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Ichisan has been coaxed back behind the velvet curtain of the Bordello, this time for eleven track trip into a land of funk filled machine music. Aperitiv cruises with no single style, instead this Slovenian synthesist glides and slides through a scatting of sounds. Cosmic. House. Disco. Wave. Italo. All are plundered to produce an album overflowing with good feeling. And these feelings are pretty damn good. The road bends- The course changes. Bubrling acid bliss, crisp beats and stunningly delicate key shifts characterise this collection. Inviting strings pull you ever deeper. A soundtrack to coast line journeys along the Gulf of Trieste in a top down convertible, late night romances and evenings of endless warmth. Allow yourself to be whisked off by Ichisan, a trip you won´t want to come back from.

Cristal clear lakes, impressive mountains, soothing forests and
Berlin Techno music.The National Park of Saxon Switzerland in eastern Germany, south-east of Dresden offers endless ways to have a great hiking journey. The 93km region between Pirna and the Czech border is one of the most beautiful landscapes in Europe. More than 700 summits are available to rock climbers, while for those who prefer to keep their feet on the ground, there are 400 km² of marked hiking-trails, steep treks, paths and some cycle routes through the National Park. In this area, called the Erz mountains, we found our beautiful cover stone with a typical Ore layer inside.

Italian Roberto Clementi has really struck a chord in the hearts of Northerners, with releases on Scottish Soma, Danish Echocord Colour and Swedish Kontra-Musik. Perhaps it's his ability to create evolving and often emotional melodic landscapes over raw, punchy beats that's especially appreciated north of The Wall. This is very much true for True Rotary Recordings, in any case, bringing Roberto Clementi in for the label's second release. 'To Balance a Tide' is perfectly set in the True Rotary Recordings universe, combining analogue warmth with genuine musicality. There's no question Roberto Clementi has soul and has willingly poured some of it into this release, the music has a considerable thickness to it that's very pleasing to the ear, yet it's still exceptionally artful. Clementi's soul seems to be an ancient one, given the timelessness of his tracks - old SVEK releases come to mind but with an added futuristic twist. This is music for dancing and music for dreaming, all in one package.
True Rotary Recordings is run by Joel Alter and Ena Cosovic. Stemming from a longstanding mutual appreciation for the combination raw techno with more seductive sounds, the label is a natural development of Joel's and Ena's musical and personal partnership. True Rotary Recordings represents their mutual musical vision and vibe that they love. Keeping it raw and genuine.

40 years after the huge international impact of OXYGENE, and 20 years from its second volume OXYGENE 7-13, Jean-Michel Jarre is fulfilling a trilogy of albums with OXYGENE 3, containing seven newly composed and recorded pieces, consistently titled parts 14-20.

His inspiration for the newly added parts on OXYGENE 3 was not to go back in time, but to add a sense of now' to his iconic piece of work. Plunging into the environment of OXYGENE with its highly original dark, moody and at times quite upbeat musical language, Jarre references some of the music from his entire body of work on OXYGENE 3. It's a state-of-the-art recording, embracing both classic and modern ways of music production.
This release is available on single LP heavyweight vinyl.

dedicated to promote young and evolving artists and to present musical diamonds in the rough, raster-noton is curating the unun series which name refers to the chemical elements 111-119. »unalloyed, unlicensed, all night!« is jesse osborne-lanthier's first release on raster-noton, and the ninth and final release of this series.jesse osborne-lanthier is a berlin / montreal based, canadian electronic music producer and multidisciplinary artist. his erratic research process incorporates the urgency of dance music and conceptual electronics by disassembling their grammar and acting through it. refusing to follow the etiquette of a particular musical genre, he explores many creative practices in order to generate clashes of mood, expectation and technique.
»unalloyed, unlicensed, all night!« was recorded by osborne-lanthier a mere two hours before a live set in paris. its specific purpose was to generate a response from the audience, to stimulate their bodies through sound. the toolbox for this task was stocked with automatic call-and-response music tropes drawn from EDM, big-room house, trance, and online production tutorials. between the producer's idiosyncratic by-the-numbers process and the rushed nature of the composition, the final product is rendered unpredictable; each signifier transforms into a distorted ghost of itself. this allows for unexpected responses to manifest on the dance floor as well as in the listener's space of existence.

Bonobo veröffentlicht den lang erwarteten Longplayer-Nachfolger auf seine Erfolgalben Black Sands & The North Borders inklusive Vocal-Features von Chet Faker, Rhye & Hundred Waters!

Simon Green, alias Bonobo, kehrt mit seinem sechsten Album zurück, dem meisterlichen, gebieterischen "Migration" - ein Werk mit dem er sich ein für alle Mal an der Spitze der elektronischen Musik verortet. In abwechselnden Zügen opulent, manisch, wunderschön, melancholisch, freudig, voller Emotion und technischer Fertigkeit, ist dies womöglich sein bislang ehrgeizigster Versuch, die grundlegende Beschaffenheit menschlicher Existenz und deren ausgedehnte Dynamik zu erfassen. Neben Zeitgenossen wie Four Tet, Jon Hopkins oder Caribou, zählen Wiz Khalifa, Skrillex, Disclosure oder Warpaint zu Bonobos prominentesten Fans. Sein 2013er Album "The North Borders" erreichte im UK die Top 30 und katapultierte sich auf Platz #1 der elektronischen Charts, sowohl in den USA als auch im UK. Im Zuge dessen spielte sein 12-köpfiges Kollektiv weltweit über 175 Konzerte, darunter zwei ausverkaufte Shows im Sydney Opera House, ein ganztägiges Festival im Londoner Roundhouse, eine ausverkaufte Show im Londoner Alexandra Palace sowie einige renommierte Festival-Slots. Inzwischen verfügt Bonobo rund um den Globus über eine umfangreiche, loyale und engagierte Fanbase. Mehr als eine halbe Million verkaufte Alben und über 150 Millionen Spotify-Streams gehen auf sein Konto und verdeutlichen den Erfolg, den sich dieser ruhige, bescheidene Mann erarbeitet hat. Dank "Migration" wird seine wunderschön raffinierte und gefühlsgeladene Musik in Kürze ein noch größeres Publikum erreichen. Das zutiefst Persönliche kann schließlich ebenso gut allgemein gültig sein.

2 tracks out of three are from Sparks... B side, that he opens with a great acid techno tune... And a mental tribe dancefloor. The A side starts with a good Keja tune, exciting for the dancefloor:) and a then comes Matec and his good Acid Mental pumper. Once again Plaque De Trip brings 4 good acid drivers !

Bordello A Parigi. Ali Renault. A gin and tonic combo if there ever was one. The UK synthesizer savant lands with a four tracker of leftfield electro pop. 'Altro Mondo' screams out of the traps, bulbous bass lines elbow sweetened chords and snapping beats. 'Fume' grows from the same soil. Analogue warmth is brushed, even bruised, by the crack and whip of rhythms; a touch of EBM bitterness blended with Italo hope. Nowhere is this more evident than in...'Nowhere', a buckled dancefloor romp with the king of Milano, Fred Ventura, offering vocals. Uabos maintains the tension for the finale, uplifting house currents coursing through his remix of 'Lenticular'.

Drums, bass, saxophone. Three main ingrediences for the three members in Kriget. In this gorgeous 7" they've added mad nice electronics. It's krauty, spacey, free jazzy etcetera, so forth, blah blah blah. Lets settle at free music for free people.
A-side Dincons bass seduces you so subtle that you hardly notice that you're about to take off for a ride that you can't fight. Only feel. When you think you've landed safe and sound its time for side
B: Sama kicks of like a no-nonsense session with a sleazy elektroschaman who wants to hypnotize and program you with so vicious methods that the CIA would be impressed. When the acid kicks in at the end it's time to breathe slowly and quietly repeat for yourself:
Keep calm and remember that being paranoid doesn't mean they aren't after you.

Banoffee Pies Black Label Series 02.1 lands exploring more deep minimal bumpers for the floor. BPBL02.1 offers another Unknown sample heavy edit, an insert from Bristol local and label friend Crump, and tracks from their newest label affiliates, Jase and Pablo Marco.Groovy business from the Banoffee camp. Heat!

The record sleeve and inner sleeve were designed by Wolfgang Tillmans.

Finally Represed

New nheoma from the label bosses, with a killer Pfirter remix. And closing the release, the track Solar Masses featured on Oscar Muleros Unknown Landscapes cd mix released on Polegroup.

Landside is the collaboration between Italian producers Hunter/Game and the Icelandic band Kúra.
The sound draws as much from the deep vibe and

melancholy ambience of Kúra's reflective, dubby moods, as it does from the more insistent groove of Hunter/Game's dancefloor roots
Landside - Signs Of Change EP
Signs of Change is the fourth chapter of Landside's journey through diverse sound researches that cross over to industrial ambients, basslines and a whirling melody accompained by a crescendo of sonorities that won't release you from the flow.
Distance is a throw back voyage in a melodic orchestra of ethnic sonorities that elevate you to an esquisite and new dimension.
Luke Hess Remix, is a night bounce into into dub techno that will hypnotize you with its hazy yet enthralling use of vocals.
Kelpe Remix is a deep and intense dreamlike hazy trip, accopanied by trippy melodies that melt with the voices of the original track.

Jam Money is the shared musical vision of Kevin Cormack and Mathew Fowler. Mathew (Bons) and Kevin (Half Cousin, Harry Deerness) first began collaborating as part of the Blank Tape Spillage Fete, an ongoing collective project of art and music which focuses on the creation and perpetuation of small DIY exhibitions, related events and limited releases that celebrates the hobbyist nature of home recording.

Jam Money revolves around a passion for the simple and sometimes restrictive nature of four-track cassette recording. Using old half-broken guitars, clarinets, charity shop keyboards, toys, family heirlooms, zithers, home-made percussion, and household objects a shared dialogue appears, involving both mark making and musical mishaps, allowing the makers to be carried along as the music finds its own way.

Genre definitions melt away in Jam Money's music as ambient dissolves into lo-fi rock, noise into fragile naive classroom melodies. Creativity beyond easy categorisation.The first recordings titled 'Blowing Stones' were self-released in 2014. The cover and insert artwork for this record featured abstract paintings by the artist Aimée Henderson whose work and process is a great influence on their music. Having played gigs alongside kindred spirits National Bedtime and Plinth, the tail end of 2015 saw the the band travel to Germany to play with the Notwist and Le Millipede for a series of 'Alien Disko' nights organised by Alien Transistor, a label with a shared kinship of both the weird and wonderful.

'A Gathering Kind' is the second album by Jam Money: a journey of sound and colour, subliminal images and narrative. The roots of this collection found Fowler and Cormack using an earthier, more instinctive language, making it a rougher-edged sibling to their other recordings, with parallels to the home-spun worlds of Flaming Tunes, Pumice, Maher Shalal Hash Baz and World Standard. Aimée's artwork features again, both paintings and music forming a collective language of dream-like adventure.

"Poignant and exploratory. Melting together acoustic and electronic elements, the narrative throughout is one of a ghostly world heading for winter. A firm fan favourite Stephen Pastel (The Pastels & Monorail Music) on Blowing Stones.

"Created in question and answer form, their songs exist like little sculptures - wayward and peaceful, sometimes whirring into automatic life under the pair's combined attention."

Das britische Produzentenduo Letherette veröffentlicht sein lang erwartetes zweites Album auf Ninja Tune!
Das britische Produzentenduo Letherette veröffentlicht Ende November sein zweites Album "Last Night On The Planet" auf CD & Vinyl via Ninja Tune. Zehn Songs, die die volle Bandbreite zwischen Hip Hop, 80er R&B und straighten House bis hin zu deepen Downtempo-Momenten abdeckt. Neben Stones Throw's Pyramid Vritra finden sich auf dem Album auch Rap-Features von Rejjie Snow und Ubiquity Records' Jed & Luca.CD im Digipack, Die Erstauflage erscheint als gelbes 180g Vinyl inklusive - Downloadcode.

The Erefora Land" is the first solo record by Johan Kaseta, Lehult founding member. It's a nostalgic, hazy affair where the tracks work both on a dancefloor and as the score to an imaginary Super Nin-tendo RPG. Squelching vocal samples ("Hi!") and bubbling synths are reminiscent of the oldschool, synth-laden nineties game soundtracks young Kaseta still can't get enough of. "The Erefora Land" is like coming across the soundtrack to Earthbound after having forgotten to have ever played it - suddenly a rush of sights, sounds and smells from the past come back to you and gently pull you in. Kaseta takes this nostalgia of the forgotten and puts it into his very own context: shuffling hihats, missed drops - a playful version of house music. Swept up to the shores of Erefora land, you're greeted by "Lei Tindissima". A seductive, blistering track on the verge of falling apart yet always staying groovy and pumping. Being somewhat ambient and airy, yet relentlessly moving, "Erefora Steps" is not just a charm to listen to, it is also one hell of a weapon in the club - tested by yours truly intensively. Grooving on a broken, somewhat latin type of bounce, there are several twists and turns between heavenly pads, psycho-vocals and, of course, echoed airhorns.The third cut, "U Timmi", is a laid back Sunday afternoon jam. Despite being light, smooth and grooving, it's layered samples and micro melodies draw you further into the mysterious sound world of Erefora land.Finally, "Me times U" could almost be the theme tune of "Erefora Land", it's blissful chords so close to a conclusion yet always behind a veil of waterfalls, trickling shakers and swooping filters.

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

The second outing from BTG follows, in tradition, their 2 originals and 2 remixes format. This time round TOYC creates a slower paced dance floor obliterator titled 'Kicks' sounding like a wonky laser gun trapped inside a broken 808 landing somewhere between broken techno and bass. On the remix Project Mooncircle and 20/20 LDN affiliated Deft deconstructs and reconstructs TOYC's track into a maximalist beast fusing the current sounds of 160 BPM 170 BPM and half­time DnB with the technical precision of Amon Tobin. Up next the booty­shaking stormer they call Itoa, known for releases on Bad Taste and being featured in storming 160­/170bpm sets by DJs and tastemakers such as Om Unit and Sam Binga. 'Snake Pass' is a classic Itoa track, playful bouncing subs and flickering percussion and shards of vocal, landing somewhere between footwork and booty bass. BTG co­founder Etch sets the pace with his remix of Snake Pass, coming through with a schizophrenic beats influenced sub heavy stepper that slowly evolves into a breakbeat onslaught.

American experimental musican Shane English continues in a long tradition of outsider electronics as he's been humbly prolific in his output though the years involving himself in numerous recording projects.Collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name), English now commits his second full length solo offering to vinyl in the form of the General Dimensions lp.Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Highly recommended for those into early electronics.

Field Records is proud to present a new experimental mini album from Scott Monteith aka Deadbeat that touches on the traditional music of Qawwali. Entitled Qawwali Quatsch, it feature lots of transcendental sounds and hypnotic violins and voices across eight tracks. This absorbing album came about after Monteith--best known for his dub techno--attended the 2015 Wasser Musik festival in Berlin, which featured music from both the coastal and land locked regions of India and Pakistan. One performer was Asif Ali Kahn and his "Qawwali party," as Qawwali bands are appropriately known, and his show really struck a chord. The resulting music (which the artist admits is just a humble experiment galaxies away from the real power of the source material that inspired it) makes up this first album under his own name, and is a sympathetically infused album that ably captures the spirit of the revelatory, life changing music that is Qawwali, and an entry quite unlike any other in his now vast catalog. Collaborator and longtime friend Sophie Trudeau of Godspeed You Black Emperor! was involved for additional violin and voice treatments.

After a string of outstanding releases on some of our favourite electro labels, Seattle's Chris Roman aka 214 joins ranks at Lunar Disko to present the 'Talus Loop' EP.
214 has developed into a true master of the atmospheric electro sound, and once again showcases this talent on the 'Talus Loop' EP. A fusion of intricately textured techno and electro, combined with lush ethereal soundscapes transport the listener to a far away and otherworldly dimension.
Futuristic Hi-Tech electro and techno from a producer of the purist form.

Analog Africa has now the privilege to present 11 tracks by Verckys et L'Orchestre Vévé at the height of their most funky capabilities.

Compiled over the course of many years in a land of hardship, we welcome you to the grooviest era of the Congo.

Congo's turbulent and exhilarating '70s: Nightclubs and dance floors were packed to the brim in the capital, Kinshasa. Exuberant crowds, still giddy from independence

a decade prior, grooved to the sounds of the country`s classics. In fact the whole continent was submerged into the Congolese Rumba craze. Encouraged by the fantastic

productions of the Ngoma label, vibrant radio waves had been spreading the Congo sound from Leopoldville all over the continent, becoming the countries' No.1 export.

The first instalment in our new 'Mr Bongo Record Club' compilation series - a selection of favourites, recent discoveries and sought after obscurities, which form the basis of our DJ sets and our radio show of the same name. Including cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie Laverne, Barbosa and more. The original concept for 'Mr Bongo Record Club' was a radio show that allowed us to air our treasured record collections, recorded and broadcast once a
month. We wanted to create an outlet free from any genre or BPM restrictions, not constrained by the need to beat-mix every record, a space where we could play latest finds alongside favourites. The only self-imposed rule being that
it had to be played from vinyl. We have always DJ'd across-the-board, but playing in an eclectic way hasn't
always been easy. Recently DJ's such as MCDE, Floating Points, Nick The Record, Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and Young Marco - to name a few - have opened things up with very diverse sets to
younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco, boogie, jazz, house, techno and beyond.  
We're seeing a rare groove like sensibility. A shift towards the attitude of legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson, where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin
back to back. At the same time it isn't a nostalgic or retro movement, people have a progressive attitude and a thirst for new-old music. It is a vibrant and exciting time - we are proud to be a part of it.

Miskotom is a project from Mik and Andra.Originally hailing from Russia but now both residents of Vilnius Lithuania. Both have a long history of music making going back as far as childhood.Andra was involved in 2Muchahos an ambient project which came out on Beko recordings. Mik came up through the indie scene playing in bands before finally settling in the dj booth and then as a producer....Miskotom's music has a magical dreamy quality, sometimes lovely Balearic or melodic pop sounding like long lost tracks form Wally Baderou, but also sounding like sleazy mid 80s chicago basement jams....Analog synths jam along with guitars ,voca land ,handmade percussion mixed down and recorded onto tape. Sometimes 4/4 sometimes no beat at all.....to round off this EP we have an excellant remix from Kito Jempere, who over the last few years has notched up a steady stream of releases over many labels , most recently a killer edits ep for the mysterious Bahnsteig label.

When faced with the decision to take a different direction at the risk of getting lost in a synthetic sound or to further explore the same musical path, Vaudou Game didn't need to consult the oracle for very long when putting together their new album. Since their first acclaimed album, Apiafo and its irresistible single "Pas Contente", these Lyon natives never turned down the heat on over 130 stages across Europe, Africa, America and Asia. Peter Solo has displayed his amulets, charisma and yellow pants around the globe.When time came for them to harness their Afro-Funk sound for the second time, they turned their attention once again to their analog strengths. Vintage material, instruments produced in the 70's and cassette tapes were the "grigris" (or lucky charms) which proved most effective to ward off digital corruption of their music and return them to a tight-knit group with a solid groove.This unbeatable trance rhythm, inherited from James Brown and Fela, icons of Funk and Afrobeat, becomes trident when joined by Mawu, the creative voodoo divinity hidden in each of the group's notes. This inspiration transcends their spirit of communion, plunges them deeply into Mother Earth and results in the telepathic trance which is directly connected to Togo Peter's native Togo.Each song then becomes a celebration where the listener becomes the group's voodoo doll, embraced by the rhythm, submitting itself to the mercilessly metronomic cutting of guitars, struck by the copper-colored flashes of lightning forged by the African voodoo deity Hevioso, pierced by the psychedelic visions generated by the organs and a six-string guitar, cheerful songs, and hypnotic incantations.KIDAYU means "sharing" in Kabye, the language spoken in northern Togo. Sharing, is the philosophy of Vaudou Game - both in their recorded music and on stage.Vintage African funk tinged with voodoo chanting: Togolese Peter Solo and his fellow musicians from Lyon electrify us in a frenzied ceremony" - Télérama

The debut vinyl release of Detroit underground mainstay Sterling Toles features tracks produced between 1998 and 2006, recently unearthed by Sector 7-G Recordings. Sterling emerges from a scene of producers that prided themselves on sampling distressed vinyl and lo-fi analog production as a reflection of the mental and physical environment of the post-industrial city. Sterling carries that sonic dialect with him as he nomadically incorporates the language of other genres, variously exploring soul, ambient, Detroit techno, and folk sensibilities. From the ambient/folk impressions of "grace, i will now let go..." to "inga 135" sounding like 90's jazz-inspired hip-hop having a ghettotech dream, "Archival Arteries" is grounded in the sonic palette associated with Detroit's ethereal and minimalist boom bap hip-hop style. These tracks hold the imprints of Detroit's expansive musical institutions such as The Electrifying Mojo, The New Dance Show, and CBC radio's Brave New Waves. Created with just an Ensonic EPS sampler and a VS 1880, this EP captures the fluid musings of this indelible artist

Originally released in 2014, Luciano's 'The Great Amael' is an enchanting and endearing trip; a lo-fi bubbling groove and dusted Hammond organs that hustle along whilst live percussion cuts through the oceanic atmospherics. Two years on, and Cadenza Music call upon a brace of remixers to provide fresh and unique interpretations of this hidden gem in Luciano's catalogue. Having recently released his first album in over 10 years, Matthew Dear AKA Audion boldly steps up to the mantle and stamps his intelligent techno sound all over 'Amael' in the first of our remixes. Cutting a sprightly pace from the off, Audion melts stuttering sine waves and bulging tones over concrete beats, tweaking in the original organ riff and fathoms deep pads whilst adding additional vocal refrains as he playfully teases the arrangement before dropping a superb riff in his 'Backward Melody' Remix, which takes a most psychedelic and unexpected twist! Two other musical heavyweights collaborate on the second of the remixes; Phil Moffa and Seth Troxler are no studio strangers, having released a joint project on the British Hypercolour label last year, and remixed for Tiga a few months back. Their LSOS LOVE/GOD Remix builds from ambient beginnings, save for a rhythm carved out of spongy electronics, a sturdy beat kicking in and setting the controls destination unknown, as the duo steer through breathy vocal cuts and propelling bass, stripping the remix back before leaping back into hyperspace with some adventurous and dubbed out vibes, before coming back down for landing with those unmistakable pads from Luciano's original.

Todd Osborne playing around and dropping two killer cover versions of classic tracks!! Two acid tracks "Acid thunder / Land of confusion " masterfully replayed on the historic machines by Todd Osborn who brings even more dynamics and impact than the original tracks!!!!! TIP!

Marcel Dettmann has mixed the latest edition of the highly respected DJ-Kicks compilation series.
Whilst Dettmann is well-known for his incendiary sets at his residency at Berghain, his DJ-Kicks mix is crafted for listening, and displays a more reflective side of the DJ and producer. The mix explores a wide array of selections from various subgenres; ranging from the a new vocal-led Strictly Rhythm release, to rapping on Clarence G's 1991 release 'Cause I Said It Right', recently reissued by Clone Records.
Over the course of its 1hr 14 duration, Dettmann reveals multiple new original productions; most notably a collaboration with Levon Vincent, 'Can You See It'. The pair have collaborated once in the past, releasing 'Vengeance' on Levon's own Novel Sound label towards the end of 2015 to critical acclaim. 'Can You See It' sees the duo venture into darker territory; a stripped back, sub-bass laden affair, the quality of this production immediately stands out in the early stages of the mix.
Dettmann also collaborates with MDR affiliate Wincent Kunth on 'Possible Step'. In addition to five brand new original Dettmann remixes and edits, there's an unreleased remix of Marcel's 'Let's Do It' from Ostgut Ton labelmate Rolando.
Designed to be enjoyed by both the critics and more casual listeners, this mix is the latest in a long series of lifetime achievements over the course of Dettmann's career - and with so many new unreleased original Marcel Dettmann productions included, this is a landmark release for the producer

Just This 's first Various Artists aims to the research of a mix of sounds by producers from different countries, to a journey into a variegated world. Melancholic vibes, deep ambient atmospheres.
The second part of the Various Artists, gets straight to the point, reaching the dancefloor in a more hard and deep insistent way.
The First track ''Inside world'' is composed by Hunter/Game, as a playful banger with a solid kick, brushed percussions and surging, subtly atmospheric synth pads that make the track dreamy while fierce.
The Second one by Pisetzky comes with a strong, continuous 4/4 bassline and organic percussion from start to end, further on dominated by a hypnotic melody followed by a more romantic and dreamy motif full of longing melancholy and eternity.

The third one comes from Just This new Artist Altman, with a breaking

mellow downbeat theme, it lets all squeaky sounds mesh nicely

like a dream landscape opening up into a widescreen chord progression, with an epic build up.

With a title that suggests great things, making reference to 6 Victoria Crosses awarded to the Lancashire Regiment in World War 1, Mr Fantastic and Coherent (of Journeymen fame and much more) have set themselves a tall order. Before you have even listened to the music, the presentation points to success in this venture, with original artwork by the brilliant Stilts and marbled camouflage coloured vinyl to boot!

100 years after the press reported 'the winning of 6 VCs before breakfast' during the Gallipoli campaign in World War 1, S.O.E. (Special Operations Executive) opt for beats and rhymes rather than guns and bombs, and the resulting record is essential. The initial salvo is fired in 'Ready For Combat' which sees Mr Fantastic combine hard-hitting drums with stabbing guitar chops for Coherent to set the tone. The result is an instant smash which will have you rewinding, as I was, time and time again! From there, the duo, joined by Rola (The Numskullz/Journeymen) and Truck (also a member of The Journeymen), stage a three pronged assault over a haunting beat, spitting verse one after another like a creeping barrage before Mr Fantastic delivers the final victory courtesy of his trademark tight scratches. The concept for this EP is highly original and perfectly apt and on 'Foreign Lands', this is perfectly demonstrated as Coherent weaves tales of carnage that would sound at home on a jungle warfare documentary. 'Lyrical Assassin' once more sees Coherent dropping vocal hand grenades over double bass and electric piano skilfully fused together by his fellow soldier Mr Fantastic. Throughout, the subject matter and music is dark and 'Heavy Artillery' encapsulates this perfectly - Mr Fantastic's thumping, bass-heavy production would have sat perfectly on Show & AG's sophomore LP next to tracks like 'Night Time'. On 'Carcasses', Coherent shows the enemy why he is such a skilled MC, delivering surgical strikes with his tight metaphors and hard-hitting punch lines.

The question, then, given the highly ambitious nature of this project, is whether S.O.E. have won the battle they set out to win. With meticulous artwork, dark brooding beats and Coherent's masterful wordplay, the result is clear. They didn't just win the battle but the whole darn war!

Kanzleramt presents 'Consistency Remixes', a three track remix EP of as-yet unreleased Ray Kajioka originals, hinting at new material on its way soon from the Berlin-based artist and Kanzleramt mainstay.
The EP will land on vinyl in September of 2016 and features remixes from Detroit legend Rolando, as well as The Persuader (aka Jesper Dahlbäck) and Kanzleramt label-head Heiko Laux.

"Hepta" is the greek word for the number seven. Significant, full of knowledge and symbolism; these metaphoric fields are associated since the beginning of Ownlife. It is also the title of the new release on the platform. This time, as it happens regularly since its creation, signed by the ideologist, Leiras.
Another four tracks that anticipate some of the sounds that will appear in future deliveries, entering into unexplored lands until this date.
The record opens with an homonym track. Synths with pure voltage nuances around layered kicks that characterizes this perfect cut for long mixes. "Nubian Legacy" combines the oneiric landscapes with the ambient and techno in an unprecedented way for Ownlife.
On the "B side", we can find the atemporal functionality of "Neopagan" to the cold and physical techno of "Hepta End" whose final part leaves open the continuation of this chapter.

Der Braddock ist tot, lang lebe der Baby Craddock ! ( Braddock is dead, long live the Baby Craddock !)El Braddock ha muerto, viva el Baby Craddock ! Vive Pépé ! - This will be released in a Limited SERIALISED ( Number Stamped 1/3500, 2/3500, etc) Edition of 3500, with Full Beautifil Cover Art made by Pepe and will be Sealed / Shrinkwrapped.

On Scissor and Thread's fourth release of 2016, newcomer Villete takes a turn in the spotlight on their deep house stunner, 'Girl Next Door'. The A-side opens with the swelling pads and earnest hi-hat of Dreams". A distant voice declares everyone is devoted to their emotion, it's me and my imagination' before a springy bass line drops in, ushering in the mantra never be afraid to dream". A brassy synth further envelops the listener into the track's warm embrace as layers of percussion skitter in and out of focus. September' takes a turn for the cerebral with its' skipping hi-hats and airy pads. A springy bass line is accompanied by celestial synths that envelop the senses, making this psychedelic cut primed for after hours devastation. Villete goes even more cerebral on their introspective title cut, dialing back on the BPM, but keeping the energy high. A hushed bass and thudding kick take the backseat, allowing the hypnotizing, submerged pads and swirling, reverbed synths to take center stage, transporting dancers into eye-closed euphoria. The EP closes with the murky drum tones of Rillia". Droning pads, delicate claps, and a shy, skittering shaker keep things bubbling and light above the track's thicker than molasses kicks. Deep house maestro Darand Land takes his turn on the aforementioned track, lifting it out of the murk and straight up to the heavens and drenching it in his sun-kissed, euphoric style.

Philippe Quenum returns to Cadenza Music with 'Solitaire', some thirteen years after helping kick start the Swiss label with the 2003 release 'Orange Mistake'/'Funky Dandy'. This groundbreaking single, co-produced with Luciano, has since become a landmark release, not just for the label, but also as the benchmark for the micro-house and minimal tech-house genre that developed over the decade. With a music career than spans back to the mid-80s (dancing in NYC as part of the breakdance troupe, The Magnificent Force), Quenum found his forte with house music, both as a DJ, and as a producer and label owner. Setting up the Access 58 label in 1998 as a platform for his music and collaborations, Quenum has consistently released over the years for labels like Crosstown Rebels, Soma, alphahouse, Thema and Trapez LTD. 'Solitaire' finds Quenum on fine form; on the lead track, dubby FX and bass shaking shots roll out over an urgent disco beat, muted brass and technoid stabs fire from all directions as the tension building pads flourish. Shadowy forces are at play on 'Mystic'; discordant sounds echo and bellow over reverberating percussion and a dense back beat that fire into life with shuffling hi-hats. Wrapping up this welcome return to the label is 'Mystery'; whipping snares and industrial clangs rumble over the urgent drums for more hypnotizing dancefloor work from Philippe!

Chances are you've already danced to one of his sets at Panorama Bar - Matthew Styles has been a regular guest DJ at the club for several years -, but you've probably also come across at least one record with music that went through the Englishman's meticulous hands. While Matthew has released great but small numbers of 12"es on various labels since 2007, his credits in mixing, engineering and mastering exceed his solo discography by far.
With the Metro EP we're finally offering a full solo release by Matthew Styles on Ostgut Ton, accounting for his consistent productional finesse, especially with his original track "Liquid Sky" (on Nick Höppner's Panorama Bar 04, 2012) and his 'Dub Mix' of Dinky's "Planes" (on Ostgut Ton / Zehn, 2015).
"I've never worked on a sequential set of songs that came out on the same record," Matthew commented on this 12". As with his productional approach in general, the Metro EP has a certain timelessness: "One piece is from 8 years ago, one from 3 years ago and another from around the time of the recent birth of my second son. I'll leave it up to the listener to guess which is which."
The eponymous "Metro" on A is an elated seven-minute, trippy, meandering analogue synth exploration in House and Cosmic Disco. "Wave 6" opens the flipside with a simple yet beguiling melody: 6 notes dancing completely beatless in 5/4 time, meandering repetitively and escalating towards a blissful - yet only anticipated - climax. "Border" on B2 is a solid addition to the long history of Dub Techno - smooth, steady, super layed back, but also offering many colorful melodic elements.
(de) Gut möglich, dass du schon einmal zu einem seiner DJ-Sets in der Panorama Bar getanzt hast - Matthew Styles spielt seit Jahren regelmäßig am Wriezener Bahnhof -, aber sicherlich hast du wenigstens eine Platte gehört, die vorher durch die akribischen Hände des Engländers gegangen ist. Obwohl Matthew seit 2007 tolle aber wenige 12"es auf verschiedenen Labels veröffentlicht hat, übertreffen seine Credits als Mixer, Engineer und in Mastering seine Solodiskografie bei weitem.
Mit der Metro EP hat Ostgut Ton nun endlich ein volles Solorelease von Matthew Styles im Angebot, das seiner konsistenten Produktionfinesse - besonders bei seinem Track "Liquid Sky" (auf Nick Höppners Panorama Bar 04, 2012) und seinem 'Dub Mix' von Dinkys "Planes" (auf Ostgut Ton / Zehn, 2015) - Rechnung trägt.
"Ich habe noch nie aufeinanderfolgend Stücke produziert, die dann auf derselben Platte erschienen wären", kommentierte Matthew diese 12". Wie generell bei seinen Produktionen besticht die Metro EP durch eine gewisse Zeitlosigkeit: "Ein Stück ist acht Jahre alt, eines von vor drei Jahren, ein anderes von kurz nach der Geburt meines zweiten Sohnes. Die zeitliche Einordnung möchte ich dem Hörer überlassen."
Das gleichbetitelte "Metro" auf A ist eine beschwingte 7-minütige, trippige, mäandernde Analog-Synth-Erkundung in House und Cosmic Disco. "Wave 6" beginnt die B-Seite mit einer einfachen aber betörenden Melodie: 6 Noten tanzen beatbefreit im 5/4-Takt, treiben repetitiv und ansteigend auf einen beseelten - aber nur erhofften - Höhepunkt zu. "Border" auf B2 ist eine solide Dreingabe zur langen Geschichte von Dub Techno: sanft, stetig, super entspannt, aber mit vielen melodischen Elementen.