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Formed in 2007 by Jakob Seidensticker, Florian Schirmacher and Henrik Raabe, Wareika was accidentally gathered on stage for the first time at Hamburg's mythical Mojo Club. Since then, the german trio has built a very singular sound signature after a decade of playing together. Revealing the diverse influences and musical educations from all three individuals, the band's discography has been built over a solid live experience. Being academically trained in Jazz and Classical but also self taught through electronic music, Jakob, Florian and Henrik are able to sing, play guitars, drum machines, pianos, synthesizers, bass, percussions and way more. Concocting their stylistic blend with meditative Jazz, hypnotic Dub, meticulous Techno and subtle House, it leaves no surprise as you think about the high level of versatility of Wareika's musical spirit. Calling from King Tubby, Sun Ra or afrobeat master Fela Kuti, they develop a dazzling kaleidoscope of melodies and polyrhythmic patterns over four to the floor beats that is entirely unique in the electronic music scene. When it comes down to live gigs Wareika is putting a stress on quality and delivers an outstanding sound. As a trio of singular performers the band jumps on stage without computers, setting up an improvised dialog based on their original material but always handing over a unique piece taking form in the moment. Jakob Seidensticker on MPC arrangements, drum machine sequencing and mixing, Florian Schirmacher on vocals, synthesizer, percussions and Henrik Raabe on guitar, synthesizer and percussions, the trio holds the mastery of enhancing a crowd with a multitude of tools and elements, sometimes for more than four hours. Also occasionally rendering live versions of their own full-length releases, they always cross borders of their studio work to unfold their creations into a whole new level.

Lockjaw introduces his upcoming LP 'Human Research' with the release of the 'Human Research Sampler EP' on Locked Concept. A longtime curator of adroit, technical drum & bass through his Locked Concept imprint, Lockjaw now steps to the foreground, revealing four tracks from his forthcoming album that exemplify a continued dedication to this guiding principle, whilst displaying his expert abilities across an eclectic array of tracks that give a tantalizing taste of what is to come from the full LP.

The titular 'Human Research' opens with glistening chimes and a pensive drone, quickly joined by a wandering bassline that sweeps through the shadowy milieu of the track's opening, winding its way forwards amongst a series of increasingly sharp and distorted pulses towards the track's main section, where the combination is joined by a frantic drumbeat that rushes forwards with single minded determination.

'Without You' bears a tangible nostalgia, its opening drums carrying a classic, rave inspired piano riff and vocal reminiscent of an earlier era that reaches its climax amongst rising saw stabs, before locking into a dynamic bassline groove still rippling with the same jubilant energy introduced at the track's beginning.

'Velveteen' features the vocals of QUAILS, who provides an ethereal verse that daydreams about possible affection over soft, floating keys and a pulsating bassline, which drift aimlessly until the track grows with excitement in the second chorus amongst rising percussion & desirous guitar. 'Second Chance' considers the prospect of beginning again, as its sweeping pads grow from muted beginnings to produce an originally subdued drumbeat which exudes a humanizing growth in confidence that waxes as its complexity increases, with a rolling bass and stirring percussion introduced alongside wistful pads still wary from the outcome of the unspoken first attempt.

With the 'Human Research Sampler EP', Lockjaw, demonstrates in brief his unique ability to bestow deeply human qualities to his musical productions across a wide array of tones. In debuting these four sample tracks, he issues firm assurance that the forthcoming 'Human Research LP' will be no less mystifying as its researches the condition of humanity and the emotions most central to it.

Master of snare disaster "Limewax" strikes back hard again on this huge 4 track EP on PRSPCT. Delivering all things great this disturbed but brilliant producer has to offer. Drum & Bass for the freaks and outcasts that crave for more then just a rolling beat.
2 solo tracks + 2 collabs with the likes of L 33, Switch Technique, Dieselboy and Thrasher. Did we mention this release is huge Hell yeah we did! Well it's a good thing as its double huge anyway!

All Hail Limewax and HouJeKKMuil!

Depth.Request sees a new hat being thrown into the techno ring. The hat in question is the label's first EP Anvil—a post-tech five-tracker, and the person throwing it is Blasted—an Italian producer with a number of solid EPs to his name. Having had previously shared release credits with him on a number of occasions, Berlin's renowned noisemaker Unhuman fits into the picture as well, being the one charged with remixing duties regarding the titular track.

Setting common tact aside for a moment, the opener showcases Blasted indulging in esoteric inclinations by the means of concentrating on slick, abrasive sound design, cutting the number of kicks in half and utilizing a vocal sample to add a pinch of EBM into the mix. Unhuman's slowed-down rework in turn evokes gears' incessant grind at the backdrop of steam pressurizers going up and down in alteration, producing arrays of heavily plodding, whamming kicks. Breaking free of esoterism and leftfield production, the EP continues with Jawbreaker—a peak-time affair wherein the lows are ravaged by constant sub-bass pressure and ruthlessly striking, syncopated kicks, laid under the neatly-synthesized, impenetrable hats, pertaining to Blasted's signature sound. On Filthy Goat, the assault continues with a renewed strength as anxious synths and panning hats gradually invade the scene shortly before the devastating kicks storm down in a hail of obliterating projectiles, creating a battlefield-evocative environment within this decimating, explosive stomper. Lastly, demonic closer Belial bids its fair digital-only-money's worth of adieu with magnificent ambiance interwoven within the spectrum alongside meticulously arranged drumwork presented through plethora of varied, carefully picked samples.

Solar Phenomena continues a high quality and high rate of releases after EP's from the likes of STL and Fluxion with a new one from Mystica Tribe - the musical alias of Tokyo-based producer, Taka Noda. Here he draws on everything from dub, soul, bass music, rhythm and blues and will always freak you out with his unusual sounds.

This excellently absorbing EP starts with Love Is All Right, a fusion of Asian percussion and reggae drums that is high tempo and funky. The bright steelpan sounds offset the razor sharp percussion and make for a sunny dub that will get any crowd going. The same fusion vibes continues but in more blissed out and slow motion fashion on 'Lawn Track', the beautiful cosmic psyche-out that is 'Ash' and supple space journey that is 'Voyage' with its intoxicating melodies and loose, tumbling percussion. This is unusual but essential music from an exclusive talent.

Raw analog engines sound, roaming around concrete paved roads. Hypnotic rhythms mixed up with dystopian sound spheres. A perfect blend of analog synthesizers combined with bowed double bass and drums. CHOGORI project a picture of retro futuristic complexeties, intriguing compositions manifested in a massive HEAT HAZE. Hailing out from Düsseldorf, composed by Ralf Stritt and Gregor Kerkmann with drum performance by Martell Beigang.

"The Room", Fenster's fourth album and their first release on Altin Village & Mine marks the beginning of a new chapter for the band. After releasing three albums, a feature length film, and touring extensively throughout Europe and North America since 2012, "The Room" serves as an entry point into their sonic evolution. The essential characteristic of the band is transformation - within and between genres, albums, and songs. Their sound is a window framing psychedelic, groovy, hypnogogic, playful pop.

Fenster is Elias Hock (Germany), Jonathan Jarzyna (Germany), Lucas Ufo (France) and JJ Weihl (USA). Their mission in creating this album was to compose and arrange every song together in a room. It is an experiment in collective creativity that pushed all of them to transcend their individuality and create something together which is greater than the sum of its parts.

The songs were tracked live in a house where the band ate, slept, and played together. Often the songs were recorded without implementing a click track. They were intent on finding and locking into a human groove—one open to imperfection—while still maintaining a tightness between them. They wanted to make the songs feel alive—as if the listener were present in the room with them in the moment of creation.

The album's title track "The Room" opens the record like a rollercoaster ride. There is a tension in the first bars that ties us to earth, a minimal riff that guides us to the first chorus where we feel we are slowly lifting into the air—and by the time we reach the second chorus it has exploded into a space far away from the planet's gravitational pull.

The band's use of juxtaposition is not just a way of channeling a vast library of musical genres and concepts, it is a means of expression. Combining tender pop melodies with kraut-beats, disco grooves and psychedelia frees the band from any one sound and creates a genre all its own.

This playfulness is especially vibrant in songs like "Rhythm A" and "HAHA lol" which deconstruct and fuse together disparate moments of explosive rock, tender harmonies, percussion made of splashing water, voices from a radio, and electric piano. Even "Feel Better", a sparkly pop ballad is cracked wide open by a long trippy interlude that appears unexpectedly within an otherwise classic structure.

The cover art, created by the band's own Lucas Ufo, invites us into a room in the shape of a human skull. If one looks "out" the window in the picture, one finds oneself looking in to an infinite portal of rooms within rooms. The record plays a lot with this idea of perception. In "HBW", the relationship between the bass and the drums creates the feeling of an infinity loop. The lyrics lend an enigmatic tint to the landscape of so called objective reality v. perceived reality: "I was a phase — you were going through — said I was the one but there is no one — there's only the sun — that gives shape to the moon"

The record starts with "The Room" and ends with "Two Doors". Maybe one door is an exit, and one leads to another room... who knows The song has something mysterious and expansive, like a digital ocean flooding the room, carrying everything away. The whole process of making a record is about capturing a moment in time. This is the record they made - in this point in time, all together, in a room. The last words of the record roll out with the waves: "What you leave behind for someone else to find — Two doors inside — neither one is right"

Tracklisting

'Garage bands suddenly obtain cult status and become the antithesis of their initial appeal'

Garage Class were a group of reluctant outliers who produced one of the finest contributions to the wave of UK DIY music that emerged during the late 70s and early to mid-80s.

Hailing from Alsager in North West England and comprised of Tim Shutt (vocals) Phil Murphy (lead guitar) Clive Williams (guitar) Lynne Sanders (bass) and Phil Bourne (drums / bass on studio recordings) Garage Class originally went by the name of The Pits before their then manager Steve Hurt imposed an alias which, though unpopular within their ranks, would nevertheless reflect the shambolic art they would eventually capture on their first and only single.

As The Pits the group offered a loutish inflection on glam-punk flamboyance, evoking Johnny Thunder hitting the north and remaining disowned yet undeterred in a dreary old boozer. But as Garage Class the group distilled a roughcast and homespun primitivism that felt quintessentially their own. In this they proved too unruly to be assimilated into any wider scene. Early gigs descended into acrimony and recognition proved elusive. Yet what they managed to make back then now sounds like an extraordinary article of underdog ambition.

Released in 1984, four years after it was originally recorded, the Terminal Tokyo single is an unlikely triumph of exceptional messthetic punk. Though raw and unpolished the songs here are precariously pop-minded and indisputably anthemic. The titular A-side reveals the dry and detached drawl of Shutt aka The Subliminal Kid, a sharp, jaded and poetic voice that has some of the most iconic lines never heard in punk. Accompanied by second-hand guitars, on-the-fly handclaps and a chorus like a terrace chant this is the cult hit that never was, a heroically artless masterpiece that has all the ragged character and misfit euphoria of Swell Maps and The Buzzcocks if they were more impulsive and boisterous, and left to their own devices in the remote margins of a Cheshire town. The original B-side is here substituted for I Got Standards, a track that, until now, has somehow remained unreleased. An ideal twin to Terminal Tokyo there's the same brusque and dog-eared quality to the band's delivery, as well as the same upfront emphasis on strong hooks and insistent momentum. Yet again, Shutt is on impeccable form, perfecting an inflated, adolescent antagonism that has all the sardonic, malcontented charm of similarly 'shirty' buggers like Dan Treacy (Television Personalities), Patrik Fitzgerald and Mark Perry (Alternative TV).

Although never accepted in their own time both tracks represent a brief but inspired moment of fervent imperfection, one that epitomized the best of a diffuse and autonomous underground movement spearheaded by The Desperate Bicycles and built upon by the likes of Amos & Sara, The Homosexuals, The Cleaners From Venus and Family Fodder. Like them Garage Class were situated at a point where punk, art, humour and a sense of stubborn independence all intersected.

In the years since Terminal Tokyo has accumulated a retrospective appeal among certain trusted circles, with Jon Dale celebrating the single in his exhaustive and essential Story of UK DIY for Fact Magazine, and original copies regularly changing hands for a foolish forty quid or so. With this inaugural release on the Outer Reaches label Terminal Tokyo is not only restored for the very first time but given a worthy expansion courtesy of JD Twitch (Optimo).

Continuing his own fascination with the fringe history of UK DIY - documented on his own outstanding compilation Cease & Desist: DIY! (Cult Classics From The Post Punk Era 1978-1982) and in his re-edits of Crass Records classics for an early release on RVNG INTL - Twitch reinterprets I Got Standards as an incisive, dubwise outing that pictures Jaki Liebezeit and Muslimgauze on a bender in England's provinces, tasked with remixing the raw product of local punks. A new slant on Garage Class' crude magnificence, built to play loud on contemporary soundsystems.

Although the latter part of 1980 spelled the end for Garage Class with members moving on to other projects (Bourne fell in with The Colours Out of Time, Murphy went on to front The Regular Guys and Shutt eventually left to form Happy Refugees) this reissue attempts to give their fleeting time together and the unique single statement they made the treatment it deserves. If this means Garage Class have obtained cult status, their initial appeal remains. Just listen for yourself.

* Drum and Bass pioneers Flex Record release their first Vinyl since the chart topping Ricky Force "Real Love/ Nice & Easy. The 2x 12" offered up here is an amalgamation of 2 years work, showcasing the worldwide talent involved in this unique package. Black Hole is uncompromisingly dark, with new and old flavours seamlessly interlinking, daring the listener to listen deeper and look into what the Black Hole contains.

* Kilim ' Dj Hype full support and play on Kiss. Welcome back flex - found this in my inbox from Mr LDouble'

* Emulations - Amen!. Younghead.

* New and Old tearing tracks love it the general vibe from mailing list responces. (62 direct responses in total)

Warehouse Find!

Scottish producer Austin Ato has been making waves the last couple of years having had well received releases on Futureboogie and Phonica White and this year looks to be his best yet! Remixes for Folamour on Classic, Balako on Greco Roman and an EP for Man Power's label Me Me Me will be dropping in the coming weeks, paving the way for his Delusions Of Grandeur debut double A side; Ella / Putting It In My Way.

On Ella we see Austin deliver some pure, unadulterated, house pleasure over eight minutes (although for us it feels like it could go on for days!). A filtering disco loop, synth melody, string stabs, all reinforced by punchy drums and that all important vocal chop. A simple recipe for a track when cooked up in the right way with love, passion and experience.

Flipping over to the AA, Putting It In My Way drops in somewhat bipolar fashion, a barrage of percussive beats and rolling snares building to a drop where Austin Ato skilfully switches the vibe completely, bringing in deep pads, rolling bassline and his own inimitable vocals. A totally unique track which harks back to the good old days when house music had a soulful and musical touch which connected instantly with the dance floor. This feels to us like a producer marking his arrival as an artist to watch closely for, and whose talent extends way beyond the confines of your standard four on the floor fodder.
Closing the release we have an Instrumental Version of Putting It In My Way which may well be your choice for the deeper moments, letting the groove push to the fore and the lush chords shine through the haze of dubby stabs and twisting synth line.

Roffa Sound is kicking off in style with a heavy soundsystem stepper which is guaranteed to shake up the dance. After enjoying the hypnotising melodies heard in the intro, producer Mystic Pulse introduces hard hitting drums and heavy bass whilst Black Omolo furiously sings about the daily pressure and tribulation put on by Babylon. For this very first release Roffa Sound has recorded a video clip as well, which we strongly recommend to check out on youtube. For those wanting less vocal but more echo should check out the version, which will be exclusively available on vinyl.

Donor, the Brooklyn-based artist, known for his releases on Stroboscopic Artefacts, Semantica and Prosthetic Pressings, steps up on Sublunar with a brand new EP. The record consists of three original cuts plus a remix from the key figure in the legendary 'No Way Back' parties and 'The Bunker NY' resident Patrick Russell.

'Identity Revealed' is the first track of the EP, a half-stepping creature clanking and booming like steelworks surrounded by a claustrophobic noise that increases in intensity during its development.

Patrick Russell, with his interpretation of 'Identity Revealed', raises the temperature level pushing even further the noisy elements of the track and its thick atmosphere while the bassline takes an unpredictable route becoming something sparse and syncopated.

On the B-side 'Lesser Forms' merges booming kick drums with finely sculpted industrial drones, everything is perfectly lined up until the last microscopic sonic detail.

'Forgotten' closes the EP, a tortuous path carved into glitches and twists where every broken beat hits with brute force and moves onward with a curious poly-rhythmic gait.

A year after his debut outing on the label, Max Essa makes a welcome return to Hell Yeah with the Han zon Roc EP, which is another of his impossibly laidback offerings.Essa is of course the long time UK talent who has become a part of the Balearic mafia thanks to releases on labels like Aficionado, Music for Dreams, and his own Jansen Jardin. This is the second coming together of artist and label and is another timeless excursion far out to sea.
Opener 'Han zon Roc (Midori Coup)' is an epic 12 minute adventure that slowly awakens your spirit with new age guitar plucks and heavenly ambience before organic drums slowly being to drift into earshot. They grow ever larger as synths start to spray about the mix, hand drums pitter patter and big chords bring the soul-shine. It's like the soundtrack to an afternoon boat party all condensed into one brilliant cut. 'How You Showed Me Everything' then gets super chill with lazy drum tumbles, bendy guitar lines and scattered hits. Withering cosmic chords colour the airwaves and its a track that will slow your heartbeat to nothing. Last of all, 'Rain Bird's Alfalfa Jam' is a analogue drum work out with early 90s hip hop influences and diving basslines. It's light and airy, nimble and playful and of course filled with the sort of tropical rays that make all of Essa works so brilliantly escapist.

Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .

Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.

Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.

- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.

Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).

Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.

Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.

Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Feedback - Web Web - oracle :

"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik

"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung

"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de

"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org

"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul

"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle

"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others.

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others

Fort Romeau & Ali Tillet's Cin Cin imprint return with another impeccable release that showcases fresh and forward thinking leftfield house for discerning heads and feet.  X.O.A., the London based multi-instrumentalist also known as Nick Tyson, collaborates with the electronic duo Wayward for two tracks.  'Koto' and 'Wayo Wayo' both fuse smooth percussive afro-house elements with tougher synth lines, each track encompassing energetic rhythms and absorbing melodies and lead lines.  

On the flip, DrumTalk follow up recent releases on Huntleys & Palmers and Permanent Vacation with a pair of machine driven, techno infused cuts par excellence.   'Ariel' mixes disco bleeps, loose drums and waves of vocal pads and arpeggiated leads that ecstatically rise and fall, and on 'Red Haze' we are treated to modulated drums and an infectious bassline that welcome in a myriad of sounds without ever losing the deadly driving groove that is the track's backbone.

Berlin-based producer SDX drops an album entitled 'Nocturnal' on Sophia Saze's Dusk & Haze featuring remixes from TXTRL founders 138 and Shipwrec producer SC-164.



Georgia-born, Brooklyn-based Sophia Saze set up Dusk & Haze to release 'genre-free' experimental music, exhibited in the label's debut release entitled 'Solace' EP featuring four versatile cuts from Sophia herself and twisted electro and techno remixes from Umwelt and Benjamin Damage. The second release comes
from the enigmatic SDX, a masked artist who's fiercely championed left-of-centre dance music for decades. Crunchy drums and a thumping bassline kick things off in 'MS 04' before Los Angeles duo 138 provide an outstanding remix incorporating a cacophony of raw breaks. Modulated flutters, warped blips and white
noise create 'MS 08', leading into the organic drums and off-kilter arpeggios of '007' until New York's SC- 164 reworks '007' delivering a pulsating sub and distorted vocal chops.

Drum & bass pioneer and Hospital Record's crown jewel Danny Byrd is back! He's set 2018 ablaze with monolith anthems 'Devil's Drop', 'Salute' ft MC GQ and 'Hold Up The Crown' ft Ky Lenz, now he proudly presents his first album in five years.

A 15-track funk-fuelled compendium of rolling dancefloor-fillers that tributes to the jungle foundation moulding his early discography. Collaborations with the likes of I-Kay, Maduk, Ownglow, Times x Two and MC GQ, fuse with powerful
doses of Danny's hip-hop and R&B infused 174BPM productions. 'Atomic Funk' is undoubtedly Mr Byrd's finest work to date and includes one of the biggest future D+B anthems 'Holy Star' that's brought to life with vocal delights from MC Foxy.

'Just A Step Away' (ft. Ownglow) has become a silver bullet for the Byrd, taking a spotlight in his DJ sets as his finishing move. With its gorgeous vocals, volatile rave synths and humming sub-bass, it's not hard to see why. However, that's
far from the only weapon in this legend's locker. 'Roll The Drums' is a certified sub shaker bringing a fierce bassline and thundering percussion, plus there's raw jungle madness with 'In The Meantime' (ft. Hannah Symons). With fifteen incredible tracks from Hospital Records' longest standing signing, 'Atomic Funk'
is Danny Byrd at his best. Crafted for the dancefloor and Feel-good from start to finish, a must-have for a true Hospital fan.

Fresh from 1986, all time Garage-House-Afro crossover classic... Absolutely timeless House anthem!

Need we say more "Ma Foom Bey" is one of THOSE records, totally flawless, big in the dance everytime.

Stripped back drum machines, that cavernous, instantly recognizable bass-line & those chants, killing sound-systems stone dead!

As we said before, dropped on Easy Street in '86, edited by the legendary Tony Humphries & subsequently caned by 3 generations of DJ's across the galaxy ever since. Every home should have a copy of this, no collection is complete without it. A record that will never go out of style & will always provoke some buckwild reactions on any dance-floor it's dropped on!

Shout out to Easy Street, %100 legit re-issue, re-master & re-press, essential wax!

Matt Edwards' reissue label R-Time Records presents 'After Dark' this September with three tracks from Mark The 909 King.

Following reissues of excellent music by Sir Lord Commix, FBK and Sanasol (Thor & Yagya), Rekids offshoot R-Time Records now presents definitive cuts from Mark The 909 King. Debuting with the timeless 'Can You Dig It!' on Sex Trax in '94, the producer went on to release via a number of New York house legend DJ Duke's labels throughout the mid-nineties. A huge fan of DJ Duke since the 90s, Matt Edwards even held a Sex Mania night at Berghain in 2009 featuring a rare DJ performance from the Duke himself.

Alongside tracks by Roy Davis JR and Trackman (Jon Cutler), 'After Dark' featured as part of a VA release on the label DJ Exclusive, whilst 'Into Space' landed on Rated X Records, and 'The Loft' appeared on the 'Can You Dig It' album via Power Music Records.

'After Dark' set the tone of the package with a piercing drum groove, airy arpeggios and a funky bassline, before cosmic synths and crunchy snares work alongside scintillating chords in 'Into Space.' Concluding the package, 'The Loft' begins with a hooky bass sequence and filtered effects before soothing melodies come into play.

Autre fell asleep in a gondola and awoke in the Krankenhaus. This is his first offering for the ESP Institute. Side A's Everybody In The Past is sharp techno aimed for the alleys of your mind — gritty, driving, and melodic combinations of blown-out drums and classic electro riffs that relentlessly sprint for a good 4 minutes before a squelching arpeggio and angelic solo kick in — tugging the heartstrings and lighting a beacon for those noble morning dancers lost at the front left speaker, channeling from the deep. On Side B, Frigo completely dismantles any expectations you might have after listening to its predecessor. An undoubtedly seductive Samba rhythm comprised of distant snares, rim shots and cowbells holds together an aggressively active bassline, a steel drum harmony and synth solo that crawl all over like a funky worm. This track is truly something special, a gift for the prodigious selector — when dropped in the deserved context, it has the potential to unlock unprecedented levels of euphoria. These two songs are as fluid as a paintbrush yet precise as a scalpel.

Absence Seizure Marks Its Tenth Release This September, A Split Package Comprising One Original From Co-founder Abe Duque And Two From Label-founder Matuss.

Since Its Launch Back In 2015 The New York City Based Absence Seizure Imprint, Launched By Abe Duque And Matuss Has Been A Platform For The Latter's Original Material And Across The Past Nine Releases And Picked Up Support From The Likes Of Young Male, Sage Caswell, Dorian Paic And Eduardo De La Calle Amongst Others. Here Though We See Co-founder Abe Duque Join The Part To Mark The Labels Tenth Vinyl Release Alongside Label Regular Julia Matuss.

Matuss Steps Up With 'crashing Hard' A Murky, Stripped-back Number Fuelled By Choppy Bass Stabs, Minimal Percussive Bleeps And Airy Atmospherics . Next On The Package Is Abe Duque's '11-27-2016', A Typically Raw Affair From The New York Techno Veteran Fuelled By Squelching 303 Lines, Robust Analogue Drums And Dreamy Arpeggios.

The B Side Features Matuss' 'sisabuc Fresh' Closes Out The Package, Stripping Things Back Even Further To Minute, Shuffled Percussion, Stuttering Ethereal Chords And Permeating Sub Hits Which All Flow In Unison Across Its Ten Minute Duration.

Ishio Dai (Japanese electro beat maker) is new generation of dance music talent in U.K capital London .He making new style' organic jungle/drum and bass dubstep jazzy Brokenbeats and contemporary techno. His music education are influence by 90's euro rave culture . But he is 100% japanese that this is special case .

His 2017' 12inc vinyl Mirage was quick sold out in London/Soho and east london. Richard Fearless (Death in Vegas) played on I.D magazin'mix. and Rinse FM' Jungle proguram DJ RON interviewed . A lot time NTS Radio' DJ's played his new dubplate.

U.K finest dubstep artist 'Horsepower production' (Tempa Swamp81) support his new label Effective96 .They colaborate new electro beats that's nothing others .(cutting number EF-011 )

This special limited edition DAVID BOWIE 7" picture disc, is a double A-side of the radio edits of 2018 versions of ZEROES and BEAT OF YOUR DRUM. Both tracks are from NEVER LET ME DOWN (2018), a new version of the 1987 album featured in the forthcoming boxset LOVING THE ALIEN (1983-1988) which is released on 12th October. 
 
NEVER LET ME DOWN (2018), is a new production of Bowie's final 'solo' album of the '80s. Producer Mario McNulty worked on the tracks at Electric Lady Studios in New York with longtime Bowie musicians Sterling Campbell (Black Tie White Noise, Outside, 'hours...', Heathen, Reality and The Next Day) on drums, Reeves Gabrels (Tin Machine, Black Tie White Noise, Outside, Earthling and 'hours...') & David Torn (Heathen, Reality and The Next Day) on guitars and Tim Lefebvre (Blackstar) on bass. 

ZEROES, the lyrics of which reference Prince's Little Red Corvette was Bowie's salute to the '60s. He described it as 'The ultimate happy-go-lucky rock tune, based in the nonsensical period of psychedelia'. Mario McNulty commented, "Stripping this song down to its core revealed a track that could have been right at home on Hunky Dory, I kept Peter Frampton's sitar (which was originally owned by Jimi Hendrix) as it still fits against the new guitars from Reeves Gabrels'. 

Of BEAT OF YOUR DRUM Mario McNulty says, 'David Torn's ambient guitars start the song that now lead into a much darker world than its shiny predecessor. David sang all the backing vocals on this which I have kept.'



Y

From the heart of Macedonia comes Herzel with his first EP for Uncanny Valley. The four tracks point him out as an expert for creating tracks on the blurred line between Rave and darkness. If you are listening on a proper sound system, it is almost impossible not to be moved by the mighty drones of FORMS that almost feel like tectonic shifts. GLIDE runs in similar veines and brings power to the dance floor with rolling bass synths and sublime pads. A little more straightforward is GLOWWORMS with sharp drums and an acidic synth theme only to finally merge into an elegiac climax. Finally, TWO hits hard with slapping synths and a dubby bass line, a gripping yet somehow nasty track.

Label head honchos Rhode & Brown finally debut on their own imprint, Slam City Jams, after putting out music on fellow labels Toy Tonics and Public Possession. Produced over the past two
years, the Wave 100 EP might be the most versatile record by the Munich-based fellas so far.

On the title track we have an euphoric hint of 80s synth nostalgia, slapped bass and banging woodsticks (did someone say Safri Duo!). 'Sparkle' on A2 feels like the joy of a fresh breeze on hot summer days whilst living la vida loca in the clouds - b/w phat bass, sweet flutes & strings.

On the flip there is 'Love Lane', a classic house track with a funked up bassline, shuffling snares and the most erotic vocal in human history. 'Moon Bells' on B2 is the soundtrack to that road
trip you did back in 86' with a Juno 106 arpeggiator bassline, percussive drums and airy synths all around. 'Over Europe' on B3 rounds off this special 5-tracker with beautiful ambient spheres
straight from outta space.

Southern Lord Is Excited To Bring Forth The Debut Album By Los Angeles-based Rock Trio, The Primals, Founded By Current And Former Members Of Darkest Hour, The Explosion, Dead To Fall, And More.

All Love Is True Love, The Primals' Debut Album, Features Ten Infectious Tracks Produced By John Reis (rocket From The Crypt, Drive Like Jehu, Hot Snakes) And Completed With Cover Art By Laura K. Giron.

Fans Of Wand, Ty Segall, Nirvana, And The Pixies Are Especially Recommended To Tune In.

he band's first full-length, All Love Is True Love, will see release on September 7th, the label this week sharing the first single, 'Fortune & Sons.'  'Fortune & Sons' Now Streaming

About the track the band note, ''Fortune & Sons' is one of the heaviest songs on the record. Though the album offers a plentiful dose of dynamic variety, we wanted to kick you off with a ripper.'

The Primals is comprised of vocalist/guitarist John Henry (vocalist for Darkest Hour), bassist Chad Fjerstad (formerly of Dead To Fall), and drummer Andrew Black (formerly of The Explosion). The band's fuzzy execution is equal slabs ripping guitar heaviness and infectious pop sensibility. Concocted by a seasoned group of thrashers with a historical backbone in D.C. punk community. The disintegrated spirit of grunge rises from the ashes, revitalized in a new light.

Artilect's varied musical background is one of the primary reasons why his production is so coveted throughout the back catalogue of the labels he's released on. Beginning his career in Manchester during the mid 90s, his love of breakbeats lead him into the world of hardcore and jungle, where his appreciation of electronic music grew year by year, whether that was the sounds of Detroit or Acid Techno. Having supported artists like the legendary Marcus Intalex at Guidance, his part in the Northern collective Audiosalad helped promote his finely honed craft to a more widespread audience. And now he joins the roster of Horizons Music, an imprint who strives to only deliver the most cutting-edge records from the underground; it seemed like the perfect home for an artist who has only offered the same standard with every track he's released. And the 'Black Fire' EP is no different, with its full spectrum look at the influences which have enabled Artilect to reach this monumental stage in his career.* Title-track 'Black Fire' is chaotic with its swathes of crashing percussion; its impact gains more and more momentum as it gradually builds and crashes along its finely-chiselled bassline. 'Hoax' has the same old-school feel, paying homage to the producer's roots whilst he flexes his ability to create hard-lined breaks which crash against the record's firing drum sequences. 'Deep Signals' is moodier in its approach, with each weighty bass pad lowering the tone as it draws you in gradually. Whilst 'Deep Signals' still nods its head to the type of music which made drum & bass so infamous during its explosion, it alludes to its more contemporary world, with Artilect enabling you to become fully immersed within it. Finally, 'Tryptamine' once again offers a darker edge although this time is goes to even filthier depths, taking you along for the journey through shaking subs and cranking atmospherics. It has a creeping blow, proving that Artilect reigns supreme over his soundscape; another reason why Horizons brought him on board to deliver such a mind-bending release, alongside his eloquent production standard and refusal to bow against commercial pressure. 

* BIG, BAD AND HEAVY! Two of Pinch's biggest dance floor bangers, remixed by one of UK dubstep's hardest hitters, Kromestar. Guaranteed rewinds.

* 'The Boxer' first appeared on Tectonic back in 2010, fusing grime and dubstep with tribal drums and tearing squarewave bass. Kromestar stays true to the original but switches his stance to swing hard with a left hook, Southpaw style. After a moody build up, the intro breaks away into a brief moment of calm, before bass comes out fighting, throwing knock out punches hard and fast. Tried and tested dancefloor damage of the highest order.

* Flip then for an equally dangerous remix of Pinch's Deep Medi release 'Swish', from back in 2011. Simple, effective and deadly, Kromestar gives this classic an update, setting it up for another few years of wheel-ups!

* DJ Support from: Kahn & Neek, Mala, RSD, Joker & many more.

Released on Leeds Jazz & Soul labelATA Records, the debut LP fromThe Lewis Express takes the rich legacy of the soul-jazz outfits of the 1960s as the initial blueprint of their sound. Taking inspiration from the likes of Ramsey Lewis, Young-Holt, Eddie Cano, Ray Bryant and Cannonball Adderley, they present a collection of tracks that range from introspective spy film themes to burning Brazilian jazz.

Primarily based in Leeds, The Lewis Express is comprised of many of the musicians that have graced previous ATA releases: George Cooper, Piano (Abstract Orchestra) Neil Innes, Bass (The Sorcerers, The Magnificent Tape Band, Tony Burkill), Sam Hobbs, Drums (Dread Supreme, Tony Burkill, Matthew Bourne) and Pete Williams, Percussion (The Sorcerers, The Magnificent Tape Band, Tony Burkill). Recorded over an intense two-day session by the band of the same name, "The Lewis Express" is a nod to the classic soul jazz recordings of The Young Holt Trio / Young-Holt Unlimited and Ramsey Lewis, from who this group take their name. But, delivered with a distinctly European feel. As with many of the classic Ramsey Lewis cuts, this album was recorded live, capturing the rich inter-relationship between the players.

Kicking off the album isLove Can't Turn A Man, a slow burner that introduces the piano of George Cooper as he works over a rock solid backbeat.Cancao De Momentois an up-tempo Brazilian Workout in the style of Milton Banana with rhythmic piano punctuated by percussion.Brother Move Onis probably the most recognizable as being in the soul jazz vein, with nods to such classics as Ramsey Lewis'The 'In' CrowdandSoulful Strutby Young Holt Unlimited, particularly the latter. Moving intoHawkshaw Philly(their nod to session music legend and leader of The Mohawks, Alan Hawkshaw) the band create what sounds like a rare library cut.Theme From The Watcheris a nod to the cinematic soul-jazz of the 60s, conjuring up the sort of imagery that coincides with the black and white spy thrillers, espionage and intrigue.Last Man In The Chain Ganghas a very strong Ramsey Lewis feel and offers some of the most powerful piano playing of the whole album. The final track,Straight Seven Strut, is the only vocal track of the album. The staccato swing and French vocals lend it some of the qualities of 60s yé-yé music but with a far jazzier backbone, spiced with percussive handclaps.

"The album's one of Ra's greatest from the 70s -- recorded in Italy in 1978, and featuring some incredibly otherworldly keyboards that are some of his most enigmatic on record! Original tracks from the album include "Disco 3000", an incredible workout on synthesizer, with a tiny bit of drum machine, a little "Space Is The Place" breakdown, and all of the wild sound you'd expect from a Sun Ra album -- plus more long tracks -- the sweetly soulful "Friendly Galaxy", a great soul jazz number, and "Dance Of The Cosmo Aliens", which has spooky organ, frenetic bass, and somber percussion" Check!

5 catchy tracks by eighties bristol outfit Umo Vogue Umo Vogue formed in Bristol by Stig Manley, Russ Crook and Neil Deamer who were in Bath based ska rock outfit 'The AT's', along with Bristol based singer Debbie Marlow. Neil's Brother Clive joined the band bringing a fantastic new dynamic to the band on drums, percussion and heavy artillery. The band name is a deliberate misspelling of the ultra-chic Italian fashion magazine 'L'Uomo Vogue'. After winning the Bristol 'Battle of the Bands' in 1982 they were signed to Phonogram and dropped a few months later. They then signed to EMI in '83 and released their first single 'Just My Love' released in early 1984. The second single was 'Make It Real' and was never released as the band were culled from the EMI roster in late '84. For this reissue of their debut single we've added 3 bonus tracks, a demo of 'Just My Love', the unreleased follow single 'Make It Real' and a bedroom demo 'Erotica.'

Each song displays ridiculously catchy melodies and innovative electronic rhythms. The drum tracks, a combination of rhythm machines and hand percussion, were mixed down from the 4-track tape used as backing on stage, with the rich slap bass and Roland SH09 synths weaves fluid lead lines in between the harmony vocals. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in an exact replica of the original jacket and includes an 8-page booklet with photos, notes and press clippings from the band's archive. 'We're synthetic but not antiseptic. We are interested in the naivety and spontaneity of music.' - Umo Vogue

BOMB!!!!!
* The first release from the mysterious old 90's drum n bass warriors operating under a new guise alongside Technical Itch on production duties.
* 90s vibes but with modern production standards.
* If you know that era of drum n bass you will undoubtedly know who they are but their identity will remain strictly confidential.
* Wishing to remain anonymous in todays often fake and overly narcissistic scene, Brakken have chosen to remain locked in the studio, shrouded in mystery.
* DJ performances by members if the Tech Itch Recordings crew but not the producers themselves.
* Press / Promotion: Club and radio play from many DnB DJs will special support from many of the scenes founders.

Butter Sessions proudly presents the debut LP from label mainstay Cale Sexton. Last seen on the imprint with his club-minded EP East Link in 2016, Melondrama accumulates over 12 months work writing in studio.

Having taken a step back from live performance, the album is a marination of Sexton's musicianship, flexing his abilities as a bass-man, and incorporating live instrumentation and drenched arrangements to tell a vivid story. With the new found freedom of playing for himself, his inspired creations span electro-synth, deep milky way ambience and mutant drum machine funk. Produced as a solo act from the bass up, he's only accompanied on Previous Employee, with drums, synth and fx from Maryouss. His zonked imagination is brought to clarity by Corey Kikos' final mix, further animated via Ben Jones' sleeve design.

Full of emotion and adventure, the nine patiently durational earworms on Melondrama are a welcome antidote to the deluge of modern electronica that's designed for speed listening. Find a comfortable seat and let the mind travel.

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

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

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

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

As with the previous two releases on the label, 'Rellik' was recorded live and on the first take using a selection of analog synths, drum machines and sequencers, particularly the warm and dynamic sound of the E-Mu SP 1200 as the lead.
'The 'Rellik' project is a mashup between Rock and Hip Hop elements using SP1200 classic drum kits, filtered and distorted synths. We call this Krauttech' - MASK Intense sirens set the tone of the A1 before introducing a thumping sub and delayed snares, making way for harsh bass and dark effects in the A2 to generate an ominous atmosphere. On the flip, the B1 brings crunchy, modulated synths alongside an intense and thunderous kick whilst the B2 delivers a thick, pulsating low-end with an assortment of metallic and heavy drones that round off this cryptic
package.