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Get ready for schntzl 2.0

On their 3rd album Casper Van De Velde and Hendrik Lasure, the two SpongeBobs of Belgian jazz, enter Cortizona and take you on board of their newly discovered musical spectrum: Rollercoastin' between extreme emotions Casper and Hendrik slide through 90's Euro-optimism on synths, frantic drum rolls, lost piano sounds and sample wizardry: blending Spanish guitars, voices of singing ladies, slow mo clarinets and the patterns of a percussion robot.

'Holiday' is the result of a residency in Ravenna, Italy, in October 2021, where musique concrète, replica sounds and frenetic hyperpop textures sneaked into the musical world of schntzl. Sculpting a world of friction, hypodermic joyful changes, sad euphoria and good old plain fun.

RIYL: Matmos in a jazz mood, free vibin PC Music, Enya on XTC, improvising Valentina Magaletti, moody SOPHIE, BadBadNotGood going GoodGoodNotBad and other excellent music.

Perception series is no more than an invitation to absorbe the creativity and the passion that every artist involved puts into his work. Four diferent perceptions including the path, the experience and the vision from each of the artists, all combined to create a magnificent EP with a wide range of directions. Portuguese and spanish artists combined give their contribution to make 2023 an excellent year. As it has been so far.

One of Drumcode's solid MVP's Wehbba comes strong with a sci-fi themed trio of tracks to kick off 2023.

The Brazilian enjoyed another stellar year in 2022, with highlights include the excellent 'Dynamo' EP on Drumcode in April, a contribution to A-Sides ‘The Next Step' and collaborating with Adam Beyer to remix the classic Planetary Assault Systems cut ‘In From The Night’.

He likewise played Drumcode's WHP, our NYC event at Avant Gardner and Drumcode São Paolo to round out the year.

His latest EP on Drumcode ‘Premonition’ is an atmosphere-rich, intergalactic-themed trip that plays out deliciously over three cuts. The title track is imagined as a kind of travel through space and time, propelled by sci-fi synths, Wehbba’s trademark full bodied basslines and a cleverly placed sample from a David Bowie interview.

‘The Message’ is a dynamic beast of a track driven by robotic synth stabs, a catchy melodic riff and memorable vocal refrain ‘Mars Needs Women’ sampled from a 1950s sci-fi film. It has all the ingredients to be another classic addition to Wehbba’s discography. ‘Inertia’ is led by a hypnotising riff that builds over six minutes.

“I love to play this track after a series of rave bangers to keep the energy levels up while taking people on a trip,” shares Wehbba.

Talla 2XLC is celebrating his forthcoming birthday with the annual
spectacular Technoclub event along with faithful friends such as DJ
Dag, Woody van Eyden, Andreas_Kraemer, Sven Wittekind, Ulli
Brenner ,LXD and Bluefire amongst others. While during his career
has faced many obstacles and unfortunate situations, he manage to
stay ahead of his game by gaining the respect and admiration of his
fans and DJ colleagues. His career is a bright example of an artist
that fight against all odds and work ultra-hard to be always at the top
of download shops charts with his single releases and at the top of
the physical sales charts with his long lasting Mixed CD compilation
Technoclub that in 2023 celebrates its 25th year anniversary. Well
known for his ability to provide brilliant remakes of huge trance
classics on his label Technoclub Retro while on That’s Trance service
original solo tracks or collaborations with brilliant singers such as
Christina Novelli and fellow DJs like Ronski Speed or Ralphie B. Last
year he established his psy-trance label Dreamscape with remixes
by his psy-trance alter ego Zyrus 7. Talla 2XLC is not just a pioneer
in techno and trance music scene but also a frequently booked DJ
performing on the most iconic festivals and club events such as Nature One, Mayday, Airbeat One and many more as he knows excellently to entertain his crowds with memorable DJ sets . Talla 2XLC embraces social media with active accounts in the most of them with hundreds of followers.

During the pandemic lockdowns he conquered twitch with
his very successful live DJ sets receiving donations and support from
his global fan base. What is more Talla 2XLC is taking part in wide
variety of documentaries narrating his contribution in the development and growth of electronic music culture. He is co-founder of MOMEM - Museum Of Modern Electronic Music in Frankfurt that any electronic music follower should visit to learn about the history of our culture.

For his 2023 Birthday he has a huge surprise to all his vinyl lovers.
He is going to release his BDay Bash EP that will include two massive
tracks already released digitally under his techno moniker RRAW on
Technoclub Pure. The two massive mainstage techno friendly anthems Wonderful Dayz and The Promised Land. Both tracks have been fans favorites and have been road-tested extensively by Talla 2XLC and many other well-known artists worldwide. Banging mainstage techno basslines, slamming kicks, haunting dark moody atmospheres, acid touches and strong euphoric breakdowns followed by massive hands in the air dark climaxes, turn both tracks into must have for any vinyl lover who wishes to embrace Talla 2XLC techno moniker RRAW. Wish Talla 2XLC happy birthday by purchasing his Bday Bash EP with hi latest techno alias RRAW out on ZYX Music.

Italian DJ and producer Francis De Simone debuts on Lee Foss and Jamie Jones' label Hot Creations with London Bass. Having built a solid back catalogue in recent years, his first Hot Creations release embodies the dynamic sound of the Palermo-born artist, channelling chunky tech house and disco-flavoured melodies.

De Simone explains his creative thinking behind the EP. "These tracks fully express my devotion to music. I ranged a lot, trying to remember an 80's sound up to a more raw and synthetic groove with Latin vocals to embrace the different ethnic groups." Reflecting his thoughts to a tee, the title track rumbles with a massive bassline and chopped-up vocals that add an instant burst of energy. Things get weird on Saludos A Todos, as thumping kickdrums collide with a trippy melody and even trippier vocals, creating a wavey atmosphere. The ideal club curveball. On Off White, De Simone delivers a pacey number packed with burbling beats and clicky percussion, complemented by dreamy vocals. The hint is in the name on closing track, This Is Undergound. A big room delight, De Simone drops a stripped-back banger, where the lyrics do the talking in tandem with a driving bassline. An excellent addition to the Hot Creations discography.

Based in Palermo, Italy, Francis De Simone stems from a family of musicians. Having played the drums from age two, the versatile artist can make anything from rock, pop and jazz, but these days, De Simone pens electronic music. His father worked as a bouncer for various local discos and exposed De Simone to dance music from a young age, later inspiring him to produce house and techno with an uplifting tint. Releases on Glasgow Underground, LW Recordings and REALM Records have helped shape the profile of this flourishing artist, with plenty more to come further down the line.

2023 Repress

Originally given a digital-only, Bandcamp-only release back in the summer of 2016 RVDE's '90s Hammer' has become a sleeper hit, slowly but surely growing through word of mouth, YouTube plays and DJ support. Now Perc Trax has licensed it from its original home T/W/B, added two brand new remixes and given it the vinyl release it always deserved as the label's final release of 2019.

It all starts with the original mix, a whirlwind of heavy kicks, triplet synths and gangster shout-outs. Heavy music isn't often as hook laden as this and you can see why Perc has been a huge fan of the track since its original release.
Next up Perc Trax welcome's Slovakian legend DJ Boss to the label for the first time. Boss is already a hero to many Perc Trax artists including Sawf and Perc and as usual he doesn't disappoint with a sub-heavy rolling 4/4 mix.

Flip it over and up steps Perc for the second of the new remixes.
The Perc Trax boss pulls no punches as he adds gun shots and his trademark slicing snares to an explosive arrangement that has been a highlight of his sets around the world since summer.

Finally Anthro's excellent remix from the original T/W/B release completes this four track 12". The noisiest and grimiest of all the mixes on show here, it rounds off one of Perc Trax's most solid pieces of vinyl in a long time.

Force Placement's AEROBICIDE EP is a killer workout of afterhours acid and galaxian breakbeat.

Four hypnotic bangers from Los Angeles with remix support from DJ Manny, D.I.E., and Martyn Bootyspoon

Los Angeles – Following releases on 100% Silk, Clave House, BANK NYC and Lost Soul Enterprises, FORCE PLACEMENT arrives on EVAR Records with four tracks of naughty squelching acid and breakbeat techno hypnotically calling you to the afterhours, backed by a trio of remixes from Martyn Bootyspoon, Detroit In Effect, and DJ Manny, representing North American excellence in techno, electro, and footwork, respectively.

A longtime friend of the EVAR crew from renegade breakcore parties in Santa Barbara to underground experimental electronics happenings in Los Angeles, Into the Woods and The Black Lodge resident Jason "Force Placement" James taps into his love of weird trippy atmospherics, rhythmic complexity and DIY punk/noise aesthetics to create this quartet of mystic, mysterious bangers, crafted with the MPC1000, Elektron's Octatrack sampler, the Korg minilogue, and Ableton.

The AEROBICIDE EP begins its killer workout with "Yeeks," a cabalistic ass-mover driven by a haunted female vocal sample floating atop locomotive bass and shakers – a factory's worth of industrial sounds and eerie accents move in and out of the mix, adding intrigue and interest.

Moving to the main room of the rave, "Balloon Animal" shoots you through an inflatable tube of squelchy acid techno as knives cut the air around you, while "Upsetter" adds a shuffling breakbeat rave bounce into the acid mix. "Quartered" chops it up with Clone-style dark analog electro that gets increasingly deconstructed by dirty, stretched percussion and rivulets of synth reverb raining down the walls.

Rounding out this occult aerobics class, some of North America's most compelling forces in dance music are called in for remix duty. Unsung electro hero Detroit In Effect aka D.I.E. – the man behind such classics as "RU Married" and "Get Up" – leans deep into the classic Motor City palette, pairing lush, spacey pads with that hard-swung Detroit bounce to create a mellow groover that will keep you going all night. Montreal's world-class party starter M. Bootyspoon recalls Substance Abuse-era Hawtin and mid-'90s Midwest techno on his "Balloon Animals" remix, with nasty claps and concentric loops of hard acid bleeps and squelches. And who better to tackle "Upsetter" than Southside Chicago's footwork futurist DJ Manny? The Teklife king eschews the romantic R&B tones of his recent Planet Mu album for a tough-as-nails rework that ups the tension and the tempo to create an otherworldly saga for the dance circle.

Despite the title sounding like an archive collection, 1994 is actually the debut album from OKRAA. It has an emphasis on live performance and makes for a gorgeously immersive and even evolving listen from the aways excellent A Strangely Isolated Place label. All four pieces are over with minutes but they are worthy of their playing time for the way so much unfolds in such engaging fashion. Synths are cold and innocent on 'Ola De Luz' while 'Heartless' is more textural, dark, heavy in its mood. The title track is another heavy and introspective one while 'Plasma' has a more optimistic feel that lifts the spirts.

Soma proudly presents Functional Designs, the latest collection of nocturnal environments from Deepchord, marking his first full length album release on Soma in 5 years. The enigmatic Detroit based producer once again transports us into his sonic realm via night-walks through numerous cities before being transmuted into aural excellence through field recordings, holographic synth tones, cosmic sounds and the hiss of electric wires. All swimming around in filtered 4/4 beats and subterranean basslines. The album is a perfect example of electroacoustic techno transmitted from undisclosed locations, the amalgamation of swirling tapestries of sound, deeper than night and lifeforms moving around underneath the grid.

The album glistens into existence with the beatless Amber breathing life into the project before the eventide of Darkness Falls offers a beautifully subtle and contemplative atmosphere. The guiding light of Transit Systems continues to offer up melancholy with echoing percussion and drifting soundscapes. The highly processed acoustics of Strangers brings a sense of intrigue to the album's journey as Modell works in the most percussive track so far. Panacast is exotic dub techno at it's finest, with warping and perfectly crafted synth work building gently over the top of sub heavy beats, glued perfectly together by the hiss of the collected found-sounds. In a slight rise in tempo, Cloudsat, makes a journey skyward, collecting mood and feelings from high altitude with its emotive synth work. The reverberating halls of Pressure again work as a testament to Modell's sonic crafting - honing in on specific artefacts from his field recordings, imbuing them with deeper purpose. The perfectly titled Ebb and Flow drifts effortlessly on a tide of evolving, blissful sound waves crashing to shore as each one overlaps the other. Beginning the descent into the final part of the album, you begin your ride across a cosmic plain, lit by the glistening and ethereal Sun. The meditative Memories opens a conduit to other realms as the album closes out with the elysian melodies of Drassanes.

Deepchord once again proves he is a producer like no other. A true sonic sculptor who uses his real world experience to create vast, unparalleled soundscapes that captivate and enthral the listener.

Edits by Mr. K-

High-powered disco intensity is what this new slice of long-form goodness from Mr. K is all about, in the form of two neglected cuts rescued and fully refurbished by the master.

For our exclusive edit, Danny has boiled the Dynamic Superiors’ “I Can’t Stay Away (From Someone I Love)” down to its most concentrated form, leaving us with a hard-charging, peak time, disco climax that leaves dancers no choice but to work up a serious sweat. Matching the intensity of the legendary breakdowns in “I’m Here Again,” “Don’t Leave Me This Way,” or even “You Make Me Feel (Mighty Real),” “I Can’t Stay Away” is also an essential gay disco classic, with lead singer Tony Washington being a groundbreaking, proudly out lead singer whose voice surely influenced an up and coming Sylvester at the time. Check out his ad-libs, which Mr. K has made the focal point of his edit, and the similarities between Washington and Sylvester are inescapable. Released as a single in 1977, the song peaked at 27 on Billboard’s Hot Dance/Disco chart. Krivit’s edit uses the longer album version, which is appearing here in 12-inch long form for the first time.

The intensity follows through on our flip, another patented Mr. K extension that jumps right into the juiciest parts of the cut and doesn’t let up. “Hit and Run” was first released on a single by the obscure Opus 7 in 1979 but didn’t make as much noise as the slower, funkier tune it was paired with, “Bussle.” This edit rescues and rejuvenates the cut by eliminating everything but the transcendent ride out, extended to a glorious eight minutes in order to fully enjoy its pumping bass and Philly-style group harmonies.

This exclusive 12-inch has been mastered and pressed to our usual exacting standards, another killer club weapon for the serious DJs and dancers

Hot on the heels of 001, Tonal Oceans proudly presents 6 carefully selected tracks from Nicole Skeltys' rather extensive catalog.

Compiling tracks from her Artificial alias, TNL-OCS002 consists of material which draws from her self-released 12"s, a long lost 7" lathe cut, as well as some CD-only material.

Being active since the 90's, Nicole has paved her way through many genres and moods, which together represent all things "Antipodean Electronica" excellently.
Also features a track from close friends Dark Network.

Like every record Superchunk has made over the last thirty-some years, Wild Loneliness is unskippably excellent and infectious. It’s a blend of stripped-down and lush, electric and acoustic, highs and lows, and I love it all. On Wild Loneliness I hear echoes of Come Pick Me Up, Here’s to Shutting Up, and Majesty Shredding. After the (ahem, completely justifiable) anger of What a Time to Be Alive, this new record is less about what we’ve lost in these harrowing times and more about what we have to be thankful for. (I know something about gratitude.

I’ve been a huge Superchunk fan since the 1990s, around the same time I first found my way to poetry, so the fact that I’m writing these words feels like a minor miracle.) On Wild Loneliness, it feels like the band is refocusing on possibility, and possibility is built into the songs themselves, in the sweet surprises tucked inside them. I say all the time that what makes a good poem the “secret ingredient” is surprise. Perhaps the same is

true of songs. Like when the sax comes in on the title track, played by Wye Oak’s Andy Stack, adding a completely new texture to the song. Or when Owen Pallett’s strings come in on “This Night.” But my favorite surprise on Wild Loneliness is when the harmonies of Norman Blake and Raymond McGinley of Teenage Fanclub kick in on “Endless Summer.”

It’s as perfect a pop song as you’ll ever hear sweet, bright, flat-out gorgeous and yet it grapples with the depressing reality of climate change: “Is this the year the leaves don’t lose their color / and hummingbirds, they don’t come back to hover / I don’t mean to be a giant bummer but / I’m not ready / for an endless summer, no / I’m not ready for an endless summer.” I love how the music acts as a kind of counterweight to the lyrics.

Because of COVID, Mac, Laura, Jim, and Jon each recorded separately, but a silver lining is that this method made other long-distance contributions possible, from R.E.M.’s Mike Mills, Sharon Van Etten, Franklin Bruno, and Tracyanne Campbell of Camera Obscura, among others. Some of the songs for the record were written before the pandemic hit, but others, like “Wild Loneliness,” were written from and about isolation.

I’ve been thinking of songs as memory machines. Every time we play a record, we remember when we heard it before, and where we were, and who we were. Music crystallizes memories so well: listening to “Detroit Has a Skyline,” suddenly I’m shout1singing along with it at a show in Detroit twenty years ago; listening to Overflows,” I’m transported back to whisper-singing a slowed-down version of it to my young son, that year it was his most-requested lullaby.

Wild Loneliness is becoming part of my life, part of my memories, too. And it will be part of yours. I can picture people in 20, 50, or 100 years listening to this record and marveling at what these artists created together beauty, possibility, surprise during this alarming (and alarmingly isolated) time. But why wait? Let’s marvel now. - Maggie Smith

Subtil is back with the "Rest & Peace" EP, marking a new and totally different approach for the imprint.

"Rest & Peace" results from their intentions to release something different from what they typically do and gather music to listen to outside of the club ecosystems. Embracing a more musical, experimental, and definitely peaceful character, this EP is will cater to the introspective moments or those cozy hours with your favorite ones.

Subtil had some leftover covers from previous releases from the past few years and thought it was an excellent opportunity to use them for the release. Combining the "rest" of their covers and music created with "peace" in mind, "Rest & Peace" is a unique and unusual collection of tracks and a bold musical statement from Subtil's key producers.

The new batch from the bottomless edit archives of Danny Krivit is an uptempo, guitar-heavy excursion into two cuts of danceable rock from opposite sides of a decade.

“Marbles” originally came out late in 1970, the result of a collaboration between the fiery British guitarist John McLaughlin and drummer Buddy Miles. Miles was hot off his time with Jimi Hendrix, and producer Alan Douglas, who’d been instrumental in putting together the Band of Gypsys group, attempted another crossover combination with a brand new, blazing guitar god. Also on the date was Larry Young, an organ player best known for his expansive jazzy albums on Blue Note, and several veterans of Buddy Miles’ funk-rock combos. The resulting mixture produced in “Marbles” a powerful, driving rhythm anchoring an addictive riff that steamrolls through the cut in a fashion not unlike the motorik sound of Velvet Underground or Can. Mr. K’s edit leans heavily on the drums, naturally, with a long, tailor-made intro and a mesmerizing focus on the main riff, extending things well past the seven-minute mark.

Ten years later, the world of music was in an entirely different place but a good guitar riff coupled with a driving beat was still powerful currency on the dancefloor. This time, the group was Scottish new wave-punk group APB, whose single “Shoot You Down” had garnered unexpected peak time play in cutting edge NYC hotspots Danceteria, the Peppermint Lounge, the Ritz and the Mudd Club. “Shoot You Down” combines the urgency of the Clash with the free for all vibe that characterized the downtown scene (and throws in a chant borrowed from P-Funk for good measure). Mr. K has created a long instrumental opening that leads into the vocals, giving the tightly-wound 7-inch single a proper extended 12-inch treatment it deserved but never had before.

The sound is crisply remastered for club play, and stretched over the breadth of a 12-inch single. Both of these tracks are appearing on the long-format player for the first time.

Revered Danish producer and live performer KÖLSCH follows his 2013 hit album "1977" (KOMPAKT 276 CD 107) with the new full-length "1983", again chaining up heroic techno tracks for a grandiose sonic journey to the vibrant heart of today's dance floor. PRIORITY RELEASE

Coupling contemporary production pizzaz with nostalgia-tinged soundscapes and sweeping melodies, this opus acts as both a skilfully composed portfolio of personal memories and a sublime collection of crowd-charming cuts - a modern classic in the making, coming from a master of his craft.

1983 features collaborations with Gregor Schwellenbach, Waa Industry and WhoMadeWho's Tomas Høffding.

Hot on the heels of SPEICHER 84 (KOMPAKT EXTRA 84), featuring club crackers DERDIEDAS and TWO BIRDS, the latest full-length offering from KÖLSCH is very much a travel album: "When I was a kid in 1983, we used to drive through Europe every summer on the way to the south of France", he explains. "A lot of my early music memories stem from these long travels, as we would listen to all my father's favorite records on the cassette deck. After getting a walkman, I would make up my own soundtrack for travelling, with early electro and hip hop creeping into my life. My father of course did not like it, and it never grace the official cassette deck of the car, obviously"

These trips became a primary source of inspiration to a hungry young mind forced to sit on the backseat of a car for several days: "they were also journeys through the seasons. In Denmark, it would be spring time, so I could nearly see us driving through spring into the summer. The scenery would change, and so would the mood in the car." Informed by the symbolic quality of these slightly gauzy childhood memories, KÖLSCH's unique melange of emotional and functional elements works exceptionally well for the full-length format - a seamless transition of musing introspection and explosve expression, where catharsis never seems far away in dance-ready techno vignettes like MOONFACE, UNTERWEGS or PACER.

From beatless opener and title track 1983 to the filigreed piano banger DIE ANDEREN or the bleep-infused synth-fest E45, each cut operates as its own little time capsule, storing bits and pieces of recollection and then magically transforming them into epic, beat-driven soundscapes. Confronted with other producers' input (and other memories), these traits find themselves extended in the most interesting ways - TALBOT, THE ROAD and CASSIOPEIA (also featured on KOMPAKT EXTRA 79) make excellent use of GREGOR SCHWELLENBACH's emotive orchestral flourishes, while BLOODLINE's lyrics come to life thanks to the distinct timbre of TOMAS HØFFDING of WHOMADEWHO fame. A new powerful take on an earlier collaboration, PAPAGENO 30 YEARS LATER not only rejoins WAA INDUSTRY on vocal duty, but also ends the album on a wonderfully elegiac, yet hopeful note - basically turning water into wine, as we've come to expect from KÖLSCH.

2023 Repress

This latest limited 7" from Mr. K features two incomparable baroque soul masterworks, one from a Chicago-based band that defied categorization and the other a deep cut from a living legend songwriter and performer.

The psychedelic soul of Rotary Connection’s “I Am the Black Gold of the Sun” still sounds revolutionary and unlike anything else, a full fifty years after it was originally released in 1971. Swathed in ethereal ripples of strings (courtesy the Chicago Symphony Orchestra) innovatively arranged by unsung genius Charles Stepney, and rooted in a rock solid foundation provided by the cream of Chicago’s cutting edge session musicians (among them guitarist Phil Upchurch and drummer Morris Jennings, veterans of countless soul jazz cuts), “Black Gold” sits in uncharted territory somewhere between soul, rock, jazz and classical chamber music. It’s a gorgeous territory, a fantasy land where Minnie Riperton and Sidney Barnes’s vocals transmit mystical, uplifting vibes, the entire affair anchored throughout by an addictive piano riff—a mixture that proved irresistible to Masters at Work, who covered it for their Nuyorican Soul project in 1997. Mr. K’s edit doesn’t try to force anything fancy on this masterpiece, simply tightening it up and taking advantage of the lush remastering to present this progressive classic on 45 for the first time.

In keeping with the orchestral soul mood, Mr. K turns to Stevie Wonder’s “Pastime Paradise” for the flip. Whereas “Black Gold” paints a portrait of a magical land, Stevie’s lyrics on “Pastime Paradise,” originally issued in 1976, are a penetrating look at the very earthbound concerns of modern society and its follies, an urgent message to look ahead rather than languish in dreams of the past. The sensitive string accompaniment provides just the right amount of gravitas and emphasis to Stevie’s voice without overwhelming it, while the hare krishna-inspired tambourine keeps the rhythm effectively. Mr. K’s edit again keeps things true to the original, simply providing a subtle intro that uses the tambourine rhythm to lead into the body of the song.

Mr. K takes on two different disco moods in the latest in his long-running series of edits on 45.

Danny Krivit’s edit of Tony Orlando’s “Don’t Let Go” was released in Japan in 2012 and immediately became a sought-after, impossible to find rarity. Orlando’s version of “Don’t Let Go” was released at the height of the disco era, but the song itself was already a well-worn pop standard, having been covered by numerous artists before the pop singer tried his hand at it, switching things up with a percolating disco groove. “I never expected to rave about a Tony Orlando record,” wrote Vince Aletti in his Record World column in June of 1978, “but this one’s really terrific… My pick for a summer refresher.” The Jimmy Simpson mix on the original 12-inch follows the vocals with a long instrumental section that teases the various elements provided by the Muscle Shoals band (guitar, vibes, strings, and above all a sinuous synth) back in over the relentless bass and drums. Danny’s edit, which he’s trimmed down for its debut on 7-inch, works with this instrumental break and more than lives up to Aletti’s description as an addictive warm weather jam.

From the moody instrumental sound of “Don’t Let Go” we move to the bright uptempo vocal track "I Fall In Love Everyday." In spite of the relative obscurity of this fabulous but lesser-known cut, it comes with a sparkling pedigree. “I Fall In Love Everyday” was written by Jay Graydon (whose credits also include “Turn Your Love Around” for George Benson and “Breakin’ Away” for Al Jarreau), produced by Motown ace Mickey Stevenson (who wrote “Dancing In the Street”) and arranged by David Foster, who was just making the transition from session keyboardist to the superstar songwriter/arranger he’d become. The backing track was first used for singer/TV personality Jaye P. Morgan’s version of the song a year earlier, but you certainly can’t blame the team for reusing the music when the band included studio heavyweights like Harvey Mason, Lee Ritenour, Ray Parker Jr., and Kenny Loggins. Danny’s creative edit fashions a clean, DJ-friendly instrumental intro where none existed on the original, and gives new life to a track that’s sure to bring some sunshine to dancefloors.

As always, these unique selections from Mr. K’s personal stash are cut on a loud, club-ready 7-inch pressing.

As Modularz approaches it’s 50th release - Label owner Developer decided to feature a 4 track sampler taken from

The new Lp by Chicago’s Zachary Lubin named “Omronicon” this is Modularz 49 to be exact and features a wealth of groove based bangers all carrying the same aesthetic and theme through the recordings. It’s hard to pin point if this is a hard or deep release so let’s say it’s entirely both and with good reason - it’s also very synth heavy and gains ongoing momentum the more you listen. It’s very obvious that Modularz puts out excellent techno and this is by far no exception. TIP

Christian Smith returns for his first solo release on Drumcode since 2016, re-contextualising a classic vocal work.

The Sweden-born journeyman has been friends with Adam Beyer since dot one. In the rare instances he has released outside his own label Tronic, Drumcode has received the fruits of his studio labour. Besides the recent contribution to this year’s A-Sides Vol.9 compilation, we haven’t seen a stand-alone Drumcode release from Smith in four years, when his excellent ‘Force Majeure’ stood as one of the year’s label highlights.

‘Your Lovin’’ is his fifth release on DC, taking inspiration from a ‘90s D&B classic. Driven by a Minimoog bassline and hypnotic arpeggios, Smith, a renowned perfectionist, made six versions before settling on the final cuts. The original is stripped back and searing, perfect for late night moments as restrained vocal grabs add colour to the techno palette. The ‘Ombi Dub’ is a straight-up propulsive tool that hits you straight between the eyes.

Following his excellent ‘Rhy’ EP last October, Tim Engelhardt crafts a spellbinding return to Watergate Records.
A prodigal talent at just 22-year-old, Cologne’s Engelhardt stands at the vanguard of Germany’s new breed of electronic music talent. Prolific and passionate in equal measures, the artist has kept busy during lockdown sharing a series of tracks and edits he’s made on Bandcamp titled ‘The Notebook’. His refined production approach gets better with each release, as exemplified by his latest offering, ‘Rooted’.
The title track introduces itself with a punchy kick drum pattern, before a brew of organic percussion and a multi-layered key sequence give the track a memorable bite. ‘Brought to Bare’ combines golden soundscapes, rolling beats and bubbling drum lines. ‘Future Matter’ illustrates his finely developed sound design skills, as delicate strings rub shoulders with a building melody line and a sturdy low groove that hits with chugging impact after the break.

Continuing a run of highly eclectic and quirky but consistently individual releases (most recently GAMING's internationally lauded Scenes From A Deserted City 2x12" LP, out Nov), the Hobbes Music label is very excited to welcome Jacksonville aka Yorkshire-born, Edinburgh-based artist Chris Lyth, to the fold. He has carpet-bombed the last few Hobbes Music events at Edinburgh's Bongo Club with his excellent live sets and the release has been in the pipeline for some time.

The 'FON' EP (caps intentional) combines a love of classic electro and techno with dub reggae, sound system culture, the UK's contemporary bass scene etc. Mastering was done by Optimum in Bristol, who did a really lovely job, with loads of width in the mix.

This release follows Jacksonville's 'Machines Of Loving Grace' EP which dropped in November via Inner Shift. He has a pedigree spanning some 20 years plus via releases for the likes of 2020Vision, Hizou, Doppler, Thug, Plastic City, Leftroom, A.E.R, Shanti and Dan Curtin’s Metamorphic. This record's a bit of a departure for him.

While we're deeply saddened by the knowledge that there's no chance now of us ever hearing Andy Weatherall play it out, we're kinda heartened by the idea that he would have probably dug it.... RIP.

For the first time ever repressed on FullTime Production the iconic disco record "Easy Going" by Easy Going!
That's a brand-new great landmark for the label as "Easy Going" set a milestone in the italian Disco culture.
If at the end of the Seventies you were at Piazza Barberini in Rome at night, you would have come across a small but crowded club half-hidden in the ascent of Via della Purificazione, a trendy gay club with elegant Fassbinderian furniture, but also a night crossroads for many prominent characters of the cultural and artistic life of the eternal city and a regular stop for the most popular national DJs at the time. Easy Going creature was founded by Claudio Simonetti (Goblin), as a homage to the place mentioned above.

The homonymous 33 rpm debut of 1978 is remastered and repressed on a glossy white vinyl and due next December 13th on FullTime Production!
It features the original LP cover highlighting the mosaic of masculine struggle between a sailor and a strictly naked policeman , photographed in the Roman club.

The music explodes with the piece that will define the group par excellence: "Baby I Love You" also released as the first single, sung by a very filtered voice on a hypnotic rug of keyboards and a captivating melody that define a real masterpiece of italian disco and beyond. The same goes for the remaining three tracks of the album, which are also set to set the dance floor on fire: "Do It Again" is pure dance from Studio 54 and on the flip side, Creedence Clearwater Revival's cover "Suzie Q" and the ballad "Little Fairy".

This is the debut release from Frankyeffe on Noir Music and something we have spent a lot of time putting together. Three original tracks have been crafted perfectly over time. Two of them (Determination and Out Of Focus) are banging acid tunes and the last one (Seriousness) has a little more laid back and melodic vibe.
Tauchen has done an excellent remix of “Determination” making it
more industrial underground and Industrialyzer has brilliantly made
“Seriousness” a prime time stomper. In short a fantastic package from which you will probably end up playing more than one track/version.

The next Planet X invasion is underway! Four mutated and banging hybrids have joined forces for the ultimate techno takeover.
First up is Q-Cumb, a former vegetable farmer from the southern parts of Iceland known for excellent cucumbers. Since he fled his homeland he has gained a notorious reputation in the world of electronic music all over the world. He is known as Odinn, cucumb45, Bbbbbb, kid mistik, slurp gurken, icelandic lamb, orange juice man, gurk, q-cumb, holidayboy slurp and last but not least, Bjarki. His track, Dreamers, is considered the track of the year by those who have experienced it on the dancefloors of the united consciousness. Lafontaine was spawned on the Icelandic highlands and channels Icelands musical energy through his earthy connections. His tune, Ailenated, describes his existence where he fights on a daily basis to combine his music with his daily life. The result is a musical outbreak consisting of terrestrial techno with an experimental feel. ThizOne cooks up the electro-mixture Bolt which is a political anthem that describes his anger towards Icelandic politics. Recently the Icelandic government has been brainwashing the population using corrupted electronic waves. ThizOne's track is an attempt to counteract these terrible acts of treason to our people. Matrixxman, one of the team members of Planet X, throws forward an Acid banger called 'Flexxin On Hoes' that will most definitely tear up the dancefloors of the galaxy.
On the next Planet X release Matrixxman will twist and turn a remix from Lafontaine and mutate that bitch into a nuclear nugget for the future. In other news the Planet X master himself is conjouring his own ep, his first in a while that will see the light of dawn later this year. Don't miss out on this release Space Cowboys!

DJ Deep's Deeply Rooted label once again spotlights rising French talent Marina Trench for the second instalment of 'Signature featuring remixes from the boss and Hugo LX. Arriving on Deeply Rooted in March with the slick sounding 'Signature EP1', since then Trench has debuted at Rex Club where she played alongside Kerri Chandler, further bolstering her rising reputation as one of the Parisian scene's most exciting names. She now returns to Deeply Rooted bringing another instalment of classy House music - perfectly suited to the respected label's aesthetic. She shows off her knack for jazzy keys on the lively, raw-edged 'Thema Urbain' which oozes late night soul and effortlessly intimate house vibes. The equally excellent 'Ahead' is a surging house cut with well-crafted synth stabs fleshing out an off balance groove while a twanging bass riffs props things up from below. It's perfectly propulsive but has a real sense of heart. The third sublime original is 'Navigo', a bottomless track with splashy hi hats and suggestive string stabs up top. A rasping bassline brings texture to the smooth grooves as they keep rushing over you to make this another fresh and original offering from Trench. Remixing 'Ahead' is Hugo LX, who cruises from downtempo beats to soulful electronic sounds on the likes of Balance and NDATL Muzik. His classy version is a dubbed out classic with a musical bassline tumbling down the scales as you're sunk ever deeper into his pillowy pads. Deep himself then steps up to flip 'Navigo' into a driving deep techno number that surges on soaring synth smears and prickly percussion. This EP is set to take Trench to the next level and confirms she is one of 2019's brightest new stars.

Almost one year in the making, Bulgaria's outstanding techno talent lands his return to Drumcode with a four-track EP.

Timmo (aka Valeri Ivanov) doesn't do things in half measures. Since the release of his excellent 'System' EP last year and 'Muzik', his inclusion on A-Sides Vol.6, he's committed himself to crafting, refining and polishing a quartet of cuts inspired by the cosmic realms beyond planet earth.

Titled 'Meteorite', its release marks 10 years since he first began producing and stakes its claim as a resounding career highlight with tracks already highlighting gigs for Adam Beyer at Tobacco Dock, Awakenings, Future Kappa Festival and Junction 2.

Beginning with the title track, the streamlined work throbs with a searing synthetic pulse. 'Black Moon' sees the EP land its first blow, kicking with a mixture of undulating synths and understated hoovers.

'Spacetime' stays true to its name delivering intergalactic techno vibes.

'Cosmos' concludes the work, taking us into extra-terrestrial dancefloor territory, with a barrage of trippy synth work and a melodic underbelly the makes the track both beautiful and heavy-hitting in equal measure.

Chymera Needs Little To No Introduction, Producing And Releasing Music Since 2002 On A Multitude Of Respected Imprints Like Cocoon, Delsin And Kompakt, He Is Not Only An Artist We All Admire But Also A Very Dear Friend. In Fact It Was Chymera That Introduced Mano And The Drifter To Baikal Back In 2010, An Introduction Without Which Maeve May Not Have Happened At All. So It Gives Us Great Pleasure To Welcome Chymera To Maeve And Finally Release Some Of His Excellent
Work. Noise Tool Is A Pair Of Techno Cuts, Each Almost Breaching 10 Minutes And Custom Fit To The Dancefloor Dedicated Sound Maeve Has Become Known For. The Title Track, 'noise Tool', Leads You Into A Murky World Of Pulsating Sounds And Ominous Synth Lines, Building Anticipation At
Clever And Intriguing Pace. Sparse Percussion Slowly Reveals The Hypnotic Groove To The Listener Culminating In A Burst Of Energy That Elevates The Sound To Peak-time-banger Status.
On The Flip, '1990', Takes A Different Turn To That Of The A Side, Immediately Setting A No Nonsense Tone With A Feeling That Something Big Is Going To Happen. Chymera Has Always Been Known For His Distinct Focus On Melody And 1990 Really Shows This As Several Harmonious Melodies Intertwine To Put The Listener On The Front Foot. While Beautiful Pads Give The Dancefloor A Moment Of Relief It Isn't Long Before A Deep Rolling Bassline Returns To Bring The Track To New Heights.

Here is the first musical highlight of Enough! Music in 2017. The label owners of Enough! Music will tell the next awesome story with their music project. The following releases are bind together with each other through the same tale. Each release gets you closer to the whole story.Enjoy listening to the invited third artist Basti Grub ( Hoehenregler,Desolat, Baile Musik). Four excellent and magnificent tracks from Danilo Schneider and Basti Grub. The different but affectionate selection is the secret of the whole EP. Enjoy our third journey !

After two eps on L.I.E.S. Voiski heads East making his debut on the CCCP sub-label. We are treated to classic Voiski material here- all the elements he excelled at on his previous efforts all present-massive drum programming, huge basslines and epic builds carry the songs along. 100 percent guaranteed club approved and essential for any Voiski fan.

Enough! Music´s 11th work is a especially release by our lovely Marc Miroir with a soulfood remix series from AMAM labelowner Alessio Mereu & Dakpa and Enough! Music head Danilo Schneider. Two wonderful tracks with the name "Skillz" and "Skusy" is the sound of our time. Turn the volume button loud- here comes Marc Miroir. The hypnotic groove, passion and the right sounds in the arrangement are the full craft in this ep.
Both remixes of the track " Skillz " from Danilo Schneider and Alessio Mereu & Dakpa are so excellent, powerful and in the right direction in to your heart.This EP reflects the spirit of good music. Enjoy!

our favorite new producer "musk" finally debut on mule musiq after excellent remix for kza and kuniyuki

and the track for i'm starting feel ok vol.6.

"on and on" on a side is massive chicago house track and "mysore" on b side is modern berlin house sound.

both are killer!

NOSUCHKEY makes a bold debut on the Art of Memory label with a deadly four track EP of masterfully reduced but stylish and evocative minimal techno. NOSUCHKEY is actually a side project from Nico Purman. He served up the first two releases on the label and this new alias is focused on straight forward techno. Over more than a decade Purman has established himself on Vakant, Crosstown Rebels and Curle, and now heads in an exciting new direction designed to make a huge impact on the floor. Opener 'Stages' is post minimal techno with a focus on mind melting melodic riffs that ripple over the rooted drums. It is sci-fi in style with a hint of Detroit greats like Jeff Mills and really takes you into the future. The excellent 'FMFMFM' is another fluid bit of deep techno that is wired up with languid synths constantly wrapping and warping round the drums. Keeping up the pressure is 'Lunch', with a stripped back but impactful techno style built on rubbery kicks and with modulated synth lines constantly shapeshifting throughout the mix. Direct but dynamic, it is excellently timeless techno that leads on to closer 'ACD RDFN'. There is urgency, paranoia and cyber tension in this one that really keeps you locked as it journeys deep into a blackened yet cinematic cosmic abyss. NOSUCHKEY is a false address, a lack of a word, a character or sign that makes a whole code unable to find its final path: The Specified Key does not exist.

But rest assured - it's still the same excellent band from Ruda ?l?ska, only this time instead of a forest full of ghosts or a land of fairy tale creatures like a Fruwajacy Przestepca the duo of producers takes us on an interstellar journey!

The artists' third album, just titled KOSMOBOTANIKA, is an over forty-minute work skillfully composed from a multitude of various samples, and genre-wise presenting the sounds of deep house, trip-hop, breakbeat, ambient and even jazz. This is electronic music with a very cinematic, visual and imaginative character, something at which ETNOBOTANIKA has undoubtedly achieved mastery confirmed by their first two very well-received albums. This cinematic style (electronic concept album?) is reminiscent of the classic albums of the genre's progenitors from the UK like The Orb (first releases) or The KLF (the iconic "Chillout" album), but also the French Motorbass.

The Silesian duo does it their own way, of course, with a local twist. Thus, in the cosmic journey our guides will be in-sampled familiar voices from Polish television, cinema, radio and dusty vinyls (yes - samples from Mr. Kleks in Space had to be on the album, of course :) ).
There is no shortage of atmosphere-building instrumental fragments here, but also quite song-like tracks with catchy melodies and vocals. Fans of the band will certainly be satisfied.

What is there to say - ETNOBOTANIKA has created another classic, which simply must be on the shelf :) Trust them and let yourself be taken on a cosmic journey - satisfaction guaranteed!

Formed by Don Grashey and Lloyd Palmer in Winnipeg, Manitoba, Gaiety Records was an outlet for many relatively obscure but excellent Canadian garage and rock bands during its existence. They released their own singles as well as sub-licensing material to other labels, such as RCA (49th Parallel), Columbia (Jarvis Street Revue and Souls of Inspyration), Decca, Epic, Musicor, and others. Features the Checkerlads , White Knights , Tomorrow's Keepsake, Lexington Avenue, NRG , Solid Reputation, and the Plague , including their face melter, 'Face of Time' and the essential psych classic 'High Flyin' Bird'.

Discret mental Pumpin Tribe, excellent minimal feeling ! Side B is a little metalic Tribe jewelry. Enjoy !

Australia's Dancing in Space crew have thus far kept their vinyl releases to a minimum, reappearing every so often with a fresh batch of their own excellent disco edits. Here they try something different, delivering a typically assured two tracker from one of the most talented and productive scalpel fiends in the business, Chicago scene stalwart Rahaan. A-side 'Allright' is a typical Rahaan rub, with the talented re-editor skilfully rearranging and lightly dubbing out what sounds like a turn-of-the-80s fusion of classic disco, synth-splattered boogie and soaring jazz-funk. On 'My Strategy', he successfully breathes new life into an old Philadelphia International favourite, opting for a largely instrumental extension that subtly pitches the track up, tempo wise, for greater dancefloor pleasure.