Buscar:dub one

Repress

So, in the spring of 2017, Fritz dusted off his old drum machines and his Jupiter 8 and immersed himself in the sounds, that first brought him to electronic music twenty years ago and which were to form the basis for his present album 'Drown'. At the beginning of his career it was about establishing himself through a new approach for Fritz. Now it is about celebrating those sounds and their liberating effect on our consciousness. The focus is electronic music as Fritz Kalkbrenner first got to know it in the German capital's now legendary Techno and House clubs as an impressionable young man. The cut, that leaving out the now so familiar baritone voice represents, opens the door to a whole world of electronic music, which is suitable for home listening as well as for the club.

There are no confining conventions on these 12 tracks and at times one could also say: no restraint. Fritz Kalkbrenner indulges in his fascination for Dub Techno, in clear and dominant House arrangements and also in the anthemic melodies that shine through the tracks several times on the new album.
Fritz underlines this new beginning, which is at the same time a reflection on his own beginnings and his own origins, by choosing not to appear on the album's artwork himself this time. Instead of a picture of him, there is a great, atmospheric landscape painting. The brush strokes form the bank of a river or a lake. They are abstract, which makes them all the more expressive. It is the work of Fritz' grandfather, the famous East German painter Fritz Eisel and its title is 'Winterabend (winter evening) in M.'. It was created in 1990, when Fritz was nine years old.

PG TUNE presents CENTRIFUGE ONE - the first label compilation in a series of thematic installments. In the focus this time are Moscow raised producers and live performers, sharing a fresh vision of the globally evolving dancefloor universe.
NEW DANCE SOUND OF MOSCOW features music by Philipp Gorbachev, Obgon, Interchain, DEKA, Dubrovsky and ushi333. Artwork by Artem Stefanov (STFNV).
key selling points:
- D-scription is Philipp Gorbachev's first solo work since 'Unlock The Box' LP (PG TUNE, 2016)
- 2 x 12'' coloured vinyl sleeve includes insert with very special pictures of Moscow
- CENTRIFUGE started with a Moscow rave party in 2016
- All music was recorded live for dancing in new Moscow clubs (ARMA17, Rabitza), streets and DIY garages
- Features artwork by Artem Stefanov, fundamental mural artist, known for his contributions at major music and art festivals (OUTLINE, 4GB, GEM)
- DEKA is a new Moscow supergroup and will release an album in 2018
- Very early DJ support from Barnt, Ivan Smagghe, Anastasia Kristensen, Inga Mauer...

Fantasy Life was a one-off Italo disco studio project that consisted of various producers, songwriters, and vocalists from Turin, Italy. The line-up included Lorenzo Avico, Maurizio Camoletto and Sergio Bergamin. They recorded their only single Over and Over' at Minirec Studio in 1985 with mixing engineer Gigi Guerrieri. It was released that same year by Thick Record a sublabel of Il Discotto Productions and became one of the most coveted Italo Disco 12's. Over and Over' is a parable that describes the story of a girl growing up, comparing her life to the changes of the moon. Signature Linn drum and Simmons drums create the driving rhythm track that hauntingly sways back and forth. The vocal version has a nearly two minute extended instrumental break in the middle of the song heightening the dramatic pace. On the B-side is a Dub Version with extended instrumental breaks, bass lines and occasional vocals. Both songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl is housed in the original jacket featuring a painting by Andrea Franzoso and includes a double sided postcard with lyrics and notes

Dark Entries Editions is proud to reissue Ghost Town' the 1984 debut 12' single by Mono Band from Italy. The project was conceived by producer Rene 'D'Herin and Massimo Fantinatiti aka Fantenax. They teamed up with songwriter and guitarist Luigi Venegoni aka Svengile who had previously worked with progressive and jazz-rock bands Arti & Mestieri and Venegoni & Co. as well as cosmic disco group Stratosferic Band. Treading the lines between Italo Disco and the darker side of New Wave, the trio crafted a mysterious sound. Melancholic arpeggiators, a throbbing baseline, stuttering samples, and the classic Linn drum machine run throughout the track. Vocals were handled by an uncredited Carlo Rossi who raps about a ghost town filled with fear. When female vocalist Elena Sansonetti begins to softly whisper the chorus one might get goose bumps. The trio were joined in the studio by DJ Mike aka Michele Paolino of Make Up/Mike Up, DJ Moody, Fabrice Bellini of Art Fine and producer Miceli. The song was recorded in a few days at Dynamo Sound Studio in Turin and originally released on the popular Discomagic Records. This reissue includes the original vocal version, backed with a longer dubbed out instrumental Ghost Version' on the B-side. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12' is housed in an exact replica of the original sleeve with an astrological photo the planets orbiting the sun. Each copy also includes a 2-sided postcard.

As founding member of Uran GBG, with a past in cult bands such as Lava, and appearing on stage and in studio with some of Gothenburg's more prominent acts, makes Jerker Jarold one of the cornerstones in the city's psychedelic scene. By the name of Vastlanken, Jarold is now making his first release as a solo artist on Hoga Nord Rekords.

The music on the tracks Autobaba and Moebel, is a mixture of dub, ambient and techno where few but tasteful components builds the sound. Vastlankens transcendent qualities lies in Jarolds ability to limit himself in matter of recording techniques and instrumentation; one synthesiser , one delay pedal and one mobile studio is all he need to make delicate dub.

Activate your pineal gland and meditate yourself free from general angst with Gothenburg's last shaman!

Grand Ancestor's eleventh release in the catalog features the legendary dub controller, Ras Muffet, of Roots Injection fame who's had his tunes played by the likes of Channel One, Aba Shanti, and Jah Shaka. With decades of dub experience, Ras Muffet dug deep into his vaults to produce two eerie dubs focused on the bottom frequencies and the continued evolution of the genre. Steppers enthusiasts worldwide will be delighted to get this weighty 12" onto their turntables before this limited pressing is all gone.

Nottingham's Origin One returns with another bass heavy anthem. Traversing roots reggae, hip hop, dub and steppers this is a perfect example of Origin One's style of production, eclectic in influence and heavy on the bottom end. As the title may suggest the track is a tribute to the herb, delivered by Ghanaian born MC/rapper Kweku (K.O.G) who absolutely destroys the track. Already getting spins on some of the UK's biggest soundsystems, this should see some heavy rotation!

East Londonder Sukh Knight has remained one of the most consistent dubstep artists over the past decade, through a long list of releases on Hench, True Tiger and New World Audio among other record labels.

The Scorpion EP remains on level, boasting a variety of heavy bass music styles - from the gritty dubstep sounds of the title track, the digital bonus Foot Soldiers and First Contact, to the anthemic 93BPM roller Creation and finally DJ Madd's percussive, deep 160BPM remix of Scorpion. A well-rounded bass music record for the heads - don't miss.

2x12" Repress

Answer Code Request returns with his sophomore album Gens on Ostgut Ton, entering darker but equally bass-heavy territory.
Answer Code Request's 2014 debut LP Code was an exciting moment for electronic music in Berlin - one that offered a break from the eternal hall and monolithic 4/4 kicks that ruled the city's club landscape. As a hybrid gesture, the album's spirit recalled an especially fruitful era in the German capital from the mid-90s to early 2000s, when dub and paddriven Detroit techno cross-pollinated with Berlin's industrial aesthetic to create one of the city's most exciting musical chapters.
Today the musical vision offered by Berghain resident Answer Code Request, real name Patrick Gräser, has proved far-sighted. While at first glance electronic music in 2018 seems increasingly balkanized, borders between genres have once again become fuzzier.
Now, on his follow up LP Gens, Gräser looks beyond the bass euphoria of Code toward darker horizons and a desolate atmosphere befitting of current global circumstances.
In a sense, Gens (Latin for tribe or lineage) reverses the notion of the hardcore continuum as proposed by music journalist Simon Reynolds: embedded in a tradition of US andcontinental European techno, Gräser seeks its disruption through hardcore outgrowths, from ambient jungle to later variations of British bass music and IDM. It's an interesting twist when seen in the larger biographical context of Gräser who, born and raised outside of Berlin in early 1980s, jumped from East German youth radio DT64 to American hip-hop, acid and early UK hardcore - a radical shift of musical interest born of a radical shift in political circumstances. On Gens, the unsettling atmosphere is established early on with the fading rave opener of the album's synonymous title track, and continues through the scrambled military communications and post dubstep rhythms of 'Sphera'. From there, sci-fi pads, heavy phasing and alien syncopation lead explorative third track 'Ab Intus' out into space. Aglimmer of otherworldly positivity arrives with the warm, distorted breakbeats and interwoven synth melodies of album standout 'knbn2', while Gräser's most dancefloororiented melds jungle and techno, Amen and 4/4 kicks, on 'Cicadae'.

Repress

It is not a secret anymore that Manchester has been a Deephouse capital city since quite a while. The Meandyou. party series is the main spot here with resident DJs Juniper & Arnaldo amongst others spinning alongside their favourite Acts like Lowtec (whose track on Smallville 14 was already a homage called meandyou.dub), Jus-Ed, Dj Qu, Kassem Mosse, Move D and the Smallville Posse. For our catalogue number 30, Juniper & Arnaldo are delivering four house tracks from outta space, that fit perfectly into the smallville vein. The global village of sweet house music is rising..

Back to back in-demanders from producer - King Jammy's vaults recorded and mixed by Jammy at Channel One studio, Two of Johnny Osbourne's finest roots classics seeing first time single release complete with their lethal dub companions. Hi-Times band in full effect, top draw vocal and dubs cut loud and proud and housed in the classic Greensleeves 12" bag.

Max Romeo has teamed up with UK based, Grammy Nominated Producer Daniel Boyle, to create a stunning return to form, Roots Reggae album with accompanying Dub versions.

''Max is noted for his critically acclaimed work with Lee Scratch Perry in the 1970's, and for his timeless classic songs penned over the last 50 years - Such as 'War ina Babylon' 'Melt away' 'one step forward' and the worlds most sampled reggae song ever -''Chase the Devil'. Picked up by artists such Jay Z, Kanye West, The Prodigy and Blockbuster hit movies.

Max and Daniel have teamed up with an all-star cast of musicians to create a true Part 2, to Max's legendary, ''War Ina Babylon'' album. Using strictly Studio equipment ranging from between the 1950's - 1970's, recorded and mixed in 100% analogue format, and presented with stunning artwork in Physical format.

Hackney Vandal Patrol is a brand new project from long time friends and neighbours Scott Fraser & Richard Sen. Focusing on their joint love of that deep Miami/ New York house sound, Vol I is the first edition in a series of LTD 12s. Heading back to Richard's heritage of being a highly respected graffiti artist, each one is hand tagged by Richard in his own unique style and numbered with an insert by Scott. The first release, ""Bound By Faith"" is a straight up and direct for the dance floor Miami style deep house cut, complete with Reverend Jesse Jackson speech on the vocal version. For the DJ crews there is a deeper ""Redemption Dub"" stripped back ""Bass Hit"" with added percussion and a re-programmed instrumental of the original....The Hackney Vandal Patrol were once despatched to patrol the streets around the mighty London Borough of Hackney.
Each 12"" is individual and collectable... strictly limited!

Jerome Derradji + Still Music are proud to present Let's Dance Records - Mike Macharello & Duane Thamm Jr. Chicago 1983-85. The origin of house music, at least in a commercial sense, is generally associated with young African American producers from Chicago's South Side, but one of the first Chicago house music labels was started by a young, white, gay DJ from the far west suburbs.
The Let's Dance story will take you back to the beginnings of Mike Macherello and Duane Thamm Jr. when Chicago's house music was in its infancy.
Back then, after starting as young roller disco Dj in the late seventies, Mike Macherello gradually made its way to the best radio station in 1981 - WBMX - and started a movement that still ripples through the city today. Let's Dance's founder, Mike Macharello, was a DJ who bridged diverse music scenes, from rock clubs to discos. The Let's Dance record label helped establish Chicago's dance music industry between 1983 and 1985, before becoming Play House Records (which will be reissued by Still Music in an upcoming set). Macharello's pal, DJ Duane Thamm Jr., also from the 'burbs, became the label's main producer and one of house music's most important studio engineers and producers. Mike and Duane went on to release a few legendary singles for Let's Dance that are still to this day considered to be the earliest House music records coming from Chicago.The 12' pack includes faithful reissues of Selenia's 'Single Girl', Duane Thamm Jr. 'Jump Trax', the insane Knight Action 'R-Trax/D-Rail' 12's along with a 5 tracks 12' compilation and an accompanying poster insert including rare pictures and artifacts with the story of the label.

The next chapter in Shaw Cuts comes from Russian duo Poima, who celebrate their debut record 'Twin Blades of Doom' - a fierce revenge mission and hunt after the infamous Ghost gang.
The pursuit opens with 'Triglau', its linear machine groove levelling a fraction of the Ghost Gang. Heads roll on a crimson floor.
Teaming up with mysterious masked warrior Inland, 'Triglau' morphs into a hypnotic trip. Pushing drum rhythms and swirling pads combine with nasty noise elements, propelling the hunt.
The remaining enemy members are already hatching their next evil move. On the way to Lu He Village where the Ghost Gang plans its next assault, analogue break-beat punches and swinging percussions weave a menacing tapestry of sound, crushing the 'Bones' of rogue creatures in its path.
Serbian slayer Regen arrives in force for the final showdown at Qi Dou Town where the Ghost Gang plans a huge heist. Armed with atmospheric pads and a soaring drum crescendo, his interpretation of 'Bones' ends the Ghost Gang tyranny in one fatal sweep. And the saga goes on...

It's quite funny that it took 11 years for us over at Metroline Limited to release an EP with tracks from different artists (at least on vinyl that is) but hey, good things go to those of wait so the wait is finally over! For our first Positive Contribution we gathered Metroline Limited friends and label owners and put together a tasty four tracker that focusses on the deep and minimalistic end of house music. Hamid went a long way since his debut EP on Metroline in 2010. The Berlin based French producer has since released on influential labels such as his own H+, Nervmusic, Minibar as well as becoming a regular figure in clubs all around Europe. His track Unterdrücken starts off the EP in style with his bleeps, squelchy acid b-line, pads and crisp drums. Octad takes control and the second half of the A side and it's yet another display of his amazing production skills. The man behind the mastering of each single Metroline release to date knows very well how to get the best sound out of his tracks! And what a bassline he's come up with for Checkmated! Dhaze and Phiorio have been collaborating for a while swapping remixes and musical ideas. NT is one the finest results from these music exchanges. Deep and rolling, the track has a monster groove, lush pads and dubbed out elements. Last but not least we have another long time friend of the label, Gabriele Mancino. His Cheddar, Lion and Lamb pays tribute both to a London trip and old Perlon releases when groovy and reduced house music was gracing most of the records on the pioneering house label. An ultra-groovy and playful minimal house number with funk and style!

A quartet of heavy reworks. Reginald Omas Mamode IV truly does what he does best, bringing a percussive, low-slung funk to one of the most ethereal and beautiful pieces of soul on the album, Sunshine. Glenn Astro, elevates Bossa B to a jostling, bouncing shuffler that eventually turns around and heads skyward with uplifting chords and irresistible bass.
Deoke heads into the darker regions of the original for his huge remix of Bossa B. Finally the ever exceptional Mr Beatnick simply took the stereo track for Kalimba 2 and edited it into a mind-opening dub. Handling bass and harmonics as only he can, a true highlight of this high quality remix package.

Calendar Crowd was the duo of Alan Heaton and Terence tiernan who met in their hometown of Widnes, Cheshire as schoolboys and played together in various bands in the '70s. In the '80s they formed a 6-piece band called Room For Humans 0and recorded one single'Telephone Telephone / Girlfriend'. When the band split and Alan and Terence continued as Calendar Crowd in a more experimental direction. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division.In 1982 they released their debut single 'Perfect Hideaway/Perfect Hideaway Dub' on 7'. Guitarist David Knowles joined them as they toured the UK and recorded and released their follow up EP 'Listen in to the Heart' in 1985. A reviewer at the time called Calendar Crowd 'A Moody Merseyside trio with strong atmospheric tunes and haunting lyrics.' For this reissue we've compiled both singles on one EP featuring all four songs. Perfect Hideway is a evocative and dreamy, the music escorts you on a tour of icy landscapes, with Terrance's deep, rich vocals guiding the way accented by bright brass stabs. Meanwhile the Dub has stripped back the vocals, added delayed samples and heavy pounding drums. On the B-side 'Listen in to the Heart' and 'Questions Answers' are darker electronic rhythm tracks with layers of ethereal keyboards and guitar melodies. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original Perfect Hideaway jacket featuring black and white October 1982 calendar with the tile hand written in red pen. Each copy includes a double-sided 8x11' insert with lyrics, notes and photos.

The Make Mistakes ethos is one of diversity and evolution, and that is showcased in full on our newest vinyl release Need Your Luvin'. House, Acid, Techno, Roy England, Jarvi, Fredy Grogan. One track, three styles, all dance floor bounders.
Roy England's original mix is a jackin' house jam with a timeless vibe. A classic house sound propelled forward by the titular vocal sample, England manages to deliver a track that would work equally in the lounge, as well as late night in the big room.
On the B side Jarvi's Acid Workout strips the original down even further, and fills it back up, with a wandering, hypnotic acid line to stitch it all together. An old school party sound, both familiar and fresh. Fredy Grogan deconstructs the original into its component parts, building it back up into his dark, and driving dub techno remix. Drawing it out over nearly 8 minutes, this'll have the heads bouncing off the walls.

House, Acid, Techno, pillars of dance music, mixed together, given the ol' razzle dazzle, and served up hot and ready for mind, body, and soul. Grab Need Your Luvin', stick it in the crate, and never worry, because you'll always have the Luvin' you need.

'Beware the irrational, however seductive. Shun the 'transcendent' and all who invite you to subordinate or annihilate yourself. Distrust compassion; prefer dignity for yourself and others. Don't be afraid to be thought arrogant or selfish. Picture all experts as if they were mammals. Never be a spectator of unfairness or stupidity. Seek out argument and disputation for their own sake; the grave will supply plenty of time for silence. Suspect your own motives, and all excuses. Do not live for others any more than you would expect others to live for you.'

---Christopher Hitchens, Letters to a Young Contrarian

To celebrate this new year Série Limitée is proud to announce a new release on Hors Série sub label. Whitek project was born in 2011 from the collaboration between two Italian producers: Mud.On & Mauro Rizla. This is not about hype or chasing music trends, Whitek has always been about pushing the boundaries of electronic music through an endless search and deep dive exploration of any kind of sounds. A groovy blend, offering various styles and traveling between past and future.
With one artist per side, we are moving away from our standard VA format, always used on Série Limitée releases. Inside this 'Papier-mâché' sleeve, you will find a 12' Vinyl containing 4 rough and eclectic tracks in a universe where Deep embraces Dub sonorities.

Going Good's first release of 2018 is indeed a very special one.

Cosmic Handshakes sees the pairing of 2 extremely talented Detroit natives - Blair French & Todd Modes - who take elements of Disco, Techno, Jazz, House, Afrobeat, Latin music, Dub and Electronics and filter them through their own unique view of dance music. Steeped in soul, live instrumentation, sampling and analogous alchemical studio processes, French & Modes give us an exhilarating and fresh take on the deepest smoked out, after hours sounds of the city of Detroit.

'In The Mist' is the duo's second release, following on from 2013's 'The Delicate Details', released on the M1 Sessions imprint. The last 2-3 years has seen the pair individually release music on a plethora of varied and esteemed global labels such as FIT Sounds, Claremont 56, Rocksteady Discos and more.


A compelling body of work from front to back, the tracks on 'In The Mist' work perfectly as a self contained home listener, or as we've found, just as well on a darkened dancefloor, leaving the choice up to you, the listener.

After his well acclaimed soundtrack lp on Hivern Discs,Brussels based producer Lawrence Le Doux is returning to homebase Vlek for his next offering. And what a project it has become: Le Doux, heads first, dived deep into the Belgian national history of electronic music, and came up with a   sampler covering the various fields the Belgians have explored over the last 30 years.  
From digi dub over simple drum computer house to one­man industrial cassettes: 'Host' has it all." 
Lawrence Le Doux opened for   Matias Aguayo in one of Brussels' major venues: Ancienne Belgique earlier this year.   
Lawrence Le Doux' latest album was released on Hivern Discs (Music For Documentaries' -  3,8/5 on RA)
VLEK designer Dimitri Runkkarri's take on the analog type press / glass printing process: With Lawrence Le Doux, from the beginning (with "Terrestre", 2014) we used different materials to print out the sleeves. We used cork, overlapping letters, plastic cross for wall carving.
This time, I had some glass left at the workshop. We wanted to try. We broke it on the press then printed it with all the texture, scratch, accidents caused by the pressure of the press..."

This is the 2nd installment of Sable Noir recordings: the Jojoe EP, a 4 track vinyl exploring a deeper, sometimes darker minded side of the 170 spectrum.

The first 2 tracks by Jojoe are some really deep, clean, and strong tunes, and also dancefloor destroyers, we saved them for years until finding the right idea to release them and this is whats happening now with this vinyl.

The first track untitled is a deep and dark minimalistic tune with a really strong bassline and some great cuts that makes it a fantastic dj tool for your sets.

The second track "97" is a clean and deep tune driven by some analog pads and a reese bass that will make a great job on any
systems!! Watch out for the switch in the second drop!!

The 2 tracks on the B-side are by Joakuim the first one "To Chant Down Babylon" is a halftempo dub influenced tune @ 170 bpm with a strong vocal sample and dubby bassline! The last track "Snow" leads you onto a world of deep and cold atmospheres with a rolling beat and bassline!

This vinyl is done in the memory of Joe Holland, beloved friend and music producer. This EP is done for him!!

Initial Programs is a new project by respected ambient producer Mick Chillage. It is also Mick's first ever vinyl release and sees the Irish artist focus on deep, acid-tinged techno and melodic electro. The background to the release is a simple one; First Cut boss Richard Be was a long admirer of Mick's music and discovered an electro project he did as The Shape. Over the course of emails, pints and coffees, the music for Initial Programs' first record came together. The resulting three tracks are melancholic, late night jams, the soundtrack to high speed cruises on the streets of south Dublin.

Soul Has No Tempo are proud to present 'The Self' - the new album from London-based drummer/producer Richard Spaven.

Richard Spaven is one of the most sought-after drummers in progressive and contemporary music. Drumming for the likes of José James, Gregory Porter, Guru's Jazzmatazz, Flying Lotus, The Cinematic Orchestra, TY and more, he has gained international recognition, both on stage and in the studio. Richard is an influential, genre-defying musician - the result of working closely with a diverse range of artists, combined with his own rich musical taste. Gilles Peterson said it best - "there's much more than just rhythm with this man".

His debut album 'Whole Other*' (2014) touched on many musical palettes and bridged the gap between jazz and electronica. With 'The Self', Richard introduces us to his personal journey. The moment in time where a jazz drummer affirms his love for club culture, delivering an album that travels from drum & bass to broken beat, dubstep and more, all seen through the lens of a drummer. The club culture influence is apparent in the way Richard wrote and produced this album - sampling his own drums on the Photek cover 'Hidden Camera' and collaborating with Metalheadz MC, Cleveland Watkiss to recreate the London sound system vibe so integral to his background.

Featuring guest artists from diverse backgrounds - Jordan Rakei, Jameszoo, Kris Bowers, MC Cleveland Watkiss and Richard's established partner in crime, guitarist and composer Stuart McCallum, 'The Self' is masterfully combined with Richard's unique production and showcases his trademark drumming style of precision, creativity and finesse.

Fernando Pulichino is no stranger to Leng Records. The bass guitar-wielding Argentine made his first appearance on the label five years ago via the cosmic disco/psychedelic rock fusion of Blue Impala, returning two years later with the similarly inclined brilliance of Giant Desert. Pulichino then resurfaced on Leng late last year with a superb, digital-only three-tracker called Natural 77.

Now he's back on wax, buoyed by the success of the acclaimed Shining EP on Is It Balearic
Recordings. This time round he's in Search of Indigo, shaping hazy, sun-baked soundscapes around his distinctive basslines, echo-laden synthesizers, meandering Fender Rhodes solos,
gentle dub vibrations and glistening, early morning jazz guitars. This is music for the heads, hips and feet, soaked in Fernet and left in the afternoon sun to slowly ripen.

Arguably the most arresting of the four cuts is the title track, a head-in-the-clouds vocal number rich in bubbly electronic riffs, laidback electro beats, ricocheting percussion hits, swirling wind
effects and rubbery funk-rock bass.

Pulichino's penchant for intergalactic disco shufflers once again comes to the fore on killer Sundown Visions', a saucer-eyed chugger that simultaneously throbs, pulses and sparkles
thanks to sparring synthesizer motifs and eyes-closed space rock guitars. We suspect Daniele Baldelli and Andrew Weatherall would approve.

Elsewhere, Pulichino indulges his passion for sofa-surfing jazz-funk on solo-laden EP closer Frontera', a relaxed and undulating jam rich in cascading electric guitars, fluid electric piano, delay-laden flourishes and deep space synthesizers. You won't know whether to lie down, dance enthusiastically or wearily shuffle, either way, play at sunrise or sundown for maximum
enjoyment.

The EP also boasts a first vinyl outing for the title track of last year's digital-only EP, Natural '77'. Seemingly partly inspired by legendary West Coast funkateers Steely Dan, it's a lazy, low-
slung affair full of languid guitar solos, freestyle vocal improvisations, bongo-laden drums and one of his most inspired and elastic basslines to date.

The original, the inspirational, the bombastic, the never bettered, the one.
'Don't make me wait' is all of the above and so much more. Classic to the core. Huge earth shattering record right here.
OK, so the scoop, for the uninitiated is this - the Peech Boys were Larry Levan's group, we're talking early 80's NYC here, 1982 to be precise, around the height of the Paradise Garage as Larry was making the transition from superstar DJ to producer. He brought a sparse, dubbed out, narcotic late night feel to the overall sound of this record. This was a short-lived project, but the influence is still felt today, the Peech Boys DNA is inside the veins of modern dance music, as is Larry's. There is no underestimating what an impact this record had. 7+ minutes of electronic bliss, trailblazing stuff, and don't get us started on the dub. Do yourself a favour, BUY this classic if you don't own it already, you'll keep coming back to it time and time again. Guaranteed. This essential 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

Hi5Ghost meets Peder Mannerfelt - HOTLINE014 is here. The long overdue appearance from Hi5Ghost on Hotline, coming forward with pure dubplate pressure in the form of 'No Sleep' which gets a mind altering remix from Peder Mannerfelt on the flip - an unlikely pairing but one that makes total sense on Hotline - This disc has something for the school of eski grime and for the techno rave freaks - whatever twists your hip, both sides are tried and tested bassbin damagers. 500 copies with printed sleeve. Vinyl-only. 12 cut and mastered by Lewis at Stardelta. Sleeve design by Studio Tape-Echo. Housed in a neon pantone sleeve. Stickered centre labels.

Carl Gari is a group of three from Munich: Jonas Yamer, Till Funke and Jonas Friedlich. They released their well received and idiosyncratic debut (NPR mentioned it as one of the 50 best albums in 2016) on The Trilogy Tapes, for which they collaborated with Egyptian singer and spoken word artist Abdullah Miniawy. For the second release on Permanent Vacation they perfected their unique blend of psychedelic ingredients, dubbed out drums, drony sounds and a general hazyness. The mystic chants of Abdullah, who is also featured on two tracks, weave themselves into the band's lively sound texture. Apart from that Carl Gari showcase the diversity of their analogue driven and melodic approach to electronic music through four beautifully detailed tracks.

Granny13 opens with Nicola Ratti's 'Odd Doubt'. With the use of a modular system and tape loops, a broken rhythm is obtained by parallelism between single sound signals as LFO one or processed tapes.On the second side, Giovanni Lami's 'Johnny Leech' is made with a small bunch of equipment, just a chaotic hand-made synth (cacophonator) and a memoryman, working mainly on static electricity and leakage current in the synth used without any kind of power supply.

Reviews

The Wire
''Two Italian mucisians share a split single of glitchy fun and everyone goes some happy. Lami s piece uses a defective unplugged synthesizer to make huzzing chitters that have a kind of rhythm in spots. Ratti s contribution is a bit more structured it sounds like a record of accordion miniatures broken into pieces, then glued back together with little pieces of felt stuck onto it. Which would definitely be a pretty hep thing to hear.''

Textura
''Some releases qualify as art objects as much as musical collections, a case in point this recent seven-inch vinyl outing featuring material by Nicola Ratti on one side and Giovanni Lami on the other. That shouldn't be interpreted to mean that the musical content isn't worthy of one's time, as it assuredly is, but more to emphasize how striking the sleeve artwork by Opora is and how effectively it complements the musical content.Mastered by Giuseppe Ielasi and issued in an edition of 150 copies, the release opens with Odd Doubt, a concise experimental setting by the Milan-born Ratti, who's issued material on labels such as Anticipate, Preservation, Die Schachtel, and Entr'acte and who's presently working with Ielasi in the project Bellows, with Attila Faravelli as Faravelliratti, and with Enrico Malatesta and Faravelli in ~Tilde. Though Ratti started out as a guitar player, his current focus is more on beat-analog experimentation and sound installation. In Odd Doubt, Ratti's modular system and tape loops generate broken rhythms that varyingly call to mind dub-techno, even if dub-techno of an extremely wonky variety. Off-beat chords, crackle, and snare strikes add to the dubwise flavour of the material, though ultimately it registers as more of an experimental exploration than straight-up dub exercise.The flip side features Johnny Leech by Lami, a one-time photographer now known as both a field recordist and a musician focusing on soundscaping and sound-ecology. In his contribution to the seven-inch, Lami's chaotic hand-made synth (cacophonator) and memoryman give birth to blustery smears of static electricity that ultimately mutate into an Oval-like array of ripples and scratches. Johnny Leech is so removed from anything conventionally musical, it makes Odd Doubt sound like a Top 40 pop song. Like Ratti's piece, Lami's is short, so short, in fact, it gives the impression of being an excerpt from a larger sound art work. Here's a release where the abstract nature of the musical content matches its visual presentation.December 2014''

Vital Weekly 951
''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''

Mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin.

Hana's first and self-titled LP was recorded in Autumn 2010 at Facta non Verba and consists out of 5 tracks which are techno oriented with disposal of experimental and abstract elements.

Reviews

OMG Vinyl
Hana s S/T LP is easily the best promo records we ve gotten in months. This Greek duo has somehow, almost entirely below the radar, released one of the most exciting electronic records of 2011. Their wobbly brand of techno sometimes chugs ahead at full-speed, other times easing back into a wider waver, almost resembling some weird, warped IDM. I will be shocked if this record doesn t get wider appreciation very soon. Whether that happens or not, we fully recommend it, track one down.

Cyclic Defrost by Oliver Laing
Granny Records duo Hana come correct with their first album, offering a refreshing take on techno and IDM variants in the vein of Jan Jelinek, Raime, Actress and hints of the mighty Chain Reaction label. Mastered at Berlin s Dubplates and Mastering by none other than Rashad Becker, a name that often appears in the run-out groove of artists who inhabit a curiously funky techno-not-techno netherworld Hana s debut self-titled release grows in stature and listening enjoyment with every spin. With a sense of fun and adventure inhabiting the grooves, Hana (who are also part of label-mates, Good Luck Mr Gorsky), explore experimental timbres and ghostly vocalisations with a lightness of touch that belies their recording credentials.

Starting off with an abstract, Clicks and Cuts style intro, Liv slowly finds the sweet spot between mutant Detroit electro funk, a hint of the indie/dance territory of Matthew Dear and the abstract, yet rhythmic 12 releases on the Beatservice label, by Norwegian duo Information from the mid 90s. Obermaier implies the groove to begin with, until a wrong-footed man-with-two-left-feet rhythm leads into minimal acidic flourishes. Album opener SM heads in a Ricardo Villalobos vs. Nonplace Urban Field direction, as the lopsided rhythm and sepulchral vocals add a haunted edge to proceedings. CR80 uses beautifully syncopated live drums and urgent female vocals, and adds a driving, belligerent synth riff falling somewhere in between DMZ and Gary Numan. Echoic, boingy sounds threaten to derail the beat, but somehow it manages to maintain, reminding me of Shed and A Made Up Sound; more in overall feel than in the specific sounds. For those that enjoy abstract electronics that work just as well on headphones as on the dance floor, Greece s Hana are a duo to watch.

Textura
Hana's self-titled debut album arrives saddled with a (literally) cheeky front cover one would more associate with a 70s band like Wild Cherry than a Greece-based techno outfit formed in Thessaloniki last summer. Recorded in fall 2010 at Facta non Verba, the five-cut release finds Good Luck Mr Gorsky members Thanasis Papadopoulos and Thanos Bantis hunkered down in their chemical lab concocting formulae to go along with their material's stripped-down techno beats. Using analogue synths, samplers, and sequencers, the duo brings a decidely experimental edge to their productions, sprinkling as they do liberal doses of burble and flutter over bass-heavy techno rhythms.
The opening track, Sm, sets the scene with a heavy low-end pulse thudding alongside a steady kick drum and joined by acidy synths and percussive effects that suggest a lighter being repeatedly flicked open. On a slightly more aggressive tip, the B-side's Cr80 adds truncated vocal yelps to its bleepy, elephantine throb. A dubby dimension emerges in the track, too, when echoing waves drift repeatedly across the huge bass that slithers across the track's underbelly. The album's most elaborate track comes last. Liv opens beatlessly with flickering shudders and what could pass for the amplified workings of an ant community but then progressively fills in the dots with an insistent beat pattern, voice fragments, and even the demented meander of accordion playing. Though Hana hardly rewrites the techno guidebook on the release, it's nevertheless a pleasurable listen, in part due to the multi-dimensional experience provided by the vinyl format and the always superb mastering work done by Rashad Becker at Berlin's Dubplates & Mastering.

Blurt are perhaps the act who have played live at Optimo more than any other. Active for close to 40 years they are one of the UK's all time great acts, phenomenal live and on record and supremely underrated.
Blurt mainman Ted Milton is a living legend. Now in his 70s but more vibrant on stage than most artists 50 years his junior, he is a man of many talents; artist, poet, musician, performer....
In 1984 he released a solo 12'; 'Love Is Like A Violence', a no doubt accidental dancefloor gem completely out of kilter with any other music of the era that now makes total sense in 2017. Dubbed-out stabs, programmed rhythm, trademark sax squeals and a more subdued than normal vocal that is strangely reminiscent of Vincent Price. Thee definition of a cult classic and much in demand, side A of this 12' presents the A and B side (the equally outre 'It's Only Recently That Stalins Have Begun To Roost') of this mighty 12' on one side of vinyl.
'The Ruminant Plinth' is but one of multiple classic tracks in the Blurt catalogue and is a long, long time personal favourite that takes pride of place of the other side. Tribal hypno rhythms, chicken wire guitar, sax and Milton's voice on fire, this was a genuine party starter on the Optimo dance floor on Sunday nights Glasgow. So louche it should probably be banned.
12' vinyl release in full picture sleeve designed by Glasgow artist Andrew Beltran.

"I'm going to try not to gush too much about the fact that 'Me Me Me' has Raj Pannu's first ever record, but you have to understand that he's DJ royalty to someone from where I come from.
From his residencies in Newcastle in the Early 90s, touring all over Europe, playing with the likes of Gilles Peterson, Jazzanova and James Lavelle to his move into turntablism in the late 90s playing one on one with DJ Craze, A-Trak and Q-Bert.
All the way up to the last decade and his time spent touring the world for 5 years as part of Coldcut, working with institutions like the BBC and Ninja Tune, and just generally being an absolutely mind bending DJ playing with people from all over the spectrum, such as Richie Hawtin, DJ Kentaro, Jamie Lidell, Kode9 and more....
and now he's decided to release his first record... With Us!
As you can imagine for someone with such a varied musical background, FSOP is hard to pin down. I played it to a friend and they said it sounded like Photek covering Pink Floyd, which is the closest approximation I've heard of it, I guess.
It's techno, but steppy, and super musical, and dark, but uplifting. Above all, it's just really special.I couldn't not give the record a full side to itself, and for the remix we've found the perfect pairing with an interpretation from Cosmin TRG (who I met at a festival, and who I instantly hit it off with after finding our shared love of Guiness and Sarcasm).
Cosmin chokes out all of the light with a cut of raw, skittering Paranoid Techno. Providing the ideal balance for both sides of the record.
Raj has also provided us with a Dub Mix which we're releasing as a digital exclusive.
The dub narrows the dancefloor focus, without losing the drama of the OG.
Reading this, you can probably tell how excited I am about this record."

Matt Flanagan has been making music as DeFeKT, ESS and Tinfoil for the past few years, so who better to put out the debut release on First Cut We decided early on that there was no point in repeating his admittedly fine back catalogue, so Matt went off one evening and did a 30-minute live jam on his machines. There was no real plan, but between us, we picked the three best bits, which you now own. Then we had to come up with a name. Initially, we toyed with the idea of calling it 'FeKT' but then decided that only a local audience would appreciate the joke and that it wouldn't travel well. Octal Step then emerged as the clear favourite. We sealed the deal to release 'Toner Head' over a cup of takeaway coffee on a bench in the Stephen's Green Cente in Dublin. And why is Gunter Walraff on the other side of this sheet Well, he seems like a cool guy. Plus he's German and has a moustache - what's there not to like about that

Rough and rugged Jahtari 7-floppy disc with a rudebwoy riddim by the rub-a-dub hacker team Art & Naram, well known in the community for their Red Robin productions. Epic drunkard's tale by the fast chat originator himself on the A-side - Peter King is heading down to the pub this time, returning from Maffi's Killah Tape EP' with even more story twists, odd rhyme meters and a recipe for disaster. Jammed straight to an 8-track cassette deck in the Jahtari studio, mixed by disrupt and coming with an high density dub on the flipside. LOAD...... Limited 500 copies edition!

Bernard Badie has been a staple in the Chicago House scene for over a Generation. He has released on labels such as Cyclo, Cajual, Nightclub & Distance.

Crazy For Your Love (featuring vocalist Mufan) is his latest. If you're into the 90's sound of the Windy City, this one is definitely for you. Written by Badie and House Legend Dajae, & features 3 different mixes that are equally as good.
A Time To Dance takes a deeper path, but compliments the title
track very well.

The free will of Struments has led them to concentrate in one 12inch the encyclopedic knowledge of Marc Pinol, a duo of kids that present themselves as T.A.L., and the responsible for all that, Spastor, that appears in a remix signed by Florian Kupfer. Lliure Albir sounds as if Pinol was dazzled by the light of a lantern in a chill out while Paranoid London resound in the next room. In his remix, Palms Trax bet on tom toms and certain tribal groove, adding soft eighties keyboards, deep atmosphere, speeches and dub deliriums that perfectly fit in the freak universe of Pinol. Florian Kupfer remix made of Spastor's Death In La Paz: a hit made in the German musician style whose groove is created by a fold in the sound and the apparent imbalance it has with the bass drum. If after this dawn breaks, it will not be small thing. T.A.L. are guided by a retro-spatial pulse to open a fan of sounds that expands and contracts threateningly, and delicately form what looks like an EBM hit stripped of the hammers.

Milan based collective Just This return with two VA releases to continue their 'Broken Promises' series. With the aim of documenting the progression of cultural movements, the label have pursued underground material since 2010. Broken Promises Part 3 and Part 4 are due for release on 1st December and 8th December respectively, and each feature four new tracks channelling refined techno with minimalist, ambient sentiments.
Hunter/Game open Part 3 with 'Distance', a meditative journey through ambient textures using expansive synths and vast acoustics. Next, Architectural brandishes 808 drums for a tense workout on 'Electric Soul'. On the B-side, label co-owner Pisetzky explores the darker side of minimal on 'Anterial', whilst Altman plays with moody bass and ricocheting percussion on 'Shapes'.
Part 4 opens with a shuffling rhythmic framework on Inland's 'Aechmea', followed by 'Zona', a pointillist groove by Ben Gibson, aka one half of the collaborative project Dyad. On My Flower's 'Kundal', a cyclical melody wanders through eerie acoustics whilst Hiver navigates a broken beat framework with glitchy distortions and dub echoes on 'Stellar Parallax Landing'. 

Future music from Bew Kanada's frontman Adam Marshall. Sometimes it's hard to categorize certain tracks and these ones are from outa space. it reminds me a lot of the time when we all discovered the first playhouse records from Isolee, Losoul and Soylent Green. Magic moments which at first listen maybe not seem to work on the dancefloor because they are too challenging, but if you find the right moment they gonna work wonder... tip!!!

Tr One return with 4 very different tracks recorded in one take at their studio in the Irish southeast. 'A Month Has Passed' uses a dubbed out aesthetic merging influences from UK bass and Detroit using shimmering melodic progression. 'The Boutique Of Never Ending Dreams' works towards a synth laden dreamlike peak. 'The Printer' duly merges playful Chicago drums with an organic chord structure to create a head nodding funk. Finishing the EP is 'Road To The Sea', a pensive sway of dubby sonics masked in a fog of reverb.

Tr One are an established name in the Irish electronic music community and are known for their energetic and engaging performances as DJs. They have received critical acclaim for the raw soulful productions from their studio in hometown Carlow, Ireland. They have gained respect for their ability to deftly move between the lines of genres with a strong sense of adventure and connection with Detroit/Chicago/Dublin machine soul. From this they have released music on Lunar Disko, Apartment and Fine Art recordings, with the strains of the US Midwest never far from sonic influence. They have worked in a range of styles from old movie soundtrack disco with New Jackson to punishing techno sharing wax space with the Phantom Planet Outlaws.