession' (which originally featured Kamaal Williams, Dave Newington and Daf Davies from Boy Azooga), label-mate Kaidi Tatham kicks off with some down-low bottom-heavy boom bap, before switching up the tempo mid-way for a blast of his inimitable jazz-funk bruk boogie.

Next up we're honoured to have not one, but TWO tracks from the Brooklyn legend, DJ Spinna. His Galactic Soul rub of 'Another World' flips the original into a deep soulful 4/4 house cut, featuring the lush vocals of Esther (and one Charlotte Church on backing vocals, pop fact fans).

Then there's DJ Spinna's Galactic Funk take on 'Just So You Know' with the marvellous Vanity Jay on vocals. This one is on the same mid-tempo tip as the original, but with that unmistakable Polyrhythm Addict flavour of big kicks, crisp snares, hench bassline and sweet spacey synths.

For the 'GAEA' remix we keep it Cardiff and introduce the man like Alfie Swan. Doubling up the tempo of the original, this adds some seriously wavy sonics and flips the groove entirely, creating a seriously innovative cocktail of riddims. One for those not shy of some jazz ethics in the dance.

And to close out this offering, Andromeda Jones lays down a ridiculously delectable broken beat mix of 'Journey To Love', this one again featuring Vanity Jay. No messing with this one, this is straight dancefloor fire, transforming the hip hop soul track into a future boogie heater. One for the ravers.

This EP illustrates once again Darkhouse Family's wide range of influences and sounds, as selectors and as music makers themselves, and is no doubt one that will stay in your box for a very long time...n

British DJ/producer Bearface has been on a bit of a roll of later. Aside from releases on his own Beartone label, the London-based label owner has also found time to deliver outstanding cuts to the likes of Exploited Ghetto, which housed his last release, the wonderful 'Moon'. This time around, he comes correct on his own Beartone label with a record that's notable for its quirky demeanour and undoubted eclecticism.

Opening up the release is the sounds of 'Mumbai Nights'. Although it gets us underway in fairly innocuous fashion, it quickly finds its feet thanks to a brilliant, whaling Indian-Inspired vocal that weaves in and out throughout. A whimsical track of that sort that's sure to be a hit with more daring DJs, it's an auspicious start to a release that's never lacking in personality.

As is his forte, Bearface then goes much deeper in search of kicks on 'Data Storm', taking us taking us down the rabbit hole to a place that's full of enticing oddities throughout. After this, the frankly bonkers sound of the electro-leaning title track 'Sista' take centre stage. A thoroughly intense peak-time workout, it's full of attitude and an indication of the producer's more gnarly and abrasive approach. All things considered, it's sure to get the night moving in an altogether different direction wherever it's unleashed.

Closing out the EP is the drum heavy sounds of 'March'. A broody track that's tailor made for the night's more relentless moments, it's a a fitting way with which to sign off an eclectic and dizzying release. The latest chapter in the Beartone story is a captivating listen throughout.

Following 2017's 'Path of Ruin', DJ Richard returns to Dial with his much-anticipated sophomore LP, 'Dies Iræ Xerox'. Undoubtedly one of the most distinctive and fully-formed electronic producers in recent memory, DJ Richard imprinted the sound of a bubbling US underground with his label, White Material, founded in 2012 alongside Young Male. His first solo LP for Dial, 2015's 'Grind', found DJ Richard delicately establishing a discipline between his East Coast noise heritage and a physical, emotive tradition of house music, mastered during an extended stay in Berlin. Now firmly settled once more in his hometown of Providence, 'Dies Iræ Xerox' is a personal and uncompromising journey that finds the Rhode Island native in reflective form, journeying without compromise into both his creative influences and personal psyche. In part adapting its title from the Latin hymn 'Dies irae', otherwise known as 'Day of Wrath', 'Dies Iræ Xerox' melds the physical and psychological aspects of DJ Richard's production ethos in sharper, more widescreen vision than before; the oceanic swells of ambience yet more powerful, and the rigid basslines sharper still. With the chaos of the Berlin club scene an increasingly distant memory, the album is enriched with a contemplative, even brittle tone, as informed by film soundtracks and literature as the pulse of city living. Still, this is new material from DJ Richard, a touring DJ as distinctive as any other to be found behind the decks at some of the world's finest clubs and festivals. On 'Dies Iræ Xerox', the artist finds the space to write 'the records I really want to play', and each suggests a template for genuine dancefloor transcendence, beginning with the electrifying 'Vanguard' . The sludgy yet sophisticated crawl of 'Tunnel Stalker' sets the tone for the menacing yet somehow melancholy EBM of 'In Broad Daylight', while the record draws to a breathless close with the affecting, drum machine lethargy of 'Gate of Roses'. Drawing little distinction between his more physically rousing material and searching soundscapes, 'Dies Iræ Xerox' instead finds a passage of catharsis throughout both. 'Dissolving World', the album's breathtaking centerpiece, is a choral feature hypnotically overwhelmed by walls of electronic feedback, forging a dramatic link between old ways and new. On the bold and near-beatless 'Ancestral Helm' and 'Final Mercy', DJ Richard seems to grant both music and raw emotion the ability to simply float in the air, brilliantly, poignantly unresolved. If 'Grind,' inspired by the weathered coastlines of Rhode Island, was a record concerning "the border between civilization and the ocean," then 'Dies Iræ Xerox' is an unapologetic follow-up concerning that between macabre obsessions and fear of death. Produced during a murky, transitional period, DJ Richard found himself particularly drawn to Medieval European art and mysticism, fascinated by depictions and philosophies of the antichrist and end-times. Greatly influencing the uncompromising, apocalyptic tone of the album, these investigations have created an engaging and personal vision of the 'Day of Wrath.'

Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.

And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.

Bluestaeb's Evolution From A Beatmaker To A Producer Is His Sophmore Album everything Is Always A Process'.

He Is One Of The Key Figures Of A New Generation Of Up And Coming Hiphop Beatmakers, Who Have Emancipated From Genre Thinking And Instead Merge Old School Aesthetics With A New School Attitude And Organic Instrumentation.

Everything Is Always A Process Re-iterates Bluestaeb's Overall Approach To Life (and Thinking), But Also Has Direct Reference To The Making Of The Album Itself, Which Began With Moving From Berlin To Paris In 2015 In The Search Of New Influences And A New Creative Environment.
Created Between 2015 And Early 2018, Eiaap Embodies The Process Of This Transition - As Well As Collaboration With Instrumentalists And Vocalists From All Over The World And Recording In Different Studios In Paris, London & Berlin.

"meeting All Those Musicians And Trying Out New Ways Of Producing By Using Real Analogue Synths, Rhodes, Drums And Percussion Etc. Made It Possible To Overcome The Creative Boundaries Of A Home Studio With Just A Midi Keyboard" / Bluestaeb

Influenced By Madlib's "shades Of Blue" And Trained In African Drum Techniques Such As Djembé And Daruka, Bluestaeb Had Been Crafting His Own Beats Since His Teenage Years And Gradually Found His Sound Identity Through Experimenting With Hiphop And Jazz - First To Be Heard By A Broader Music Community In 2013, When He Released His Debut Album "1991 Extraterrestrial" (radio Juicy). Since Then The Prolific Young Artist Has Released Numerous Solo And Collaboration Projects ("b.l.u.e. Friday" In 2015 And - sidekicks With S. Fidelity In 2016). In 2016, He Produced Collaborative Album "lit - Lost In Translation With Rapper Juju Rogers, A Keen Manifesto Against Racism, Xenophobia And The Rise Of Anti-heroes Such As Donald Trump.
Today, Bluestaeb Lives And Works In Paris And Berlin And Is Set To
Release His Third Solo Album everything Is Always A Process', A
Smooth Neo Soul-induced Epic Featuring Artists Such As Noah Slee, Harleighblu And Melodiesinfonie, Via Jakarta Records In 2018.

Miss Kittin & The Hacker are the Electro duo of Caroline Hervé 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 started writing music heavily influenced by 1980s synthpop 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 followed by . in .

Lost Tracks Vol. 2' contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80's European New Wave/Italo Disco with 90's 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 in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive French accent.

All songs have been transferred from the original DAT tapes by the band and remastered 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'

The remarkable thing about BELP's new album is its two-dimensional function. It works both on a loud and a quiet volume. Some tracks would go down well as a club track, like opener 'Travelling Thru Galaxies'. This track brings back memories of the best work released on the Hyperdub label, with it's fine combination of synths and irresistible, dubby beats. Elsewhere, 'Off Ending' might start off as 'dancehall-but-not-quite dancehall' track but when half way the synths kick in they change the feeling of the track to a more cerebral level.

BELP is the artist name of Sebastian Schnitzenbaumer. Born in Munich, he partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, form the basis for his musical development. Currently he has close ties to the (dub) Sausage Studio in Hackney, London. In his hometown Munich, the Bavarian capital, BELP took a central role in a series of discussions and events aiming to improve the image and possibilities of Munich, which to his regret is a predominantly posh and hedonistic city where optimistic and uplifting music take central role.

In different guises Schnitzenbaumer works as a much needed antidote. Since 2013 he runs the Schamoni label, focusing on supporting local artists like Leroy and Protein. Its sublabel Jahmoni is responsible for recent works by international artists like Aaron Spectre and DJ Marcelle/Another Nice Mess.

BELP's music is dark, serious and layered. His love for dub and dancehall shines through in his broken beats. At the same time the synth layered tracks give the album an atmospheric feeling.

This also is what makes this album essential: it's refusal to be pigeonholed. The last track on side A, 'By Beauteous Softness', is an a cappella rendition of a 17th century Henry Purcell piece, beautifully sung by Alexander Schneider. This track is preceded by 'Transmission', which is a brilliant abstract work, sounding like wind closing on you from all sides. And you can sip a cocktail whilst listening to the jazzy 'Time And Again' (BELP once worked as a jazz pianist).

It's clear to hear BELP took a long time recording this album. Every note, synth, drum beat, is carefully placed. But what the album might lack on spontaneity it more than compensates this with its sheer musical beauty. This also reflects on the abstract sleeve, like 'Elephants' designed by BELP himself.

Enjoy this album on big speakers, as background music or simply on headphones. There will always be new sounds and layers to be discovered!

Crosstown Rebels celebrate their fifteenth year with their monumental 200th release. American DJ and producer Arthur Baker reunites with Rockers Revenge for the first time in thirty years. To complete the package, dance music heavyweights Francois K and Michael Mayer take on remix duties.

On A Mission is exactly that, 'a mission of love, a mission of peace'. The positive vocals hark back to those of early 90s house tracks, which created unity through music and clubbing. The rhythmic beat of the drum is determined, as percussive layers build and the vocals bleed into the synths. Francois K provides two variations of the track. His remix features more prominent drumbeats driven by a growling bassline. On his rockers dub version, Francois goes all out and dubs us into the stratosphere. Up next is the Michael Mayer remix, with a more electronic take on the original with driving synths and a whirring, throbbing bass-line.

Created in 1982, Rockers Revenge was the brainchild of Arthur Baker and Donnie Calvin. Donnie provided lead vocals with Baker's wife, Tina B, Dwight Hawkes and Adrienne Dupree Johnson on backing vocals. Their most prominent track, Walking On Sunshine, was a post-disco hit reaching #1 in the US dance charts and #4 in the UK charts.

Three years ago Baker and Hawkes reconnected through social media with Baker sending through his original Mission idea. Baker is known for his work with hip hop artists like Afrika Bambaataa, Planet Patrol, and New Order whilst also remixing the Pet Shop Boys' 1986 hit In The Night. Fast forward to 2018 and the group performed a monumental live show at Get Lost Miami, and are currently in the studio working on new material. This Summer they will shoot a new documentary and perform live at various events.

Fresh on Francis Harris' Kingdoms imprint comes Rasmus Juncker's 'Ophold' - six tracks of sublime atmospheres and textures. The Danish musician, sound composer and DJ fits perfectly with the label's aesthetic, joining the dots between ambient, leftfield electronica and modern classical.

Juncker has a background in studying jazz drumming and has been playing improvised music within the jazz domain for many years. He also started to DJ at the age of 14 and was introduced to the world of electronic music production at the same time.

When Rasmus started to think about his debut album he spent several months trying to find his own way to combine his favourite musical influences, improvisation, electronics and classical music. 'Almost a year later', Juncker says, "I went to a sensory deprivation floating tank in Copenhagen while researching for another performance and while I was lying there, floating in the water, deprived from most of my senses, I got the idea to do something drastic in my musical process. Philosophers like Immanuel Kant describe this deprived state as a mental 'Cesura', which became some sort of guideline for the album."

So Juncker decided to start working on the album by leaving the process as well as the final result completely open. 'I wanted to create sounds and music that I had no idea what they would sound like, but would feel like a mental 'Cesura', an 'Ophold' (in Danish)' he states.

He invited musicians, one after the other, to his studio. "I had an electronic musician to improvise patterns and new interesting sounds based on my experience in the deprivation tank. I chose some of the takes and some weeks later I invited a jazz guitarist to listen and improvise on top of what he heard. Then a classical string quartet and a double bass player came to my studio months later, and finally I recorded myself on percussion and drums.

Throughout the recording process I've been experimenting with special microphones in various setups, used noises from the recordings and the room became absolutely essential for the pieces." Juncker states.

"The material I used was all first take improvision which I arranged, layered and edited into compositions. The final pieces were mixed by Andreas Pallisgaard with the same improvised and experimental approach of the recording and the production. None of the musician met each other, but their sounds developed into something completely fantastic I think. The presence of the acoustic instruments and the depth and complexity of the synthesized layers gave some kind of an indescribable sounding music from another galaxy.

Track by track:

'Norddrum' starts proceedings - ethereal, grainy sounds merge and disassociate, as a distant rhythm gradually finds its way to the fore.

The second track, 'Sora' , clocking in at under 2 minutes, is an interlude full of strings, pads, and percussive hits, rich in feeling. This strong sense of sound design and seemingly disparate sounds woven together into a whole carries through into 'Eksotisk Tirsdag' - the strings, plucked instruments and electronics harking back to 4th world adventurers like Jon Hassel and Brian Eno.

'Cyklus' dives into drone textures, pulsing and modulating to create an unearthly soundtrack.

'Havekunst' is another 2 minutes interlude, this time bringing a fully charged rhythmic barrage to the front.

'Cesura', the final track is in essence the EP's centerpiece - a sprawling 8 minute journey that traverses tense, fibrous sections and on into pulsing modular passages, before opening up into glorious moments of wonder and brightness. It's a hugely bold yet fragile endeavour, in line with the whole release.

CHIWAX welcomes Andre Red Hand to the Family!

Dubbed by Igloo Magazine as the 'Romanian Detroit electro/techno pioneer' and by the late Aaron Carl as 'the Romanian Underground Resistance himself', Andrew Red Hand from Romania's spiritual capital of lasi stands up as an unwavering militant of the underground, a true Detroit spirit possessed as Romanian humanoid!

From his early gigs throwing parties as one of the first generation DJs in lasi since 1997, ARH continues to break boundaries as part of the Romanian resistance scene and numerous time portals as they open around Europe. His blistering, mind-bending sets such as at Berlin's Tresor and Griessmuehle see the DJ with the red hand fuse pure Detroit electro and techno with the sounds of techno-bass, raw Chicago acid house, classics and futuristic beats. His mixes for Radio UR (Underground Resistance) and The Grid (Detroit Techno Militia) remain some of the best frequency transmissions to surface to air.

Armed with a Soviet Union reel to reel Majak 203, his scorching raw analogue and searing acid productions have been picked up by foundational Detroit labels such as Twilight 76, Matrix, Detroit Underground, Databass, Detroit Techno Militia, Cratesavers Intl, Visillusion as well as around the world from Holland's iconic M>O>S Recordings to 1Ø Pills Mate (Lobster Theremin), Bass Agenda and Land Of Dance. On his remix list includes work for Scan 7, Santonio Echois, Thomas Barnett, Sean Deason, Niko Marks, Six Foe, T.Linder and more while support from Anthony Shake Shakir, DJ Bone, Dave Clarke, DJ Godfather has been garnered for our sonic warrior... Beware of the Red Hand!

Twenty-eight Years Ago, Pissed-off Twelve-year-olds Around The Universe Discovered A New Planet, A Black Planet. Public Enemy's Aggressive, Benihana Beats And Incendiary Lyrics Instilled Fear Among Parents And Teachers Everywhere, Even In The Border Town Of Laredo, Texas, Home Of The Future Founders Of The Latin-funk-soul-breaks Super Group, Brownout. The Band's Sixth Full-length Album (out May 25th) Fear Of A Brown Planet Is A Musical Manifesto Inspired By Public Enemy's Music And Revolutionary Spirit.

Chuck D., The Bomb Squad, Flava Flav And The Rest Of The P.e. Posse Couldn't Possibly Have Expected That Their Golden-era Hip Hop Albums Would Sow The Seeds For Countless Public Enemy Sleeper Cells, One That Would Emerge Nearly Three Decades Later In Austin, Texas. Greg Gonzalez (bass) Remembers A Kid Back In Junior High Hipped Him To The Fact That Public Enemy's bring The Noise' Is Built On James Brown Samples, While A Teenaged Beto Martinez (guitar) Alternated Between Metal And Hip-hop In His Walk-man, And Adrian Quesada (guitar/keys) Remembers Falling In Love With Public Enemy's Sound At An Early Age. when I Got Into Hip Hop, I Was Looking For This Aggressive Outlet . . . And I Didn't Even Understand What They Were Pissed Off About, Because I Was Twelve And Lived In Laredo . . . But I Loved It And I Felt Angry Along With Them.'

Joseph Abajian (fat Beats' Owner) Must Have Sensed The Deep Hip-hop Well Lying Beneath The Versatile Band's Latin-funk Veneer. i Thought Their Sound Would Work Covering Public Enemy Songs,' Abajian Says, And, it Was Good To Know They Were P.e. Fans . . . We Came Up With A Track Listing And They Went To Work.' Despite The Band's Eagerness To Work On New Original Material (an Album Of Original Songs Is Slated For Next Year), They Couldn't Pass Up The Opportunity To Pay Homage To This Iconic And Influential Posse.

Translating Sample-based Music To A Live Band Turned Out To Be More Of A Challenge Than They Anticipated. Adrian Tried To Get Inside The Bomb Squad's (public Enemy's Producers/beat-making Team) Head In Order To Find The Inspiration To Reinterpret P.e.'s Songs: imagine The Bomb Squad Going Back In Time And Getting The J.b.s (james Brown's Funky Backing Band) In The Studio And Setting Up A Couple Analog Synths And Then Playing Those Songs.' While Some Songs Closely Follow The Original Musical Blueprint, Others Use The Source Breakbeats As Jumping-off Points Later Sweetened By Trombonist Mark speedy' Gonzales' Horn Arrangements, Synth Wizardry Courtesy Of Friend-of-the-band Peter Stopschinski, And Dj Trackstar's Turntable Scratches. But Don't Listen Expecting To Hear Paint-by-numbers Recreations Of Classic Public Enemy Jams. our Approach Is Never In The Tribute Sense,' Adrian Explains. we've Always Taken It And Made It Our Own, Whether It's The Brown Sabbath Thing Or This Public Enemy Thing.' Coming Off Numerous Tours As Brown Sabbath And Even A Stint Backing The Late Legend Prince, Brownout Is Arguably The Tightest And Funkiest Band On The Road Today And They're Psyched To Bring This Revolutionary Music To The People. For A Band Without An Overt Political Agenda, They Collectively Couldn't Resist The Opportunity To Play This Music Live, Especially Now. if There's Any Way That We Can Use The Already Political And Protest Nature (of P.e.'s Music), We Would Like To Try,' Beto Says. the Album's Title, Fear Of Brown Planet Is Definitely A Relevant Idea Today And We're Not Afraid To Put It Out There, Because We Want To Speak Out.' By Reinterpreting These Hip Hop Classics In Their Unique Style And Channeling The Spirit Of Public Enemy That First Echoed Around The World And Captured Their Imaginations All Those Years Ago, Brownout Is Doing Exactly That.

Having debuted with a fine EP by Job Sifre, Artificial Dance has returned to the source for release number two. The 12' pays tribute to one of the most influential figures of original DIY electronic music scene of Holland, Hanjo Erkamp.
During the first half of the 1980s, Erkamp had a hand in some of the most experimental and forward-thinking releases on the now legendary cassette label, Trumpett. Famously, he was a member of two of the label's key bands - industrial outfit Doxa Sinistra and new wave combo Ende Shneafliet - but during the period he also recorded a swathe of solo tracks as C. Stein, most of which only saw the light of day decades later.

La Bombe Plastique', a thrillingly spacey and futurist cut rich in proto-techno rhythms, intergalactic electronic motifs and drowsy choral vocals. For this timely reissue, the superb original version comes accompanied by a fresh re-edit created primarily for DJ use.

African Scream Contest 2

A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear, gut-busting yelps, lethally well- drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.

Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure- trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks o Les Sympathics' pile-driving opener, it's clear that African Scream Contest II is going to be every bit as joyous a voyage of discovery as its predecessor. And just as you're trying to get o the canvas after this one-punch knock out, an irresistible Afro-ska romp with a more than subliminal echo of the Batman theme puts you right back there. Ignace De Souza and the Melody Aces' Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation.

The screaming does not stop there, in fact it's only just beginning. But the

strange thing about African Scream Contest II's celebration of unfettered Beninese creativity is that it would not have been possible without the assistance of a musician who had been trained by the Russian secret services to "search and destroy" enemies of the country's (then) Marxist-Leninist president Mathieu Kerekou.

Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills - his training with the KGB - highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the 60s and 70s. Happily, in this instance, Lokonon was tracking the artists down to oer them licensing deals, rather than to arrest them.

Where some purveyors of vintage African sounds seem to be strip-mining the

continent's musical heritage with no less rapacious intent than the mining companies and colonial authorities who previously extracted its mineral wealth, Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends.

Like every other Analog Africa release, African Scream Contest II is illuminated by meticulously researched text and eortlessly fashion-forward photography supplied by the artists themselves. Looming large - alongside Lokonon André - in the cast of biopic-worthy characters to emerge from this seductive tropical miasma is visionary space-nerd Bernard Dohounso, who laid the foundations for Benin's vinyl predominance by importing and assembling the turntables that would play the products of his Bond villain-acronymed pressing plant SATEL, a factory that would revolutionise the music industry in the whole region.

The scene documented here couldn't have been born anywhere else but in the Benin Republic , and the prime reason for that is Vodoun. It's one of the world's most complex religions, involving the worship of some 250 divinities, where each divinity has its own specific set of rhythms, and the bands introduced on the African Scream Contest series and other compilations from that country were no less diverse than that army of dierent Gods. At once restless pioneers and masters of the art of modernising their own folklore, the mystic sound of Vodoun was their prime source of inspiration.

One especially irascible Vodoun-adept was Antoine Dougbe, who styled himself The devil's prime minister' while turning ancestral rhythms into satanically alluring modern beats. As Orchestre Poly-Rythmo songwriter Pynasco has observed sagely, Evil is not elsewhere, evil extends into the house'. And African Scream Contest II is a gloriously cinematic road-trip through an undiscovered realm of music lore whose familiarity is every bit as thrilling as its otherness.

Written by Ben Thomson, March 2018

Record Kicks Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Singles. Available In Ltd Edition Double Clear Vinyl Lp, Cd And Digital Download. Side By Side With Similar Outfits Like Daptone, Truth And Soul, Freestyle Or Timmion, Under Its Motto "the Explosive Sound From Today's Scene" Milan-based Independent Label Record Kicks Has Been Pitching The Contemporary Funk & Soul Scene Since Day One.

With Over 200 Releases Under The Belt, Rk Has Released Bands From All Over The Globe And Earnedthe Support Of Vip Fans Such As Kenny Dope, Jamie Cullum, Craig Charles And Not Least Jay-z, Thanks To Which The Label Has Recently Received A Grammy Nomination For Hov's Use Of Hannah Williams' "late Nights And Heartbreak" As Backdrop For His "4:44". The New Instalment "record Kicks 15th" Coming Out Next May 18th On Double Clear Lp, Cd And Digital Download, Celebrates 15 Years In The Business With A Collection Full Of Exclusive New Tracks And The Very Best Of It's Roster.

The Album Kicks Off With Rk's Latest And Youngest Signing:
From Chicago, Heavily Inspired By The Impressions And Leroy Hutson, We Are Proud To Present You "the Devonns" With Their Super Soulful Debut Single "come Back", An Appetizer Of Their Debut Full Length Expected To Land On Rk Next Autumn. Another New Signing To The Label Is Men Of North Country's (acid Jazz Records) Side Project "the Faithful Brothers", Here With Their New Single "one More Time".

Other Exclusive Tracks Of The Comp Are "this Strange Effect", A Coverup Of The Hooverphonic's Single From 1998 Brought To You By Dutch Northern Soul Disciples The Tibbs, "love You Back" From Detroit Deep Funk Outfit Third Coast Kings, "the Sort" By The Buenos Aires Mod Reggae Kings The Crabs Corporation, "top Dog" By British Funk Combo The Hook & Slingers And Straight From Down Under "you Don't Know Me" By The Always Great Dojo Cuts.

Along With These New Exclusive Cuts, Dig On Some Label's News Singles And Heavyweight Classics Such As Dj Shadow's "this Time" Taken From Baby Charles Debut Lp, "don't Throw Your Love In The Garbage Can" By James Brown's Original Funk Diva Martha High Feat Japanese Funk Ambassadors Osaka Monaurail, "psycheground" The Brand New Afro-funk Single By Calibro 35 And Then Portuguese Tnt Dynamite Marta Ren & The Groovelvets, Toronto Soul Queen Tanika Charles, Uk Funk Ambassadors The New Mastersounds, The Diplomats Of Solid Sound And The Already Mentioned "late Nights & Heartbreak" By Hannah Williams & The Affirmations.

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.

"a Heavy Selection Of Mod-rockers, Garage And Psych-funk Tracks," Runs The Sub-title Of New Compilation Series, Down In The Valley From Perfect Toy, Encapsulating In A Nutshell The Multifarious Pleasures On Offer.

Volume 2 Continues The Good Work Of Volume 1 With Yet Another Breathtaking Selection. Morning Reign's Previously Unreleased Can't Get Enough Of It Provides Big-ass Funky Thrills Along With This Volume's Only Cover - The Penny Arcade's Mod-funk Take On Funky Way. Next Come Two Frantic Garage-soul Cuts From A Pair Of Super-obscure Groups: 1906 & Company And Band Of Gold While Rex Garvin & The Mighty Cravers' Titty-shaking Instrumental Strange Happenings Slows Things Down To A Monster Shimmy With Retro Horror Movie Vibes. The Animal Show Band's Tell Daddy Provides The Male Answer To Etta James' Tell Mama And Rocks Just As Hard As The Original While Gino Scorza's Funk-tinged Soul Heater Little By Little (which He Originally Privately Pressed Himself) Gets Reissued For The First Time. Closing The Album Is A Real Treasure By Big John K In The Shape Of His Heavyweight Slab Of Soulful Blues-funk - Poor Souls.

Once Again, Chan The Man - Previously The Guiding Light For Perfect Toy's Down & Wired Series - Was The Driving Force Behind This Project. It Is His Incredible Knowledge, Combined With The Network Of Record Collectors, Djs And Vinyl Nerds That He Has Established Over The Past Few Decades Which Have Made It Possible To Come Up With Such A High-octane Selection Of Super-heavy And Extremely Rare Tracks. Accompanied By Detailed Liner Notes And Never-before-seen Photos Of The Artists, Down In The Valley 2 Sets The Bar High For Future Volumes.

2x12"

It's the return of the sexual vigilante Sex Judas and his trusted sidekick Ricky. This time in full album mode. Norwegian producer Tore Gjedrem of Ost & Kjex fame, channels his love of comix, bohemia and fascination with human vice, the unspoken, the Red Light districts, the alleys of the mind into his alter ego.

Sex Judas is no bad character but certainly says what it's author cannot.

'I wanted to create a world where any musical idea is possible, wound together by the world and word of Judas, the ultimate sinner, reborn as a child of Venus.'

Inspiration ranges from Africa to 80's NYC, from Bohannon to Quasimoto, from Norwegian New Wave to Acid House. With contributions by friends in the Oslo scene as hometown legend Dj Pål Strangefruit Nyhus, composer Ole-Henrik Moe, jazzpianist Bugge Wesseltoft, Sidiki Camara from Mali playing that beautiful Ngoni, and multi instrumentalist Ivar Snuten Winther, the album touches anything from blues, funk, disco and post-punk to IDM, acid house and electronic explorer music.

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

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

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

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

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

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

Finally Copenema drops on vinyl. This special limited edition vinyl EP especially for those summer beach bar vibes.
The EP includes the much loved Te Faz Bem which became a Balearic classic in Ibiza last summer after DJ Harvey regularly played it at his residency 'Mercury Rising' at Pikes . This caught the attention of Pete Tong who played it on his BBC Radio 1 show multiple times.Deixa Música Tocar (Let The Music Play) on the B side is the second single (currently unreleased) and carries on the same classic Balearic vibe from Te Faz Bem.
Super strong remixes from Riccio & Kenneth Bager complete the 12' nicely. The single representing 'the other side of Ibiza' is receiving strong support from Pete Tong, DJ Harvey, Ruf Dug, Peaking Lights, Alfredo, DJ Pippi, Phli Mison, Jon Sa Trinxa and other Balearic inspired DJs and echoes a renewed interest in Latin and Brazilian inspired sounds across the beach bars of the Mediterranean in summer 2017. Copenema (Copenama = Copenhagen Vs Ipanema) is a collaborative project between artists from Denmark and Brazil with the album partly recorded in the living room of Brazilian star Rodrigo Sha in Rio Di Janeiro, and finished at the legendary Volmers studio in Copenhagen.

Copenema is the latest incarnation of Music For Dreams' label boss Kenneth Bager in collaboration with artists and friends Rodrigo Sha, Danish composer Troels Hammer and producer Thomas Schultz from Ambala. The lead single 'Te Faz Bem' was the last track recorded during the sessions and will be the first single released on Music For Dreams this autumn.

First Word Records is very proud to present the triumphant return of the UK's finest Hip Hop Soul duo, Children of Zeus, with a double-header of brand new material.

Since the release of 'The Story So Far' EP in 2017, Konny Kon and Tyler Daley have proceeded to draw in the attention of tastemakers across the world, receiving big ups from Hip Hop, Soul and dance music royalty, such as US legends Jazzy Jeff & DJ Spinna, and UK heavyweights Stormzy & Rag'n'Bone Man.

In addition to relentlessly rocking stages and studios all over Europe, Children of Zeus have somehow found the time to write and produce their debut album proper. This is the first taste..

'Slow Down' is a sure-shot Summer anthem, with a twist. A deceptively soulful slow jam that lulls you into a false sense of filtered smoothness, before a floor-shaking beat & trill hats drop in from above, as if thrown in via a thunderbolt from Zeus himself. On the flip, we have the uptempo boom-bap steppa, 'All Night'. Konny sets this one off on some straight b-boy isht, riding a rhythm that's guaranteed to make grown Hip Hoppers reminisce, before Tyler's sweet swing-tinged vocals glide into play to keep you firmly steppin' - this one again illustrating the Mancunian duo's craft of creating timeless Hip Hop Soul music.

Manchester has been riding a wave of immense creativity & musical prowess in recent years. Children of Zeus exemplify the heart and soul of Manny's now-movement - but don't get it twisted - the vibe is universal, and they definitely ain't new to this. Two decades on from the inception of Broke'N'£nglish and Hoodman, Tyler and Konny have consistently persistently held their corner, stayed true to the music they love and nurtured their own unique sound. It's almost time to drop that album... But for now, here's more future classics.