Cerca:dj vibe

Camea returns with the third release on her Neverwhere imprint, titled 'Vanish', this Spring. In her new single, she digs deep on her drum machine into Studio 1-esque territory, using alluring classic minimal techno grooves as a back drop for her seductively soulful, selfconflicted vocals. Camea not only captures a timeless micro-house vibe in this piece, but she continues to push her sound forward as well as her love for avant-guard techno. Up next is Delft imprint boss, LA-4A, best known for his analogue vintage Roland drum machine productions. He has laid down an irresistible 303 break-beat club mix of Camea's track in the A2 spot. His dance cut of her vocals over bass driven percussion is a perfect counter piece to the original, and compliments the sound from his recent acid techno album 'Phonoautograph'. On the flip side, Berlin techno legend and Ostgut Ton/Berghain resident Tobias. gives his graceful interpretation. He has reworked the original into a tasteful, dark, spacious 8-minute minimal techno piece, with percolating panning and filters on the vocals. As usual with Tobias., he clearly conveys his undeniable expertise and instinct for exquisite dance music. With this release, Camea is also marking the 2nd anniversary of her cult Neverwhere Radio show this Spring, having produced twenty-four, two-hour episodes with exclusive DJ mixes and guests. The show currently has residencies on Digitally Imported, Tsugi Radio and Ibiza Sonica, and Camea has quickly established herself as a driving force in the left-field techno community, and a passionate advocate of underground radio.

The House Music Institute is the new label by Pete M.. A recognized face on the Madrid underground scene, Pete M. has been making the city dance for the past two decades mixing House with Future Disco and Techno.

His first EP, LOFT 301 - Fourth World' includes two original tracks plus a remix by Jonny Sender.
Pete M. created two original tracks with a late night vibe using a classic groove and 4/4 rhythms combined with 808 analog sounds and beats.

Pete reached out to Jonny Sender for a remix who's recently released a number of original productions and remixes. Sender, bass player in the legendary band KONK, was part of the early '80s downtown scene in New York City as well as being a long time DJ. Jumping off from the original track, Sender brings some jazzy early '80s flavor while keeping the vibe strongly rooted in the present.

Inmotion Music LTD brings back two dynamic artists Marco Effe and James Mile. Both Marco and James have been firmly cementing themselves in the Techno and House music scene for several years while gaining well wide support from DJ's across the globe..
The Mehringdamm EP consists of 3 original tracks and a remix by Spain's Eduardo De Callle.The first track, Mehringdamm is a classic rhythmic-driven belter that packs a hefty punch. The jacking 909 drums and lush synth keep the tension through out.The B-Side is slightly more experimental but has expertly captured the Eduardo De Calle.vibe. James Miles ends the EP with a jacking 909 work out named Stomp.

last year producer and dj eddie c released his third endless flight album 'on the shore'

- a compelling musical trip of drifting repetition in rhythm and melody.
now he drops a new ep, consisting of three new track and 'auf der ufer' - a tune he did with his norwegian buddy rune lindbaek, that is dancing a cosmic dance and that was never released on vinyl before.
the three other works are crossing different territories. the eight minutes meditation 'pumapunku' marries balearic flair with otherworldly synth-spheres.
the also epic 'inner piece' opens the house box with waving basslines, furious chord suspense and some unexpected breaks.
the final is marked by 'lonely without you'

- a funky blue tune that brings in some peoples potential unlimited vibes for endless autobahn rides.
another heartfelt arranged mix off instruments, synths, samples and drum machines by eddie c, the heartfelt canadian in berlin.

Astray is the Sublabel of Away, Berlin.

Berlin's party series and the eponymous vinyl label celebrate the launch of its sublabel ASTRAY with the 'Road Force EP' by Discrete Circuit. While AWAY with previous contributions from Joe Claussell, Mr. Ties, and Move D leans more to the housier side of things, ASTRAY will take a different path by taking some darker, techno-centered steps. Following the idea only to release productions by both label founders, Discrete Circuit and H4L, as well as unique collaborations which either of them will form with outside artists, ASTRAY's second EP will premiere the joint studio work of Discrete Circuit and DJ/producer Blind Observatory. EP INFO After releasing on labels such as DVS1's Mistress Recordings, Mark Broom's label Beard Manand Darko Esser's Wolfskuil Records, Discrete Circuit's new EP provides four progressivetracks mirroring his interest in a steadily growing techno narrative as well as mind manipulating onomatopoeia. On the A-side he's evolving his floor-aimed capabilities in two different ways: Starting with subtly quoting the infamous Motor City, the title track's on-edge techno design quickly accumulates into some kind of hounding; not knowing if you're the hunted or the hunter. 'Stress Resultant' increases the pace, whereby the restless vibe is contrasted by melodic synth patterns embodying a sort of playful corrective. The flip side introduces Discrete Circuit's experimental facet: 'Controlled Error' exhibits the dialogue between harmony and chaos in which shrieking, yet claustrophobic shades play hide-and-seek ultimately unfolding a gloomy funk, while the EP's last 'Circuitry' is completely carried by shape-shifting, pulsing soundscapes.

A brand new instalment in the Trans Afryka series, that is loosely inspired by the sounds of the black continent and devoted to club-oriented Afro-House.

Riding the waves of success with sold out volume 1, Zambon employed three talented producers to bring more goods to the table.
Transatlantyk regulars like DJ Dook and Universo are joined by a newcomer Tamten and together deliver a bomb of an EP!

Aptly titled 'Afro Acid' by DJ Dook is exactly what it says on the sleeve - raw DJ tool with squelchy samples, mantra-like vocal loop and focused vibe. Think of an soundtrack to a futuristic version of Apocalypse Now. Just the perfect peaktime beats to heat the party a little bit more.

'Praise Song' by Universo is built on a wandering bassline reminiscent of Malian blues with tribal chants, penny whistles and various sorts of percussions on top. This beautiful groove rolls and rolls without end, like an endless summer.

'Ukukhnaya' by Tamten is the most atmospheric out of the three, fusing New Age midi sounds with the vibes of South African deep house.

Over the years, Phil Mison has become the go-to selector for those looking for Ibiza-themed compilations. None of his previous collections, though, have been quite as personal as Out Of The Blue, a compilation inspired by his first spell behind the decks at the Café Del Mar in 1993 - and the remarkable chain of events leading up to it.

Mison made his first trip to Ibiza in the summer of 1991 and quickly fell in love with the magical music being played by Café Del Mar resident DJ, Jose Padilla. On his return to the UK, Mison began to cultivate his own take on the laidback, open-minded style, recording mix-tapes of Ibiza style chill out' tunes to give to friends.

In November 1992, Mison was hanging out in Tag Records, Soho, when Padilla walked in. He plucked up the courage to speak to the Spaniard because earlier that summer Mison had given one of his friends some tapes to take out to Jose in Ibiza so he wanted to see if he had got them. During the conversation Mison invited him down to his next DJ set at Nicky Holloway's club, the Milk Bar and less than three months later, and clearly impressed by what he'd heard on the tapes, Padilla invited Mison to fill in for him at the Café Del Mar, beginning in April '93.

It's that first trip to DJ in Ibiza - a crazy six-weeks spent dividing his time between spinning records at Café Del Mar, hanging out in Jose Padilla's house in the hills, and meeting some particularly eccentric White Isle residents - that proved the inspiration for Out Of The Blue.

The compilation contains a mixture of records that Mison played in his earliest Ibiza sets, those that remind him of that period, and recent discoveries that boast a similarly warm, loved-up vibe. Mison is at pains to point out that it's not a track-for-track representation of his first sets, but rather a collection inspired by this most momentous of experiences.

As you'd expect from a selector of Phil Mison's standing, Out Of The Blue is an outstanding collection. Some will no doubt hear the influence of his mentor - the man he credits with effectively turning his DJing career around - in the undulating rhythms and new age melodies of Kamasutra's Sugar Step', the meandering synthesizer solos and Spanish language vocals of Congarilla's sublime Sacred Tree', and the lilting flamenco guitars of Gambarra', an unreleased mix from Mison's popular Cantoma project.

Elsewhere, listeners can marvel at the starry ambient bliss of Belgian legend Frank De Wulf's The End', recline to the saucer-eyed fusion jazz of the Christoph Spendel Group, shuffle along to tactile, hard-to-find period deep house from Language, Moodswings and Don Carlos, and marvel at The Cactus Rose Project's ridiculously rare Jelly', a sparkling, disco-era jazz-rock outing partly inspired by the Doobie Brothers' Long Train Running'.

Out Of The Blue may well be a very personal selection of tracks celebrating a moment in time, but it's happily one that we can all enjoy.

Panorama Bar resident Nick Ho¨ppner gets to Work on his second solo album on Ostgut Ton, connecting the territories of House music with the ease of Alt-Pop.
Work as in labor. An axiom that fuels the capitalist system just as the Techno/House scene economy says that one needs to keep oneself busy to make a living. As a musician, things are complicated of course. It's a long way from the romantic idea of creating music simply for the sake of art to becoming a full time musician. Those who have accomplished this feat often find themselves in a professional loop of writing the music, producing it, promoting it (with an info text like this), releasing it and then hopefully selling it. After leaving his full time job as Ostgut Ton's label manager in 2012, Nick Ho¨ppner went fully freelance, focusing on his musically diverse, deep and dynamic DJing in and outside Berghain's Panorama Bar, but more importantly spending more time in the studio. The result was his critically acclaimed debut album Folk (Ostgut Ton, 2015), various 12' releases and remixes, and now his sophomore LP, Work, which, more than ever, lays out his refined production skills and his talent to work the machines until they reveal their inner ghosts: nine new songs that now dodge the dance floor, then fully embrace it.
Work as in body of work. A record is more than the sum of clocked up hours at the studio, but the result of an artistic-creative process. On Work, Ho¨ppner shows his everlasting lust for musical detail, his increasing technical skills and compositional finesse. Work is a very personal, soulful and deep record that breaks through the usual club/dancefloor narrative by documenting Nick's interest for hybrid sounds and combining elements from varying musical genres. Work's lead single 'All By Themselves (My Belle)' is a very atmospheric, intimate and steadily unfurling IDM piece with ethereal synth and vocal pads; on the album it's contrasted by 'Clean Living' with Tram 78, a modern Ho¨ppner club classic: powerful, kick-heavy, muscular, cheerful and uplifting. It's a very personal track resulting from a recent reencounter with an old friend. Having spent countless hours together in Berlin's clubs in ever changing states of mind a decade ago or longer, things have since changed for both towards a more - clean living'. Connecting to this musical vibe 'In My Mind' follows with a slightly darker tone putting emphasis on bassline, percussion and squeaky sound detailing. 'Hole Head' pays tongue-in-cheek homage to Nick's love for UK club music, when a dashing melody of synths and vibraphone is matched with clattering breaks and syncopation. The dubby, mesmerizing 'The Dark Segment' not only impresses with its hypnotic synth figurines, but also by morphing to a shuffling Jazz rhythm towards it's middle part; 'Forced Resonance' uses Oberheim synth brass stabs to dramatic effect; the percussion- and clap-laden 'Fly Your Colours' comes with an irresistible piano melody atop an energetic kick; and finally the album-closing, shuffling but rhythmic, noisy yet bluesy 'Three Is A Charm' featuring the duo Randweg on clarinet, cajo´n and acoustic guitar is a coherent departure heading towards Indie Pop territory. It sees Nick collaborating with acoustic instrumentalists for the first time in his ten-year- spanning Ostgut Ton release catalogue.
Work as in artwork. Staying in line with the Folk album, the visual companion for this record comes from German collage artist Frank Bubenzer. As with the artwork at hand, Bankentsunami, and his other works, Bubenzer cuts up print magazine advertisements and recontextualizes them into new motifs, removing all human depiction from the source material, here as a commentary on the world of business, big money and the banking crisis.
Work as in work it. As a slogan 'work' has always been one of the genre's most utilized paroles, coined and put on wax by pioneers like LNR, Blake Baxter or Steve Poindexter, to name a few. Not only calling for the crowds to get moving on the floor but also to fully express themselves and their unique individuality inside an all embracing environment. A mindset rooted in House Music that has been an integral part of Nick Ho¨ppner's identity as a DJ and producer from the beginning and all through his decade-spanning residency at Panorama Bar. Work it!

2022 Repress
Strictly Limited to 500 Unique Units, No repress, - This is The 'Special edition' with different B Side (as opposed to WRWTFWW011(RED) and comes in Colored Green vinyl 12, housed in heavy cardboard old Stoughton tip-on jacket & VHS Obi. File under: Soundtrack, Haunting Synth, Decadent FM Rock & Erotic Funk.

Another Picture has the honour to welcome DJ Honesty to the label's crew! The Berlin mainstay keeps on delivering for two decades and counting. Now residing in sunny and meanwhile ultra-lively spot Lissabon/Portugal he shows up with two pieces of pure electronic groove with a dubby technoid flavour. Studio knowledge at work! Usually known for positive vibes with a still abstract feel now DJ Honesty reveals a darker shade of experience. Get involved with a tougher edge and face some deeper emotion and sonic consequence - see you on today's dancefloors.. DJ Honesty's releases come as various projects and collaborations: Honesty, Honeydrop, Slope (with Daniel Paul) and Suparaw (with Woody) on such labels as Cabinet, Sonar Kollektiv and Quality Vibe to name a few. He is part of the touring Cab Drivers live crew. Don't miss!

Vincenzo needs little introduction - the veteran producer and DJ has been a fixture on the scene for years, releasing his distinctive brand of classy deep and techy house on a number of key labels. Returning to Poker Flat, he teams up with the mega talented Cari Golden for this killer three track EP. Cari hails from LA, an accomplished singer & songwriter and a part of band Narcotourist. She lends her skills to 'Never Go Back' a lush yet edgy deep bomb built around slinky groove shot through with Vincenzo's trademark drama and tension. Cari brings the track to the next level with her vocals - both seductive and cautionary. Smash TV (Holger Zilske and Kai Preussner) bring a sick remix to the table with their version - heading to deeper territory and seemingly primed for the after hours vibe. Next up is 'That's The Way' - an instrumental that sees Vincenzo revel in some old school chord progressions and tension / release dynamics to make a sure-fire floor weapon.

Having previously released on Z.I.P.P.O's Fides imprint, 3KZ now bring their powerful four tracker 'Not From Here' on Balans Records. 3KZ are Z.I.P.P.O and Kalean

The Dutch label Balans Records returns with it's twenty-first instalment to the series that have previously seen releases by Mike Parker, Drafted & ROD among others. This time Darko Esser's imprint presents a collaboration between Z.I.P.P.O and Kalean, under their 3KZ moniker. Having previously released on Z.I.P.P.O's Fides imprint, 3KZ now bring their powerful four tracker 'Not From Here' on Balans Records.

'Not From Here' opens the EP with its flowing grooves & eerie pads to create a beautiful techno track followed by 'Nature Of Motion' that offers an astral like immersion to the listener with its haunting melodic rhythms. On the flipside 'Circles' & 'Times' switch up the vibe in a more intense & playful mood, resulting in a finely balanced EP of atmospheric driving techno.

early supposrt
Luke Slater
'Great, thanks.'

James Ruskin
'Nature Of Motion for me, thanks!!'

Marcel Dettmann
'Thanks.'

Kristian / Ame
'Thanks.'

Rolando
'Wow killer stuff here, all tracks are dope!! Nature of Motion is my fav, great work!'

Dj Pete
'Great Italian Detroit techno.

Etapp Kyle

'Thanks.'



Sigha

'Lovely vibes, full of soul.'



Nuno dos Santos

'Beautiful release!! Love all tracks and thats pretty rare.'



Jeroen Search

'Go 3KZ go! A2 & B2 for me, very cool stuff!'



Ontal

'Thank you!'



Orde Meikle / Slam

'Thanks.'



Eric Cloutier

'Another beast of an EP from 3KZ & its always good to get a Balans promo.'



Kr!z

'Nice one, full support.'



Monika Kruse

'Great floating techno, love it!'



Arnaud Le Texier

'Not From Here & Circles for me, thanks.'



Jeff Rushin

'Cool release.'



Jeff Derringer

'I like it, good stuff!'



Mr. Jones

'Nice vibe on this EP. Like the energy and drive in Times.'



Leghau

'Great release. I really like A1, thank you.'



Robert Lamart

'Nice tracks, thanks!'



Angel Molina

'A side for me here. Great, timeless Mills-esque techno stuff, thanks.'



Mareena / Tresor

'Another winner by 3KZ, thanks guys. Holy shit, that ambient tune!!'



Phone

'Total support.'



Limo

'Love these guys, thanks.'



Joseph Capriati

'Downloading for Joseph Capriati, thanks!



Richie Hawtin

'Downloaded for Richie Hawtin.'

Last years SVS residency took place in Budapest at 4DSOUND's 'Spatial Sound Institute', where SVS artists from LA, NY, Osaka, Seoul, Berlin, London,Tel Aviv and Munich worked for 10 days preparing a showcase on the 4DSOUND system.During rehersals for the Showcase, Bartellow alias Beni Brachtel met Grun alias Daichi Furukawa During three long nightshifts, the tracks emerged out of a continuous great vibe. Always joined by several artists from the SVS family, it became the soundtrack for a very special event. First pressing comes with limited 24'x36' sized hand folded poster and silver sticker. - Beni San and Daichi San will play a release tour through Japan in April.-Exclusives sales on April 1st at the independent label market in London-Early support by Renaat from R&S and confirmed reviews on Tsugi, Thump + more to come

Hell Yeah is proud to present a new EP from an artist that has been on their radar for a while. That artist is Napoli's Quiroga aka Walter Del Vecchio, the Italian DJ and producer who also runs his own Really Swing label and has been given props by the in the know Test Pressing blog, as well as having all his tunes dropped by
Balearic Gabba Sound System at every opportunity.

One of the finest talents to come from Italy in recent times, Quiroga cooks up hypnotic and trance including sounds from a myriad of diverse influences from opiate jazz to shuffling funk beats, from shifty landscapes to library music.

First up is Viaggio a Tulum, a perfectly loose and jumbled mix of sunny vibes, feel good chords and clipped vocals full of soul. The sort of thing that has you day dreaming of lazy afternoons and drunken BBQs, it's perfect example of Quiroga's efforts style.
Non Dire Notte—featuring Acido and ReallySwing act 291Out members Luca "Presence" Carini on electric bass and Vincenzo "Warren" Ciorra on electric guitar—is even more lazy and elongated, horizontal and blissed out. Twanging guitars off set pixelated synths, squelchy chords and Afro signifiers bring the heat and overall you cannot fail to get lost in the groove.

Prati Bagnati is a serene ambient interlude that feels like laying on your back and looking into a deep blue sky and second ambient cut Bava is more textured and intense, with shifting drones and muffled voices bringing a sense of filmic unease to the table. Overall, this is a perfect window into Quiroga's most intoxicating musical world.

Support by Alexis Le Tan, Aficionado Djs, Coyote, Ibiza Sonica, Reza Athar, Gonno, Noema, Fabrizio Mammarella, Riccio, Bill Brewster, Private Agenda, Soft rocks, Tim Love Lee...

germany-via- artist osker offermann, the owner of leading label white presents us a quality dou-bled package on the mule, strongly effecting his meditated mindsets.
as well as his dj sets, his crafted productions have a superb balance between being not too exces-sive, but not being too minimalistic -

creating the dynamism which make people move, based on his own aesthetic featured with well-polished, functional electro phrases and raw machine beats.
because of its floating grooves, will be nice for club use, but also surely will be a good accompany for the home-listening. oskar continually points forward us the fact, that listening to deep house is no longer meandering journey, but something meaningful and fruitful in your life.

As we gradually build toward the release of Rebekah's debut album on Soma, the hard hitting DJ/producer drops her 3rd single in the shape of the Code Black EP. Rebekah is on somewhat of a frenzied run of form at the moment with not only an exhaustive touring schedule but a slew of releases that stand as a testament to her dedication to Techno.

Title track Code Black hits the ground running with ice cold percussion and thunderous kicks running the show before a more jacking vibe is introduced backed by some seriously perilous pads. Disaster looms even more as Relapse Paradigm tears in next with clunking beats and straight percussive workouts as screeching synths and hooks give an overall foreboding atmosphere. X Confessions closes out the EP in no less vicious terms and Rebekah sets out on the warpath utilising pulsing rhythms and calamity inducing sequences to really rip into the dance floor.

After sending out these tracks last summer and getting great reactions from DJs and dancers alike, Hell Yeah is pleased to finally officially release virtuoso musician Verdo's Little Blue EP, complete with a remix from Lauer. Fully remastered for vinyl, the likes of Lexx, Chris Coco, Soft Rocks, Leo Mas and many more have all be playing these tunes with great results.

The talented Verdo runs the famous Gratis Club in Senigallia on the Italian east coast. It is a place he calls home, and that has really allowed him to hone and sharpen his DJ skills so that now he is a slick, unpredictable and singular DJ with many tricks up his sleeve. Bjorn Torske, DJ Fettburger, Prins Thomas, Kenji Takimi, Glenn Underground and more have all played there in the last decade and Verdo himself is a skilled pianist who has played for Zero7 singer Mozez in the past. He has worked with Hell Yeah before now, as well as releasing on Danny Was A Drag King, and here serves up his biggest bit of dance floor dynamite to date, including his previously digital only cut 'Big Fish' (mixed by DJ Rocca).

Opener 'Little Blue' is a perfectly sunny track with hip swinging claps, bobbling bass and boat party vibes that soothe your soul. Rich with instrumentals and golden synth lines, it's a perfect beat that gets followed up by the retro disco pump of 'Sazerac', another tropical cut with loose drums and rubbery bass to get you up on your toes.

The massive 'Big Fish' then hits hard with its tin pot percussion and wild synths all making you flail your arms like you just don't care. Jumbled jungle vibes and big chords all swell your heart as your feet skip about down low.

Closing out the package is Phillip Lauer (Tuff City Kids), one of the most in demand stars of the day, and his version is a direct house jam with percolating and rugged synths and slapping hits, all demanding you ditch your cocktail and get up and groove.

"all good stuff here! OG for early / mornings and Lauer for peak. really nice release! " Piers - Soft Rocks

"Big fan of Verdo! great tunes here as expected. Sezarac fav at first listen." - Dream Chimney

"Little blue is super nice!!" - Phil South (Golf Channel)

"Yes, some great stuff here. Sezerac and the Lauer mix are really great, perfect sunshine session material." - Chris Coco

"I love Big Fish's keyboards! strong!!! Arigato!!!" - Chida

"Little Blue and Big Fish are fun for sure, def will play em on a rooftop sooooon" - Jacques Renault

"Yeah, feeling Little Blue, heavy rotation this Summer! " - Jason Boardman (Aficionado)

"Little Blue, i like." - Lexx

"This is tremendous. Driving peak time track that you can imagine Joe Claussell really working the dancefloor with." - Andrew Pirie

"killer ep guys!!!" - Discodromo

After 3am Recordings' return to 12' in March 2016, which straight into the Juno Deep House Top 10, it's time for label boss Al Bradley to unleash his own 12". The original of Night Owl has been working like a charm - a deep & bass-heavy affair, coming on like Franck Roger or Djebali wearing their slightly more chunky-vibed studio hats (or something.....). Pressed For Time main dude Goshawk, tweaks his remix taking the cue from the original bass into key-led deepness, with added percussion elements & warm vibes ago-go. Fellow 3am geezer Michael Scott takes a real diversion & strips things right back in freaky trippy minimal style, reworking the vibe of the track completely. Closing the 12", fourfourfour heads into Berlin electronic territory, shifting the focus to the main percussive section & coming out with a massively powerful yet stripped back beast of a remix. Serious damage incoming....

End of February will see Luciano continue his newly launched Basaec imprint with 'Saved & Slaved', a two-track release featuring collaboration with Argenis Brito. Swiss-Chilean producer and DJ Luciano has been at the forefront of underground electronic music for quite some time now, heading up the infamous Cadenza imprint and releasing material for some of the industry's leading labels such as Perlon, Desolat, Cocoon and Poker Flat amongst many others. Here we see Luciano back on his recently launched Basaec label, delivering some of his signature stripped-back, dynamic and emotive material 'Lost In Lymbo' takes the lead and sees Luciano offer up a typically intricate twelve-minute excursion with subtly modulating and evolving percussion, spiralling synth swells, sporadic vocal chants and a smoothly unfolding aesthetic resulting in an archetypal and intriguing production from this forever forward-thinking artist. The latter half sees Luciano paired with fellow Cadenza artist Argenis for 'Pato's Track', stripping back the vibe to a raw cowbell and rim shot percussive-led state whilst lumpy subs, vocal murmurs and subtly unfolding flute like melodies ebb and flow throughout the composition.

Breakbeat Paradise Recordings has teamed up with The Chosen Few Records to proudly presents the latest escapade of TURNTILL & MERLIN: "BREAK A DAY". This tune is dedicated to all the b-boys and other funkateers worldwide that love the drumsound and the funk. The MCs on the song are DOPPIA ERRE from Apulia, Italy and SKY 189 from Capetown, South Africa.

Both are true Hip Hop heads that love the art of breaking! In the hook you hear the sweet, catchy voices of Stella Baraldo and Dominique Bouvier. A real powerful b-boy anthem and club joint alike, which is interpreted in five additional versions on a six track 12" vinyl release.

Guests on the A-Side are DJ KID STRETCH (Greece), FUNKY BOOGIE BROTHERS (Belarus) who is giving the tune a new flow in the oldskool b-boy direction. On the flip side we have invited some of the very best from the Ghetto-Funk scene to give the tunes an injection of electro vibes and big basslines. For this job we called upon the dream team DUBRA X ARTEO (Latvia) and ghetto funk superstar B-SIDE (United Kingdom) who are always armed to the teeth with big beats and electro basslines. Last but not least we sent for a true veteran and pioneer in the Nu Funk scene QUINCY JOINTZ (Germany) to do his thing on the electro side of this vinyl release.

The funky beats and breaks has once again brought people together from all over the world to collaborate on this big release that not only tips the hat to the b-boy community but also pushes the limit to the new eras of funk music. Something we share the vision for and feel strongly about on both Breakbeat Paradise Recordings and at The Chosen Few Records.

Hailing from Japan, Iori Wakasa is a name that has been gathering a great deal of hype over the past few years - and with good reason. Having built up his skills as a majorly talented DJ in Tokyo spinning a wide range of sounds and styles, his reputation continues to grow at pace thanks to a string of amazing releases on labels such as Highgrade and WirSindEins in recent years - not to mention strong support by some of the scene's biggest names. Here he proves what all the fuss is about - a stunning three track EP on Steve Bug's Dessous Recordings. 'Be There' starts things off right - uber deep vibes throughout, with bubbling synths and spacey effects, all tied together by a hypnotic Chandler-esque rhythm track. 'Give Me' continues the vibe, deep and jazzy chords punctuate the shuffling rhythm and trippy vocal samples add a layer of wonkiness that will see this get a lot of attention. 'Feel It Dizzy' strips things down a notch, a bass heavy dancefloor filler with dubbed out percussion, effects and vocals snippets. A triumphant EP from Iori Wakasa - truly one to watch.

Newly launced Samo Records is setting out to explore the depths of the dancefloor by celebrating the darker, moodier facets of electronic music.The NYC label's first release comes from Pixelife (Sean Dack), a highly accomplished visual artist and veteran of NYC's underground. In addition to releasing on such respected labels as Throne of Blood, Horn Wax, and Let's Play House, he also makes up half of GHOST COP, a band known for its textured synths, iconic vocals, dissonant beats, and captivating live sets. Incorporating the same expert sonic-layering techniques he employs in his live analog sets, he's created a dynamic EP that's both intimate in feel and broad in scope.'Omega Block' stomps out of the gate, all driving rhythms and throbbing basslines with an underlying element of frenetic foreboding — aptly reflecting these geopolitically tense times, while still remaining suitable for losing yourself on the dancefloor. The track gets the remix treatment by Bristol, U.K.-born, Berlin-based Antoni Maiovvi, a self-described 'electrodisco horror mindmelt DJ/live performer/film composer' who heads up Giallo Disco Records with Vercetti Technicolor. Here, he trades his trademark horror elements for successions of staccato beats and a stripped-down sensibility that successfully translates to perfect late-night-at-a-warehouse vibes.Chimeras in the Matrix' soars with gorgeous dystopian melodies overlaying squelchy undertones, revealing labyrinthine layers and anxious crescendos before building to a full-on acid frenzy. Producer/remixer/DJ Tronik Youth (who, like Maiovvi, also hails from the U.K. and currently lives in Berlin) is co-head of the prolific (averaging nearly a release a week in 2016) NEIN Records, which he founded five years ago with Ian Considine; the label has released music from the likes of Rodion, Curses, In Flagranti, Heretic, Man Power, Daniele Baldelli, The Emperor Machine, and Moscoman, to name but a few. He is also a member of Permanent Wave, a spooky, pitched-down, dark-wave-inspired disco project with French singer Justine. He brings a chuggy, bleepy edge to his take on 'Chimeras in the Matrix' with bouncy rhythms, multiple breakdowns, and echoing robo-vocals, taking the original's intensity down while upping the dancefloor quotient.

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

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

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


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

Jerome Meyer AKA Von D is a master craftsman, well-known for releasing dubstep and bass music since 2009. On an increasingly prolific trajectory since last year, recent 12's on Infernal Sounds, Trojan Audio and Scotch Bonnet have signaled his renewed focus on dubwise productions. We are proud to say that Von D's Khaliphonic debut sees him fully committing to reggae and dub - in his words, going back to my musical roots.'

Politricks' is a masterwork, cut from the same living rock as the classic Cuss Cuss riddim, a simply huge bass and drum workout that is truly one for the ages. Politricks is an anthem for now, a call to avoid the dead-end of politics-as-usual and a warning to beware of the lies politicians tell to keep themselves in power - full of promises but changing nothing. Von D says that working with Don Cotti was very natural,' and their easy relationship is audible - the tune fits the vocal like a glove, and Cotti's instantly-recognizable singjay style gives even more gravitas to an already heavy track. The dub version spools out Von D's signature saturated echoes even further, and opens up spectral chambers of reverb that shimmer and glow.

The B side Ygrec' is an equally massive tune, just as compelling if more meditative and mysterious, coming in both one drop and power-steppers mixes for maximum versatility and vibes. Both tunes and their versions feature an incredibly robust, warm, human sound - one that simply can't come from machines alone - live drums, bass, and kete drum among other instruments maintain the tradition of live musicians in dub - to say nothing of expert desk-based mixing and deployment of live analog effects the way the elders intended. Both tunes dial in at 140 making them perfect for roots and dubstep selectors alike.

Von D got his start as a drummer and engineer outside Paris, in the heady days of original jungle. Early releases on Disfigured Dubz, Hench, Boka, Black Acre and the seminal V Recordings, as well as his reggae-oriented Liquid Wicked project, cemented his reputation. Don Cotti is a prolific producer, DJ and MC with releases stretching back to 2006 on labels as varied as Bass Face, Studio Rockers, and Soul Jazz.

Mastered by Lewis at Stardelta. Art & design by Polygon Press.

Singer, Producer and DJ Seven Davis Jr returns to his underground Soulful and House roots while fusing flavors from various eras in this uptempo sophomore album. "Live From The Other Side", plays like the soundtrack to a lovely weekend with visual designs inspired by underground festival culture and contemporary art. Dedicated to his fans, Sev hopes this album will conjure up good vibes and enhance sessions, from living room to club, for generations.

TS07 is the 4th EP of the TONE SERIES project and in line with the previous three releases TS08, -09 and -10. However, while MACHINE DREAM freezes you up with its winter grooves whilst on your way to the club, KEEP THE BOMB warms you up as soon as you get inside. Whereas MACHINE DREAM unveals shamanik percussions driving a tribal acid vibe with a big amount of pads that make the track ramping crescendo up, KEEP THE BOMB establishes itself as a major dance floor tune with its killer beast, cruising vibe and staccato voice percussion. With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, MACHINE DREAM and KEEP THE BOMB distinguish themselves from each other through their vibes and colours, although they remain in the same spirit. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality comes out of colours.TONE SERIES was born from the collaboration between late Villa's former bouncer (one of the most underground clubs of Berlin) Wolfram, French music producer, live performer and DJ David K, and LumièresLaNuit's co-founder and An der Grenze's founder.

After a considerable career releasing on numerous labels, as well as being co-founder of Essen based label Mild Pitch, Langenberg finally drops his first album under this alias. Max Heesen, (who is also one half of Ribn with Manuel Tur) delivers the smartly titled 'Central Heated House' for Steve Bug's Dessous Recordings. The LP format suits Langenberg's hypnotic house classicism well, allowing time and space to stretch out the grooves and moods over four sides of vinyl - working both for the DJs and perfect as a soundtrack for the autumn. The LP kicks off with 'Jade', a melancholic, tape saturated introduction to Langenberg's deep tastes. 'Room 210' maintains this atmosphere, with fizzing percussion and warm Detroit-esque melodies. 'Groove 26' is perfectly timed for the hot summer, as lush Rhodes chords and KDJ style vocal snippets provide the heat for the openair vibes. The single from earlier this year 'Shadows' features the talents of vocalist Blakkat, and caused some serious response when it hit airwaves and dancefloors alike. 'Never Worry' is a heads down roller, built around a simple but perfectly executed bassline, while 'Dreamliner' is trippy laidback sunshine house all the way. 'I'll Be Late' and 'Planitz Proposal' step back into the club, with Langenberg's signature crisp percussion, crunchy hits and analog synth wizardry on full display. 'Rain & Roses' closes out the album in a similar way to how it started wistful, thoughtful house music with soul.

Aussie rare groove ensemble Kerbside Collection's second album of instrumental funk and jazz grooves "Trash Or Treasure" (released May 2015) gets the remix, rework and re-use treatment with a variety of re-interpretations with everything from downtempo hip- hop/neo-soul and dusty analogue lounge beats, to fuzzy, Balearic electronic club workouts and even some broken beat flavours.Kicking off this limited edition 12" vinyl, AV artist/DJ/Producer Sampology lights up the sitar disco vibes of "Strawberry Fields" taking the track into sizzling Balearic, club work-out territory with added afro percussion, squelchy wobbles and effects, perfect for summer festivals and hazy end-of-night vibes. Vinnie Laduce's follows with his cruisy vocoder and lo-fi indie beats reconstruction of "Shake 'n' Bake", while another local Brisbane producer TwoDee (who also appears on "Mind the Curb" remixed) delivers an eighties, electro break flavoured re-work of 'Rabbit Hole'.Side B starts JNBO (The Cactus Channel bass player) and his unique wonky, analogue and quirky touch to the title track for a fuzzed out, analogue electronics burner for fans of Floating Points, Cro Magnon, Dabrye and Dimlite (bounced to tape no-less for added bump!). Closing in on this special vinyl is Kerbside's drummer Paprika who takes the coastal groove of 'Bogangar' to the afro side with his 'Mountain Air Afro- dub', recreating a low slung, Tony Allen styled afrobeat groove with added melodic movements and dubby effects, while he adds another remix taking "Trash Or Treasure" into future jazz/broken beat territory with added percussion, moog bass and a surprise heavy change up at the end, almost reflective of some classic Fat Freddy's Drop!

Gerd Janson and Phillip Lauer are creatures of habit. Every week, the two club veterans meet up at Phillip's studio and spend an entire day making tunes. And while Gerd often likes to joke that his role in the arrangement is limited to making coffee and looking at his cell phone, it's clear that the two men have forged a potent partnership, one that's been responsible for an astonishing amount of dancefloor heat over the past few years.

Incredibly, this German pair has managed to maintain a relatively low profile, despite the steady stream of music they've released via well-respected labels like Unterton, Delsin, Internasjonal, Permanent Vacation and Live at Robert Johnson. And then there are the remixes—Azari & III, Scuba, The Juan Maclean, Fort Romeau, Avalon Emerson, Massimiliano Pagliara and Sinkane are just a small sampling of the artists who've enlisted Tuff City Kids to work their studio magic.

Throughout it all, there have been whispers of a proper Tuff City Kids album, and now that Adoldesscent has arrived, it will be all but impossible for the duo to linger in the background. After all, the LP is anything but shy—thanks in part to hooky vocal turns from the likes of Annie, Joe Goddard, Kelley Polar and Jasnau—and even the album's instrumental cuts feature some clear nods to various eras of dance-pop, from the boogie-inflected funk of 'Wake People' to the breakbeat techno of 'Boilered' and the tweaky rave nostalgia of 'Nordo.' Elsewhere, first single 'Labyrinth' is an infectious bit of new wave, while the guitar-driven 'Scared' recalls the gloomier side of '80s pop and 'Tell Me' is perhaps the record's most playfully soulful moment.

DJs will likely gravitate toward the darting strings of 'Aska' and breezy vibes of 'Farewell House,' yet Adoldesscent isn't entirely focused on the dancefloor. Dreamy opener 'Ophmar' evokes the legacy of John Carpenter, while the crunchy 'R-Mancer' offers up a sort of psychedelic synth freakout.

Much like the Tuff City Kids themselves, Adoldesscent isn't about any one style or sound in particular. It is, however, a cohesive effort, along with proof that the different corners of the electronic spectrum have a lot more in common than we'd all like to admit. More importantly, it's a whole lot of fun, and isn't that what dance music is supposed to be about anyways

The next volume of Wonderwheel's long running Turntables on the Hudson series, curated by Nickodemus, heads down to the Caribbean encompassing diverse music made for the dancefloor. TOTC touches on the culturally rich shores of Cuba, Puerto Rico, Haiti, Jamaica, Belize, Mexico, Colombia and the USA and beyond with Island inspired vibes.

This double 7" taken with our favorite cuts from the compilation features tracks from DJ Jigoe, Captain Planet feat Chico Mann, Corrado Bucci, and Poirier. On the A side, Afro Cuban artist and recent US & UK Press Darling DJ Jigue gives us the stripped down, Cuban house stomper that is "RIVE", while on the B side Italian producer Corrado Bucci teams up with the classic Columbian group Los Corraleros de Majaguel for a brand new modern take on their Cumbia classic "La Cuidad De Eterna Primavera". On the C side, Captain Planet & Chico Mann's tropical AfroLatin dancefloor smash "Aguacero" finally sees vinyl release, while on the D side, Montreal producer Poirier delivers a jumping Haitian/Creole tune "Pale Mal" with Fwonte on vocals to round out the compilation.

The next volume of Wonderwheel's long running Turntables on the Hudson series, curated by Nickodemus, heads down to the Caribbean encompassing diverse music made for the dancefloor. TOTC touches on the culturally rich shores of Cuba, Puerto Rico, Haiti, Jamaica, Belize, Mexico, Colombia and the USA and beyond with Island inspired vibes.

This double 7" taken with our favorite cuts from the compilation features tracks from DJ Jigoe, Captain Planet feat Chico Mann, Corrado Bucci, and Poirier. On the A side, Afro Cuban artist and recent US & UK Press Darling DJ Jigue gives us the stripped down, Cuban house stomper that is "RIVE", while on the B side Italian producer Corrado Bucci teams up with the classic Columbian group Los Corraleros de Majaguel for a brand new modern take on their Cumbia classic "La Cuidad De Eterna Primavera". On the C side, Captain Planet & Chico Mann's tropical AfroLatin dancefloor smash "Aguacero" finally sees vinyl release, while on the D side, Montreal producer Poirier delivers a jumping Haitian/Creole tune "Pale Mal" with Fwonte on vocals to round out the compilation.

Poker Flat Recordings deliver another killer collaboration, this time between Berlin's youANDme and The Analog Roland Orchestra. The result is Reflection - an EP containing more than its fair share of pure dance-floor moments. The Analog Roland Orchestra is Michal Matlak, the Berliner whose intimate knowledge of dance music's most iconic machines has made him a much-in-demand producer and remixer. Teaming up with party starters youANDme as well as vocalist Black Soda, the title track of this release explores deep vibrations, merging 303 basslines, crisp 909 programming and a highly effective vocal. The Dub Tool reworks the vocals into a more spacey arrangement, adding atmosphere for DJs who like to keep their sets stripped back and trippy. The Hyenah remix flips the script and develops a deep afro-house inspired cut - the man from the Caymen Islands developing an irresistible groove stretched out over seven and a half minutes. The Acid mix gives an opportunity for the guys to get busy working the 303 to its full (un) natural potential, while the Morning Light mix locks into a cosmic vibe - shimmering synths over a smooth, rolling deep house vibe.

Chicago Basement Trax returns with an homage to the king of the raw himself Ron Hardy. Those that experienced Ron Hardy first hand will tell you there was a vibe like no other. A minimal space with strobe lights and a bangin system. If you put your hands on an EQ or isolator as a DJ thank Ron as being an innovator of this creative style of frequency manipulation. Not only did Ron drop the bass, he dropped whole songs to expose the beautiful crispy hi hats, vocals and then romanced you with the piano before slapping your whole body with the beat. This ep does it's job to take you there, just close your eyes and blast off!

TS08 is the 3rd EP of the TONE SERIES project and in line with the previous two releases TS09 and TS10. However, its two tracks HAWAIAN JAM and 24 BAR PER DAY present rather refreshing grooves, right on time for the summer.

HAWAIAN JAM makes you feel like in a Jeep, driving around the Hill of Mauï while looking at the best waves. And whereas HAWAIAN JAM follows the rythm of cutting edge and caraibian slide guitars with a touch of reggae, 24 BAR PER DAY unveals jumping drums and druggie pumping sounds surrounded by bitchy voice cuts.

With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, HAWAIAN JAM and 24 BAR PER DAY distinguish themselves from each other through their vibes and colours, although they remain in the same spirit.

TONE SERIES was born from the collaboration between Villa's former bouncer (one of the most underground clubs of Berlin) - Wolfram, French music producer, live performer and DJ - David K, and LumièresLaNuit's co-founder and An der Grenze's
founder - Edouard. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality
comes out of colours.

Londoner Endgame is a new addition to the Hyperdub roster after releases on Lisbon's Golden Mist Records, and NYC-based Purple Tapes Pedigree. Endgame hosts an excellent monthly show 'Precious Metals' on NTS and produces and DJs as part of the Bala Club crew (also featuring Uli K, Kamixlo and Rules) who are regulars at Lexxi's occasional club night 'Endless'. He already has mixes and features with the likes of the Fader, Fact, Dazed and Confused and ID under his belt in the short time he's been releasing music. In his ice-cold productions, Drill, Grime and most notably South American dance riddims are threaded and mutated into tracks that he describes as an ever-evolving vision of the dystopian underbelly of London. 'Felony Riddim' is an icy introduction to the EP, an explosive club jam with a menacing and stabbing chime melody leading up to a pounding kick drum. It's all out war, but you can definitely roll your hips to it. 'Sittin' Here Redux' recasts Dizzie Rascal's 'Boy In Da Corner' opener into a tense anthem, with police sirens wailing in the background, dogs barking, and rolling 808 snares that bring a vibe somewhere between reggaeton and drill. Next up is 'Fallen' featuring the MC Organ Tapes - a slow burner that works both as a moody headphone track or a club slow jam. Organ Tapes' slurred autotuned vocals flow perfectly with Endgame's blend of grime drums and chiming rap production. The EP finishes as it began, going out with the explosive and high-energy 'Toxic Riddim'. It's a mix of reggaeton and futurist dancehall, with a menacing melody and relentless electric shock-like hi hats across a deep sub. Endgame takes you all around the world - but the ice-cold tone unmistakably brings you right back to winding in a dark club in London's culture clash

MONDO DISKO club has been, for over the past 16 years, the flagship for discerning electronic music lovers and dancers in Madrid. With a loyal and enthusiastic crowd and a booking policy that combines a selection of solid resident djs alongside a list of high quality international artists, creating a record label seemed to be the most reasonable step to follow..

MONDO DISCOS is born as an extension of the club, with the sole intention of bringing to light musical projects that excite us, projects with which we feel particularly identified.

For our first reference, which we found particularly important as it will set the tone, we have a very special and mysterious proposal called MENTHO. This is the brand-new side project of a well known house duo that wishes to remain anonymous for now, and wanted to dig deeper into their more experimental side

Teo's Sock consists basicaly on a mix of electronic, experimental music, halfway between mental electronic vibes and instropected techno. Polirithmic and intrincate patterns with an afro sounding background, deep and moody synth work and an overall endless melodic vibe.

Nick Höppner returns to Ostgut Ton after last year's Folk album and a split release with Fort Romeau (Cin Cin, 2015). The Fantastic Planet EP sees him collaborating with Japanese DJ and producer Gonno on three bouncy, clubenabled tracks, steeped in early 90s House and UK Electronica vibes.
Höppner met Sunao Gonno on his first travels to Tokyo in 2008 where they clicked immediately: A similar musical upbringing from Post Hardcore to club music paved the way for Gonno and Nick where the language barrier would've been a stumbling block otherwise - firstly as a foundation for a personal relationship, later for an ad hoc three day stint in Höppner's studio when Gonno visited Berlin for his DJ debut at Panorama Bar. Despite the limited time together, all three pieces evolved from initial jams and sketches to tidied up tracks, not only sharing a resembling emotion but also playful and detailed musical elements.

Spocking Fivers' on A opens on a more jazzy and breakbeat note, with snapping fingers, various synth pads and percussion slowly building layer upon layer, up until a warm kick, some gentle melody and bubbling sounds take over. It's a grower, in terms of running time and track development.

Fantastic Planet' on B1 comes with a strong, continuous 4/4 bassline and organic percussion from start to end, further on dominated by hypnotic melody stabs and a swelling climax - a muscular yet detailed piece. Finally As Above, So Below' follows more romantic and dreamy motifs, by using a more mellow downbeat theme it lets all squeaky sounds mesh nicely.

The debut release for Kalyma on connected - The Brixton / Berlin based label
A1 'LayDown' original Kalyma teams up with his friend, singer and songwriter Peter Stanowsky. The song was written during a relaxed and loose jamming session in late summer time at their home studio.The vocal performance is surrounded by a groovy and very percussive beat. After a long, calm intro a hypnotic bass melody kicks in together with more percussive elements in order to get up to full speed. The catchy bass combined with the repetitive vocals gets the listener in a driving,
rhythmical, dreamy mood 'Lay Down' was made to enable smooth transitions in the dynamic range of a diverse house DJ set, without loosing energy and create a special intimate, percussive vibe
A2 'LayDown (Florian Busse Mix) A hypnotic ping pong tom groove that gets heavier with the introduction of a lazy distorted bassline.
Provides an easy ride for the vocal to entwine with as the music elevates with the rise of snake-like synths B1 'LayDown' (Aaaron Vinyl Exclusive Mix) With whiffs of Kraftwerk-like electronics and a rolling percussive underscore , Peter's vocal bounces across the ever changing groove helped by rhythmic stabs and mysterious drones as the groove gets minimal and sequences motor to the end .
B2 'LayDown' (Aaaron Mix) A driving ,solid, nailed to the tracks club groove with exotic sounds peering through the sonic picture in a deep subtle carnival celebration.
The vocal talks to us without interrupting the movement as bass synths juxtapose to the rhythm and electronic percussion punctuates the atmosphere,absorbing us into the tune.

BodyTrax drops it's second EP of 2016 with another essential 3-tracker from Bodyjack. Laugh It Up opens things up and we are in vintage Bodyjack territory from the outset. Rough (and we mean rough!) beats and percussion, vocal hook and a metallic riff combined with possibly his ugliest bass line to date to make this an essential addition the bag/crate of any house DJ. Slow Clap strips things right down to just drums and bass taking the track into even more raw areas. Warehouse vibes! The title track I'm Here All Week on the flip is one of those simple but infectious house tracks that you're going to remember after a night out. Once again, our man's synth n' bass work duck around those sharply programmed beats he's know for to round off the EP with a bang.