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The Gold Play is a compilation of all Tangram-related artists to date.
Tangram Records is an independent Belgian-based record label. It was founded 4 years ago by Up High Collective and Mophito to promote a batch of unreleased beats and live-show by Up High. Throughout the years their releases got picked up by Gilles Peterson, Lefto, XLR8R, Boiler Room, Kutmah...amongst others. Now 4 years later Tangram have introduced a wide-range of talented musicians to the world. Without wanting to limit them to a certain genre you might say their releases are a celebration of electronics and hip-hop.
The compilation itself holds 6 previously unreleased tracks by Up High Collective, Faisal, LTGL, LoneBlue x Halibab Matador (aka YellowStraps), Le Motel and Sokoto. Each side of the vinyl ends with a previously released track on Tangram by Day Fly and Moodprint blending the entire release nicely together.

The artwork release is beautifully crafted by Dzia. Dzia is a graphic artist from Belgium and fine artist in every sense for that matter. His creations range from paintings, through sculpture to taxidermy and street works. This gatefold holds two versions of a fox and a play-full scenery of dear.

Lessismore (formerly Lessismorecordings) was launched 10 years ago, and has been on hold for a few years. At the time the transition from vinyl to digital didn't feel right and now that the vinyl market is coming up again the love and faith to release a beautiful product (vinyl with cool artwork) is back.This 10 year anniversary is a good reason to revive from hibernation state and to start sharing great music again. The first few releases from the relaunch will represent re-releases of the strongest EP's from the back catalogue with remixes by respected artists.

The Alexis Tyrel remix of Estroe's Taxotere has a palpable energy which comes from the masterful fusion of pounding kicks and luminous synth stabs that swell and bulge out through the mix like bright flashes of summer lightning.

The Advent remix of MBC's Zeitlupe starts with a galloping synth that builds in intensity. Just as one is lulled into a "false feel" of the track, the synth part transforms into the syncopated groove of the original version. The track fluctuates between both patterns periodically. With several intriguing modifications of the main sound throughout, and with a pacey aggression, this track is both fierce and deep.

Gideon also remixes Zeitlupe and in his version the intensity is increased a little more. The main groove is prevalent again which drives this remix. However, the real profound sections are where the beat breaks down and yields to the resonantly electrifying lead synth which consumes all in its path. Conspicuously powerful and driving.

Once more on remix duties, this time Gideon interprets Alexis Tyrel's H for Hustler. Rhythm and percussion based, it exemplifies Lessismore's ethic - it is both fundamental and bold. Strong and steady machine like beats push the track along relentlessly while industrial scrapes grind away on top. The "Hustler" sample is sporadically placed but is still used enough to give a hypnotic feel to its use.

The original version of H for Hustler by Alexis Tyrel focuses on the basic elements that are at the core of timeless dance classics. The captivating and hypnotizing beat powers its way throughout. The "Hustler" sample is used rhythmically to great effect while the perfectly aimed machine-gun snares find their mark and are perfectly positioned to hold attention and build atmosphere where needed.

''In a time of peace and prosperity on Phantom Planet, three unwanted heroes arrive home to seek justice where there is none to be sought. Shunned by modern society, Forsh gets a job at the electricity board, Red Defender snoozes through work at the local news and booze, and Bin Man finally finds his dream job... as a postman. With no evil to lay waste to, they put their dinner money together to create the world's greatest record label, BOSS TRACKS. Using broken dustpans and Dance Ejay '98, they create what will go down in history as the most seminal and brilliant piece of musical forgery known to Merseyside. 4 tracks packed full of pure dance floor steroids for your love-pump; this is interstellar muscle music at its finest, let it reach out grab you by the tenderloins! Thank you Phantom Planet Outlaws. Once again the world has been changed forever, for the better.''

POP AMBIENT - our longest-running compilation series after Total - sees a new instalment for 2017, featuring exclusive material from acclaimed genre veterans and series newcomers JENS-UWE BEYER, YUI ONODERA & SCANNER, MAX WÜRDEN, LEANDRO FRESCO, THORE PFEIFFER, KENNETH JAMES GIBSON and SOULSAVERS remixed by WOLFGANG VOIGT.
Following his own cues from preceding entries, Pop Ambient chief curator Voigt again strikes a perfect ratio of established producers and debuting guests: our complete Pop Ambient solo album crew makes an appearance, from JENS-UWE BEYERs atmospheric soundscapes on the tracks FINAL 9.1 and FINAL 10, to THORE PFEIFFERs glitch romance GOOD LIFE, LEANDRO FRESCOs beatific drone fests SONIDO ESPAÑOL and EL ABISMO, as well as KENNETH JAMES GIBSONs melancholic epic HER FLOOD KNOCKED ME TO THE GROUND (BUT I WAS ALREADY THERE. Other returning artists include ANTON KUBIKOV of SCSI-9 fame (with electronic reverie DEKKA) and Cologne soundsmith MAX WÜRDEN, who was last seen releasing wonderfully immersive albums on BineMusic and Wolfgang Voigt's very own Exponate series. His guitar-infused, dubbed-out cut FERNFELD and the mysterious electronic mantra 186.000 MILES PER SECOND are particularly striking renditions of the rich sonic narratives possible in Pop Ambient.
For the 2017 release, we welcome Tokyo-based Pop Ambient novice YUI ONODERA with his tracks CROMO1 and CROMO2, which both serve as opener: a trained musician and architectural acoustic designer by trade, Onodera embeds diverse influences from traditional sound design, film scores, contemporary composition and electro-acoustic experimentation in his work, resulting in intricate drone sculptures and sound skylines. This skill set gels naturally with the sonic sensibilities of iconic experimental composer SCANNER who teams up with Onodera for the cut LOCUS SOLUS - it's an incredible honour to have such a towering figure in advanced electronic music on board. Wolfgang Voigt himself makes an appearance as remixer, turning the track HAL from electronic-rock-gospel duo SOULSAVERS' 2015 album "Kubrick" into a voluptuous and immersive sound journey. It's the cherry on top of a particularly fluffy cake that will prove irresistible to any connoisseur of ambient music.

When Jerry Lee Lewis walks on-stage, he provokes uproar just by standing still... And from the moment he hits the keyboard, hands raking and floating around the mic stand, hair flying, he leaves no one in any doubt about who gives the greatest live show on earth.



One of the few serious contenders to Elvis Presley's title of the King of Rock 'n' Roll, Lewis made his finest recordings during his early years with Sun Records. Whilst there he recorded prolifically, encompassing the diverse musical styles, including: country, gospel, blues, hillbilly and R&B, genres which he had grown up listening to.



This new LP highlights the cream of Lewis' peerless recordings made for Sun Records, when he was at his creative peak and includes: 'Great Balls Of Fire', 'Whole Lotta Shakin' Going On', and 'Wild One (Real Wild Child)'.



The Sun Rockabilly Legends Series is produced by Sun Entertainment Corporation president John A. Singleton and Charly Records founder Jean-Luc Young.



'The Killer' changed the face of both Rock 'n' Roll and Country Music.' - Clive Anderson

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."

We certainly have a soft spot and a proven track record here at All Ears for these kind of magical, mysterious morsels
Elaborate Hoax follow up last year's instant sell out 001 with Another fine EP of lovingly mined tracks, expertly reshuffled for contemporary floors From a buried Brazilian Jazz-Funk gem, to a killer early 70's jam outta France, to a super addictive Hot Gossip rewire...Seek, and ye shall find !

"After almost 20 years of making tracks with blaringly loud kicks, you tend to start producing with the other elements first to give yourself a break from the constant pounding of monitors at point blank range. Following an analog filter shopping spree, I began working on a group of tracks where the low end was satisfied by the filtering, and realized these songs worked just fine without a bass drum. Therefore this record is called "Rareforms" since most of my other work consists of a kick drum and lots of loud effects. This record is dedicated to the brilliant synthesist and interpreter Isao Tomita, whose records always provide inspiration in the lab. Also to master storyteller Rod Serling and his frequent collaborator Bernard Hermann, whose score for the Hitchcock film Vertigo I adapted through some MIDI processes and wavetable synthesis, then sent it through a 4-foot spring reverb." - Phil Moffa

In the lead up to their 5th year as a label Music is love celebrate by continuing their infamous VA series the 'LOVEBOX'. Sticking to the winning formula of a hefty double vinyl package comprising of 8 tracks from 8 top artists, this time they have some familiar people alongside new faces to the label.
Kicking off the package in fine form is South London's prodigy Wbeeza and his track 'Bodyman'. It's as if this track announces the the opening of the VA with its beat-less and thickly textured opening... when that beat drops you know your in it!
Label main stay Jamie Trench is up next with his track 'Oil Spill ', this sees Jamie veering away from his tech house roots, delivering a quirky house track laced with an almost footwork groove.
On the Flip we see more new additions to the MIL roster as Ingi Visions ( Samuel Deep & Julian Alexander ) drop Nauyaca, a deep druggy track, with the kind of hypnotic flow and delicate arrangement the pair have become known for. Liam Geddes finishes up the B side , fresh from dropping the previous release on Music is Love his track 'reach out' continues to stamp his unique sound on the label.
And it don't stop...
As we reach for the second vinyl in this double pack we are greeted with a familiar site in the shape of Dutch duo New Jack City. 'Pick Me up' is everything you want from a NJC track, big, bumpy and beautiful.
Mak & Pasteman counter with their very cool track 'U Said', the boys are in serious form at the moment and this track is no different. Slick drum workouts decked out with Juno licks, what's not to love.
The final side welcomes another new act to the stable. Am Unit present their track 'Bang Dat'. With 'Bicep' style production values echoing throughout this track and THAT break, this one will be big.
Closing out the final track is label boss, Oli Furness. 'Broken Summers'. A huge 808 rave workout. Broken beats and sub rattling kicks are the setting for this track, finely polished electronic music for those with a fondness for rave.

As a label who encourages exploration and collaboration, it was with great excitement that we received the new project of these guys. Mainly, at first because you find here the perfect amount of atmospheric elements with sustaining rhythmic. Both tracks fit in many situations, from building excitement and tension to creating a very special moment, using beautiful voices. In those two cases, both tracks here fit perfectly. While the title brings the idea "Everything is lost", this EP has everything ready to bring hotness to clubs.

Hotflush are proud to welcome an exciting new talent to the roster. Her name is Or:la and she arrives at her debut 12' already boasting a formidable reputation as a DJ and promoter in the UK - her long-standing Meine Nacht party is Merseyside's finest and her appearances on WHP line-ups are turning heads. The 12' in question is 'UK Lonely' - a four track EP that flaunts enviable range and seems to contradict the producer's youthful years. In it she covers a broad spectrum of past and contemporary influences spanning garage, Afrobeat, breaks and dubstep.
The A-side is punchy yet elegant: vocal cut-ups drift through off-beat percussions in title track 'UK Lonely', while riddims and melodies weave in and out of each other on an exotic 'Limbosoup'. The B-side is more contemplative: 'X & O' recalls the wistful vocals and layers them over aughties breakbeats before 'Jaipur' rounds off this opening salvo in delicate and playful fashion, hinting at things to come.

The album should be considered a continuation of 2013s critically heralded album "This Time We Go Together". The story follows a duo of wanderers finding each other and traveling through life - hand in hand without roots. A 'love conquers all' theme which has been a highly embraced motif in his more recent works.

'We become Ravens' con- sists of 15 electronica vignettes which craftily utilize synthetic soundscapes, memorable melodies, timeless introspection and Gudmundsson's signature electronically infused beats.

Having been an integral part of the Icelandic Electronic music scene since his debut album in 1999. 'We Become Ravens' is a pinnacle release by a well seasoned veteran of electronic music's fringes.

For its fifth release, Amsterdam's Taped Artifact offers up a various artists EP that features four tracks including one from the boss, Kevin Arnemann, as well as Hiver, Elmer and Physical Therapy. It is a moody and atmospheric deep techno offering that fits in with the label's ever more singular aesthetic. Up first is Physical Therapy, a producer who since 2012 has put out some fine EPs and LPs on labels like 1080p, Unknown to the Unknown and Liberation Technologies. It is a roomy affair with corrugated mid tempo drums down low and haunting pads up top. Building in intensity with some icy hi hats, it ends up as a ghoulish number that adds real theatre to the floor. Next up is Elmer, key part of Brussels' Bepotel Records crew. Melting techno, wave and dub into raw and expressive new forms, this new cut 'Simple Models' makes great use of analog machinery. Again deep and horizonless, a rippling lead synth line plays off an industrial bass riff as paddy drums roll on below. It's humid and heady stuff, to be sure. Then comes the boss who offers a more dubbed out and bumpy dub­techno track with expansive chords rolling off into the distance and light and airy hi hats dancing in the mid ground. It's one to get floors moving before the Hiver duo of Giuseppe Albrizio and Sergio Caio from labels like Curle and Vidab close things out with the dusty old breakbeats and woozy spaced out synths of 'Intersect.' This is a subtle but impactful EP full of sensitive underground sounds that pack a real punch. Vital Sales Points: - 5th release on Taped Artifact - First Various Artists compilation on Taped Artifact - Custom made artwork by photographer Merel Kemp - Artwork

For those of you wondering what Adesse Versions was doing at our Heist Boiler Room this summer in London, the answer is here. The "Push it along" EP for Heist is Adesse Versions first appearance on our label and features 4 stunningly raw and warm originals, and an amazing remix by New York's ambassador of funk: Ge-Ology, together with multi-instrumentalist Marc de Clive-Lowe on keys.
After having released numerous records for Jackmaster's Numbers, Local Talk and Toy Tonics, we're happy to welcome Adesse Versions to the Heist family. When he sent us his demo's we had the tough job to choose the right tracks, cause there were just too many. The selection on the "Push it along EP" features what we feel are his purest work up to date. With only a small amount of elements, he manages to create such a big and warm sound, finding a great balance between gritty percussion, rich analog synths and funky sampling work.
Opening track Tout it is built around an ever evolving arpeggiated synth, a dancehall-esque percussive riddim and lovely pad work. It builds up slowly, without ever becoming dull, changing small elements and adding momentum with each step.
E to E is based on a chopped vocal looped to bits (only shouting: (E, E, E, E, E..), dancing hihats and a rolling bassline, whereas Geology flips the high energy original into a classic deephouse tune that fans of Larry Heard will love. The steady bassline and trianglework form a perfect canvas for MdcL's work on various synths, adding layer after layer of melodrama.
The title track goes for the same recipe as Tout it, with fierce snares laying down the rhythm and a far away disco sample adding the right dose of funk. Ebony Roses is the final track of the EP: A beatless groove built around a spoken word vocal with dreamy piano work around it building up suspense as the track evolves.
We've been playing this EP over the course of the last few months and it's been getting great response, so we're happy to finally share it with you.

Sincerely yours, Lars & Maarten

The Tiger is back - finally on full length again! The second studio album for Tiger & Woods not only marks a desired return to a specific format, but is also a huge leap forward in their area of expertise: their brand of fun and functional dance music gets broadened by influences from electronica, italo disco and up-tempo house, while keeping a groove that is distinctly linked to what some people refer to as boogie. After travelling the world from left to right and from top to bottom with a live-set to boot and skilful DJ sets that resemble that genre melting approach, "On The Green Again" is the result of spending valuable studio time at the "Tiger's Lair" - a carefully-built new work place that plays its own part in the creative process of one of the most prolific production teams of our days, while simultaneously starting T&W Records for all sorts of adventures that are linked to Tiger & Woods, but not narrowed to a specific sound. See "Unleashed Tapes Vol. 1" for further reference. A double A-sided 12-inch that owes as much to disco as an influence as it pays homage to the funkier and brighter sides of house and techno. Honing a craft that is rooted in edit culture as an ethos, but has since long left that bumpy road dependable on samples and their clearance, T&W make "On The Green Again" work as the second album that defies the difficulty usually attached to such ventures. 10 brand-new tracks (and three previously released bonus tracks on the CD version) make up the course between peak-time prime cuts similar to "RockMeLoveMe" or "Come And Get My Lovin" and an almost heart-aching track like "Endless Affair". Mixed with bits and pieces in-between and neatly placed between a classic intro and outro segment, those tracks are testament

Vercetti Technicolor joins crimes of the future for the labels first release of 2016 complete with an outstanding remix from Minimal Rome's Heinrich Dressel. The Golden Taurus EP combines vintage Vercetti Technicolor tension and darkness with a real sense of Scott & Tim's love of the dancefloor soundtracking the early evening in the club. Kicking off with Golden Taurus the title Cut, a dark moody building 707 driven future classic. On Topaz Fear the tension keeps building and building over sparse drums and melodic leads. Side B's Death Wish Combines huge reverb, drums and soundtracks a long drive along some dystopian highway hurtling us along with a killer bassline. Finally Dressel takes the controls on Golden Taurus with a beautiful slowed down more emotive take on the title cut and presents 6 minutes of blissed out electronics.

Announcing the first release by Shift Imprint, "Hynek's Scale"!
What magic results if we merge the spirits of Detroit, Chicago, Amsterdam and Lisbon, all in the same record
Hynek's Scale is a smoking' Audiopath collaboration with ex Parliament/Funkadelic member Jerrald James AKA Jerry The Cat, who, besides being an amazing percussionist and great vocalist, is also a serious old school DJ and producer with collabs with names like Derrick May, Theo Parrish and Moodymann.
Together they carefully crafted the main theme "Hynek's Scale" with raging synths, thunderous kick drums, heavy baselines and last but not least, Jerry's sweet voice. This one is a house track you will remember for quite a while! Besides the original mix, there are two remixes, one from a guy that needs no introduction, Mr. K-Alexi Shelby from Chicago (Transmat/Trax/Djax-Up-Beats). K turned the whole main idea upside down and produced a real funky big beat slammer! We love it and we know that you will love it too, trust us! The second is a remix coming from Mechanique (Kaos Records/Affin), a talented Portuguese producer based in Amsterdam. He takes his mix to a very far, deep and beautiful place, a totally different atmosphere from the title track. Finishing the record, Audiopath delivers a banger that he's been anxious to release, "Good Foot", a heavy, heavy, heavy electrofunk track; watch out for this one, it can bite! In short, we sincerely advise you to immerse yourself in the beats and atmospheres explored by these guys, we're sure that theres a track here for each and everyone of you. The record is an immediate encounter with nothing but exquisite music!
Big support by Laurent Garnier!

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.

Back in stock !

Michael Mayer is one of the leading German tastemakers in dance music and his DJ sets have influenced a generation (or two) of musicians and fans.As an artist, Mayer remains tirelessly motivated to DJing, in the studio or behind his desk at KOMPAKT, the label he co-owns. His recording career spans four albums, 23 EP's, nearly 170 remixes and the legendary DJ mixes for fabric and Immer. '&' is his third full-length, a passionate and personal album that speaks as broadly as his DJ sets - embracing his genre-busting love for music, rhythm and atmosphere - and the dancefloor in front of him. '&' is the rare manifest of an established artist who is willing to risk it all and challenge himself, and the world around him. 12 tracks, 12 single narratives coming from a group of very individual minds orchestrated by Michael Mayer - the DJ, artist, A&R but most importantly, obsessed music lover. Michael describes the process of curating and creating '&' as a constant battle between his three alter egos but 'the obsessed music lover has had the final say.' As diverse as they are, all the tracks that result from this long and winding road create a cohesive story and present the elasticity of Mayer's musical galaxy. Michael gladly leaves it to the rest of the scene to discuss the different grey shapes of club culture. For him there is only one club culture - a playful and open-minded one that's easy to comprehend after you hear ‚&'.

Sebastian Maschat a.k.a. Stoneage Kid has been around in the House Music scene for about 15 years now: Cult Stoner House with - Extra Produktionen', drummer in Erlend Oye's - Whitest Boy Alive' and numerous other projects.- Stoneage Kid' is an hardware / MPC based act, with own vocals and a very distinctive Electro Pop aesthetique. His first EP on - Smile for a while' creally sounds like Captain Comatose meeting Isolée in some purple haze panic room...You'll find melancholic Drum machine jams, some serious synths, lotsa vocoder and a lot of bassline-bumping. Phillip Lauer delivers a refreshingly cheesy remix with God singing solo and the Holy Ghost on drums - just as expected.- Hang On To A Dream' is quite a special tune, written and sung by German Indie veteran Otto von Bismarck. This Remix version is really something for intimate connoiseurs of both Pop and House Music.

finally repressed

Back in February 2013, shortly after their impressive first release as a label, Music Is Love launched a double VA entitled Lovebox: an 8 track double-vinyl release that included tracks from 8 talented up-and-coming producers on their roster. By innovatively previewing the producers in this way, the label laid the foundations for what listeners could expect for each artists' subsequent EPs. The artists who released on it were not hyped up flavours of the month, but rather emerging talents who sat perfectly with the label's musical ethos - quality and original underground house with a contemporary, dynamic feel. Since the VA, the label have gone from strength to strength and have firmly established themselves as one of the most brightest house labels around in the UK.

Just over a year later and following in the success of its predecessor, MIL return with their second VA and with that, a chance for listeners to hear the new additions they've acquired, in addition to some already known faces. Liam Geddes opens proceedings with Untitled. A deep sense of soul permeates the whole track as a rumbling baseline imbues the beat with an ever-present sense of groove that never lets the head stop nodding. Geddes has really fine tuned and matured his sound over the past year, and this track is further evidence of his quality as a producer. The subtle percussive rhythms, electronic bleeps and synth nuances give this track a natural flow, as Geddes conjures something altogether more hypnotic, dark and purposeful.
Mr.KS, one of the newcomers to the label, outlines his coolly crafted style with track (Music) Makes Me Stronger. Brittle drums and deep warped synths suck you in and out and shape the structure of the beat, while afflicted chord patterns combine with the hypnotic repetition of a vocal sample to give the track a gesture towards techno but with a flow that pulls in house elements. Cassio Kohl introducers himself with a warm, melodic house number; rumbling synths circulate in the background of the track while ticking hi-hats and snares play off against the sumptuous vocal sample, which builds and falls back nicely into its original path until electronic glitches sporadically ease in and move the beat forward.

Jamie Trench has been making some serious headway of late and his track I Want You with Rebel serves a timely reminder of a producer on top form. A heavy, rolling baseline resonates intently, building against murky vocal samples, shuffling snares and off-beat key stabs that grow in presence and intensity - a track that will no doubt prove a high point in any DJ set. Label boss Oli Furness has a raw knack for creating crisp, heavy sounds and Take Monday Off remains on a similar path, albeit the beauty lies in the subtlety of arrangements rather than bigger hitting sounds. Chopped shimmying keys tease, filter and build fluently with urgent hi-hats and swinging drums that flourish harmoniously together, while an understated baseline adds weight and rhythmic groove typically inherent in Furness' work.

Italian heavyweight Tuccillo has released on some of the most reputable labels on the circuit - releases for 20:20 Vision and Freerange is evidence enough of his provenance - and this time he brings his baleric house sound with the impeccable sounds of DubFlanged Gru. Shimmering percussion shakes meander against the bumping bassline while the endearing, muffled vocals that threaten to break out are superseded by breeze-block keys that filter and descend into a chattering groove. Dutch producer U Know The Drill brings things back into heavier house territory with a no-nonsense, stripped-back stomper, the type of track we've been used to hearing on Dutch affiliates New Jack City's material. Heavy snares kick with a punch, and the deep drone-like vocal swings against the wobbling baseline and tapestry of electronic bleeps. Other sampled vocals and glitches weave in with the juxtaposing elements playing off one another to huge effect, ensuring that sheer energy pervades the track.

Jackson Ryland rounds off the heavy 8 track VA - scattering hi-hats and swirling pads build, while the shuffling drums roll on until fleeting chord flourishes and a musky vocal hook bring the track into wistful nostalgia. The elements of track balance superbly and are propelled forward by the intricate drum arrangements and well-crafted hi-hat/vocal combo.
The difference in approach and outcome from each artist results in yet another highly impressive outcome, with 8 high grade tracks that show another side to Music Is Love. The sounds are tougher and the mood is darker, but the premise of the whole MIL concept remains more apparent than ever with this release: sourcing fresh underground talent, curating original electronic music and evolving artists already on the roster.

**LP + Download - Bonus track 'Three Tears' on download***Natalie Mering, the being behind Weyes Blood, embeds her sublime song in a harmonic gauze of arpeggiated piano, acoustic guitar, druggy horns, & outer space electronics. Propulsive, spare drums carry us across the album's course. There is a faded California beauty to Front Row. A gentle honesty that recalls the finest folk music made on the West Coast of the '70s. The hue hangs in the sweet-spooky harmonies, the pulsing sway of the vibrato & the ecstatic chord resolves. But this beauty is scratched with shadow, with dark foreboding, alienation, & acceptance of change. Love & loss balance together in suspended alchemy, as the earthiness of the singer-songwriter tradition wears digital sounds like feathers in its hair. Mering, together with co-producer Chris Cohen contrasts live band intimacy with the post-modern electric sheen of A.M. radio atmospherics. The experimental flourishes sparkle amid the succinct, thoughtful arrangements.The closeness of this record - how personal, alone, & frank it feels - conceals its aspirations to the outside, to the "Earth" of its title. Weyes Blood harbors devastating weight while also universalizing the strange ways of identity & relationships. These are not typical love songs or protest songs -- they are painful, poignant riddles that celebrate the ambiguity of love & affirm the conflict of harmonious life within a disharmonic world.

RAWAX proudly welcomes Mr. Lamont Norwood aka Dj Di'jital to the family! A true pioneer from Detroit!

Truly an old school Techno Bass jewel, DJ Di'jital has been a key player in the development of what some call the "Second Generation" of Detroit Techno. Having released on classic Detroit labels like Metroplex, Direct Beat, and Twilight 76, there is plenty of good reason why his name and his work have become so legendary over the years.

Influenced by early groups like Kraftwerk and Parliament, it was no surprise that the 80's fusion of Electronic Music, Funk and Hip Hop that brought about the Electro Funk sounds, would have such an impact on him. As a kid, Lamont Norwood aka DJ Di'jital became acquainted with the idea of mixing two songs together using tape decks, which while being limited, still gave him the drive and passion to pursue a career as a professional DJ. Over the years he played many different house parties and underground clubs, even spending some time as a Cabaret DJ.

Throughout this time, Di'jital became an incredibly skilled turntablist, quickly gaining the reputation of being a formidable force behind the wheels of steel. The year 1996 would prove to be quite a momentous one for Norwood, not only signing to the already well established label Direct Beat, but also becoming the official DJ for one of the label's finest and most important artists, Aux 88. Having already released his first EP, "Prototype", on Direct Beat, this would become a great opportunity that would help seal him as an icon of what was now known as the Detroit Techno Bass scene. Over the next few years,

Di'jital continued recording for Direct Beat, releasing some of the greatest and most unique Techno Bass classics to date, even doing a few remixes for some of Aux 88's most well known releases like "Electro/Techno", "I Need To Freak", and "Break It Down". Hit EPs like "From The Mind Of The Master", and "360 Degrees" became instant classics, still very sought after to this day. He also had some of his songs appear on some of the various Direct Beat compilations that were released between the years 1996 and 1999 like "Xperience De Bass II", which released "Radar2Bass", one of his most notable works, as well as the all time collector's album, "Techno Bass: The Mission".
Perhaps what may have been one of the biggest signs that his career was becoming exactly what he had hoped for, was the opportunity presented to him to remix Aaron Carl's classic "Down", which was released on the iconic Metroplex Records in 1998; Something that to any Detroit native would have been an honor and a milestone, given the reputation and level of success and influence that Juan Atkin's imprint had on the Detroit Electronic Music scene, as well as the global Electro/Techno movement.

Between the years 2000 and 2002, there was a small hiatus in complete EPs or albums being released by DJ Di'jital, although there were 2 different tracks released on the labels Bipolar and Studio iK7. In 2002, he went on to sign to another of Detroit's legendary imprints, Twilight 76, where he released 2 EPs, "Bass Programmers", and Di'jital's Revenge". In 2005, already a veteran and having amassed the necessary skill and knowledge needed to be a true beat warrior, Di'jital was now ready to join the resistance...Underground Resistance that is! Featured on the Interstellar Fugitives Vol. 2 compilation ( also later released as a 2xCD/DVD set ), Di'jital also released on the Electrocuter EP, which featured the previously released "Bang", as well as "Track 19".

In 2006, already well into the digital age ( no pun intended ), Norwood would release his first set of downloadable works, starting with an album called "The Prototype", on Twilight 76, which was completely unrelated to his first EP which was also called "Prototype". Recently, Twilight 76 has also released what is so far a 2 volume set of battle cuts dubbed "Electro Battle Tools".

The only known material that is known to be in the future for DJ Di'jital at the moment is a remix of Morphogenetic's "Techno Bass Is Back!", which was originally released as a free download to members of Technobass, but will soon be released on a 12"/Digital release that will launch the site's own label "Techno Bass Music". There will also be a follow EP by Di'jital, so stay tuned! Over the years, DJ Di'jital has proven to be an unstoppable force in the Techno Bass scene, tirelessly working to push the boundaries of Electro forward with his futuristic and visionary beats that have unleashed mayhem across the globe, not just in his published works, but also in his incredible DJ acts, where one can truly witness one of the few actual turntablists in this style of music. Expect more in the future as Di'jital's revenge continues to spread across the globe with his out of the ordinary approach towards Techno Bass music.

Wally Badarou was at the cutting edge musically with his fusion of African grooves with the emerging electro sounds of the early 1980s. His debut album 'Back To Scales' in 1980 has been long out of print and is considered a treasure by many connoisseurs. 
Wally plays synthesizer, co-writing and performing Level 42 often considered their 'fifth member'. He also played with Robert Palmer, Talking Heads, Foreigner, Grace Jones and Manu Dibango. He also known for a later hit single Chief Inspector', and Mambo' from the same year (1984) was sampled by Massive Attack
This is a great album deserving appreciation by a wider audience with such an amazing collection of important songs. It was recorded in France, the country of his birth, originally released on French label, Barclay

On the second chapter of the KOOAAD Muzik saga, obscure composer Filippo Diana shakes hand with Cronenberg, Carpenter and Detroit's finest electro pioneers and delivers a masterful soundtrack to the never released sci-fi movie NEMESI.
'A neuro scientist synthesizes a protein that amplifies sensory perceptions. Using himself as test subject, in an attempt to establish the right dosage, he takes too many shots that will quickly and inevitably plunge him into the depths of insanity.'
All tracks are filled with a tension that ranges from fear and mystery to arousal and ecstasy, accompanying a vision that never became cellulose yet entrains our brain like a stroboscopic dream.
Music to play on a monochromatic screen with oscillating brightness at theta frequencies.
Seven tracks mini album selection of the original sound score.

At the junction of electronics, electroacoustic, noise and contemporary music, Franck Vigroux explores sound territories, continuously pushing boundaries. He faces his practices with other forms of art, creating trans-disciplinary projects. Several tracks in Rapport sur le Désordre can be found in Centaure, the
performative audio-visual show created with video producer and Werktank founder Kurt D'Haeseleer . 
The pieces Centaure and Rapport sur le Désordre are the final chapters of a  dense series on dystopia,
implemented  over several years:  the radio piece D503 which is inspired by the novel of Eugène Zamiatine,  the albums Camera Police and We, as well as  the two trans-disciplinary shows  Nous
Autres and Aucun Lieu.

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!

Debut album from Pacific NW rising star, named "Best Electronic Act" in 2015 by the Seattle Weekly. ** Past Press Coverage as included: A NPR Weekend Edition Feature, Spin, Stereogum, KEXP Live in studio performce, CMJ. ** Past performance highlights: Bonarroo Decibel Festical, Bumbershoot, Capitol Hill Block Party, Sasquatch Festival, What The Festival, & Bonnaroo, as well as national tours with acts like Emancipator, Blockhead, Blackbird Blackbird, Chad Valley, Yppah, ** First single from the album "What We've Got" feat. Flint Eastwood passed 500,000 Spotify plays and 135,000 Soundcloud plays in a month's time.

Amidst the lush environs of his northwest roots, Manatee Commune has fermented an organically molded electronic sound that has been teasing the synapses of audiophiles over the last few years. While not a stranger in the Pacific Northwest, Grant Eadie's tracks have grown tentacles that stretch deep into the dance floor, fueled by natural overtones that he extracts from field recordings. Following the head-turning EP 'Thistle' on Brooklyn-based label Bastard Jazz Recordings (Illa J, Lord Echo, & others) from earlier this year, he comes to the label armed with violin arrangements, nuanced programming and pressure-sensitive LED drum breaks peppering the audio-visual experience of his participatory live performances. His debut album Manatee Commune is set for a September 16th release on Bastard Jazz, and displays the elevated confidence and deft touch of a producer truly finding his footing. Already opening for Bonobo, and recently touring with Chad Valley and Blackbird Blackbird, Manatee Commune has been featured on NPR, Stereogum, and Spin, amongst other outlets.

Eadie describes the inspiration behind his approach: "Learning how to share my creative process with my friends completely revolutionized the last of year of music for me. Inviting those I trusted and loved into my studio to spend even just an hour talking or jamming opened fountains of inventive energy for me, especially from the ones who lacked any musical knowledge. I soon found myself incredibly inspired by the originality of even the smallest interactions with people, and so I pointed my field mic at anyone who had a story, a melody, or a stumbling beat they had been absentmindedly drumming, all in the hopes of capturing their individuality and framing it with my ever expanding insight into audio production."

Reimagining his musical approach by opening his studio and microphone to friends, collaborators and loved ones, Eadie was able to release fountains of inventive energy from these deeply personal interactions, inspired by anybody who had a story, a melody or a stumbling beat to share. Key elements are amplified that get Manatee Commune audiences bouncing, while cultivating his warm and textured production aesthetic to further complexity, layer by shimmering layer.

Pliant, jazz inflected techno meets mutated off-beat breaks and alien electro from New Yorker and co-founder of Exotic Dance Records Jiovanni Nadal aka J. Albert. This is gritty urban techno reflecting on street life in Gotham City. On the A side we got the squealing and hissing grind of "Bloo N Red" followed by the sublime and broken house of "Ting Waan", absolutely loved this bittersweet and emotive piece. On the flip "Dyslexia" has that haunting and dusty attic jam style, much like fellow NYC hero Patricia and then "Earring", equally nailing that particular aesthetic too but with more of an industrial edge with its textured and metallic rhythms doing a fine job. 12" Vinyl 140g.

&apos's music veers between abstract, experimental compositions and more beat driven tracks, all held together by a defined aesthetic of sonic impurities and random patterns thrown up by algorithmic computations. In &apos's music compositional decisions are not merely reliant on himself but also on a range of processes from constrained randomness to full fledged neural networks. That is to say, the 'instruments' he creates have -to a certain extent- a mind of their own. There will always be a dynamic between the musician and something else that triggers, proposes or decides what will happen to the music.It is exactly from this human-machine interaction that &apos extrapolates his musical ideas that are both intricate and detailed while never losing an overall sense of emotional value.
His first solo project 'Lichtdrank' is a selection of four tracks made during his time studying Sonology at The Hague's Royal Conservatory and the time following. It is the third and final installment of bepotel's startupLabel trilogy. Previously, he has released music together with Walrus and Sagat under several musical projects like smaakwaterval and bepotel. The artwork of the Lichtdrank EP is based on screenshots from an interactive multiplayer video game where the musical universe of &apos can be explored.

Repress

Peter Zummo (born 1948) is an American composer and musician. He plays the trombone, valve trombone, euphonium, synthesizer, other electronic instruments, and also sings. He is associated with the postminimalist and Downtown aesthetics, and he describes his music as "minimalism plus a whole lot more." He's well-known for his work with Arthur Russell.
"In this project for Optimo, the listener can hear that my musical food pyramid has musicians at top, or maybe they are at the bottom. In any case, they are important. That is why, from track to track, I selected
segments in which one player or another is featured in the take. Some may think that we musicians do multiple takes to get the perfect performance, but I like to find the special interactions lurking in each excursion. Different players came forward in each of the takes, which were recorded in the studios Seaside Lounge and Headroom, in Brooklyn, and live in performances at Cube Cinema, in Bristol, U.K., as well as in Long Island City and on Staten Island, New York.
In order to escape the tyranny of the lyric, I am exploring in this release the possibilities of nonsensical and non-emotional lyrics. These kinds of lyrics bring the singing voices into the mix without an overweening message. The tracks include open-form compositions in which the duration was not specified."

Deep'a & Biri's Black Crow Records further expands its horizons with its seventh release, welcoming another new artist to the family following appearances by 2030, Aril Brihka, Hakimonu, Luke Hess, ROD, Inland and Markus Suckut. The Analog Roland Orchestra's label debut follows the widely acclaimed 2030 EP and shares with it a widening of the label's sonic scope to once again showcase Deep'a & Biri's desire to reach beyond techno and explore ambient and cinematic musical textures. Michal Matlak's Analog Roland Orchestra finds the Poland born & Berlin based producer in the conductor role among an array of classic electronic hardware, taking on the role of shaping & directing a free flowing sound that moves across genres, whether in a studio or live setting. His previous releases for labels including Ornaments, Rotary Cocktail Recordings and Pastamusik have seen the project indulge in an array of sounds across the techno spectrum. 'Aftermath II' is no different, moving from the classic roots techno sounds of 'Plant' and 'Father Detroit', through the dub excursion of 'Urei Dub', to the cinematic, Boards of Canada & Tangerine Dream-recalling pair 'Her' and 'Aftermath. For those with a taste for electronic music's widescreen possibilities, TARO's arrival on the Tel Aviv imprint will be a long term favourite.

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.

Ellis de Havilland twisted electronix finds its way again to Bunker. 13 tracks divided over two EPs, this is the first one.

What Ever Not is the variegated music outlet from experienced Dodi Palese and Dan Mela, Italian DJs and producers supporting, selling, playing and releasing instrumental and dance music for two decades. What Ever Not tenth record, 'Galegos Bar / The Ritual', sees a split release signed by Dan Mela and Marco Erroi. Label co-founder Dan Mela inaugurates a new moniker 'Man Dela' for 'The Ritual' - the original track gets remixed by Anton Zap, with whom Mela already collaborated for a digital release on his own Ethereal Sound. Flipping on the other side, Marco Erroi, head of Common Series Ltd, continues his production career with 'XXXV Gold Fingers' for the 'Galegos Bar' side - one of the many different aliases he personifies - also contributing by realizing the artwork. 'Galegos Bar / The Ritual' offers two sides of the same coin and we can have both things with one stroke. The common denominator is the ethnical ritual. It is fully expressed in the Man Dela side with deep and hypnotic ride out turned upside down by Anton Zap with a dynamic electronic waltz. The same item, however, is magically hidden in the XXXV Gold Fingers side, where we can find it in the form of drink beer and play cards just like in most terrible bars in South of Italy.

ears ago he started putting together some selections for a friend of his: Luca. The intention was to pick songs to be played during car rides, and like any other kind of ritual, this too would come with strict rules. You'd have to go throw the whole selection of 100 tracks without skipping, because every single one was important. Be it the sounds, the arrangement or its creativity, each track was there for a very specific reasons. It quickly became a monthly event which for several years evolved in a deep musical research without genre boundaries: Disco and psychedelic, soundtracks, library music, exotica, electronic and dance music, italo, new wave, pop or prog. Tracks of each and any historical period and provenance had been featured in this special compilations. But it wasn't always that easy to come up with the right piece and eventually Francesco started producing a few on his own to fill in the gaps. After six tracks, it was quite clear that there was a project developing, one in which he could finally experiment freely, leaving behind the rules that often come with dance tracks. Of course, no name could have been better than the one of his friend that had inspired everything And so L.u.c.a was born. Now, while preserving the same mind set, L.u.c.a is back with an album that embraces a new-hippie vibe, strongly pervaded by a mystical naturalism. This is a whole new universe in the making, where rumbling magmatic atmospheres evolve gradually in a journey through an idealist new world, celestial interludes revealing a full take over of nature, with a pervasive library feel that dates back to the great Italian masters, carrying on Edizioni Mondo's legacy.

The sixth release from Hong Kong/Tokyo label Palms & Charms sees the return of Barnaby Bruce, and starts with a tale of daring escape.Hearing the approach of a loping synth, the protagonist checks the window: mysterious people are gathering outside his house! As a somewhat Gallic groove emerges, he and his girlfriend are in his car and heading south, driven on by the swing of the percussion. Will he find his deliverance On The Continent
Next up, Ruf Dug steps in with a spacious electronic reggae-esque remix, leading up to a killer piano line which pushes the groove straight onto the Autoroute. Ces't magnifique.
On the B-side, our erstwhile fugitive and partner awake by the side of a country road in southern France. A baguette, a bottle of wine and the sound of chattering insects. Oh, For The Cicadas!
As they head ever further south, they begin to reflect on what Other Worlds await them at journey's end. On the car radio a band plays a curious but driving blend of disco and percussion, with a distinctly house-influenced melody. Cette musique les deplace. Was it all just a crazy dream Grab your suitcase, head to the coast and pick up a copy of this limited edition record to find out...

Breakbeat Paradise Recordings is pleased to welcome back the Laptop Funkers for another set of high-octane fun & funky breakbeat. This 8-track album is a symphony of samples and breaks designed for you to Feel The Goodness. Following up on the successful vinyl release Ready to Rumble from 2013 the Laptop Funkers is back in better shape than ever!

Almost instantly after Ready to Rumble was sold out and a repress was demanded , tunes started coming in for what quickly turned out to be a full album release. Now after tweaking and perfecting these jams for over 2 years we are ready to present you with Feel The Goodness - a 12" vinyl filled to the limited with the finest beats and breaks this scene has to offer.

The Laptop Funkers ( the alias used by producer and sound designer Nuno Soczka for this breaks project ) is an elusive underground act that only emerges when there are some fresh choons to showcase. The influences are not hard to discover and Laptop Funkers has no problem in taking us back to the glory days of Big Beat with tunes that would make even Fatboy Slim and The Chemical Brothers feel envious!

Some of the biggest grooves you've heard for a while can be found throughout this ruthless funky album : from the soul-gospel flow of the Feel The Goodness tune to the bouncy brass works on Ain´t Nobody Like We , the ghetto drops on Incredible Funk and the contagious funky groove of Soul Power , from the pump up energy on I Can Keep It Going to the laid back soulful vibes on Where The Funkers At , the b-boy banger attitude of Got The Party Rockin and the chemical psychedelics of The Temple.

8 golden joints of epic sampling inferno that'll be sure to keep you entertained from start to finish. Comes in a full-color front-and-back cover 12" vinyl package with custom illustrations by the talented Cristiano Suarez.

As so many times before BBP is here to provide the b-boys and girls with some proper breaks to keep the party going...,

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