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Producers at the heart of the broken beat revival, EVM128 and James Rudie met through the CDR project, and soon after started to mess about collaborating with Gonzi. After coining the concept of INPUT, they found a home via Tony Thorpe at Studio Rockers and the seed was sewn. The concept is simple, make a beat, pass it on, and let someone else add to it. Its about letting go of self and letting the music go somewhere it wouldn't have gone otherwise. It was a labour of love until each track felt right. Talented musicians, producers, singers and rappers came on board to fulfill the brief, and the end product is a modern day broken masterpiece. It's about collaboration, whether in the mixing and arrangement, performance, keys, percussion, synth, bass, - everything was a joint effort.

INPUT is released on Studio Rockers on 19th July 2019 as a double vinyl release.

A LITTLE ON THE ARTISTS INVOLVED :

Written by curator EVM128, James Rudie and Gonzi are both killer producers who met me at CDR and also became part of Co-Op presents Selectors Assemble with IG Culture and Alex Phountzi. You can hear them both on Naughty Groove and Gonzi on Gut Level.

ISHFAQ is an elusive producer that has been making beats for time but is still under the radar. He's a force to be reckoned with. Watch him cos he's dangerous! Hear him all over Naughty Groove on Keys and on Complete Me ft Natalie May. He just knows where to fit into a tune... He has an acute ear!

TurboJazz met me after Djing together in Milan and working together on remix jobs, where I remixed Turbo's 'Please You' ft David Blank on Local talk Records. In return Turbojazz remixed the EVM Beyond ft Uk Soul legend, OMAR. It was only natural to get them involved with this project.

iLL Smith aka MR K is a heavyweight producer making serious waves in the new Dubstep 140 low end scene. He gave me a couple tracks that were broken beat he had been sitting on and said "You should do something with these". One of which is GOLD which I only really added a Clap to and worked the arrangement and first mix down. I called on Daz I Kue for a rapper I'd heard on one of his tracks which had the right energy. Daz hooked me up with Nesha Nycee, a fierce rapper from Atlanta Georgia. She smashed it straight away and the tune just worked. This was probably the easiest out of all of them!

Nesha Nycee is a REAL rapper.

Shy One is a friend of mine and has worked with me on music a few times in the past. I always love when she sends me a beat, she has that lo fi dirty grime kind of approach, then I add my style to it and it just seemed to bode well. We worked together on Mother Nature on the Nova LP and this track for INPUT (One Design) which we were sitting on for a while. Tony got Steve Edwards (All Seeing I, Sheffield) on the vocals. This was an unexpected turn on this track that we couldn't have imagined, but it worked! This track is the epitome of INPUT in that, it went somewhere completely different!

Steve Edwards is a singer songwriter from Sheffield who works on projects with All seeing I. He has a great energy and the lyrics made me cry! Really amazing heartfelt lyrics that speak of now and has a positive uplifting vibe to it that we can all relate to. It will stick in your head for ages believe me.

Natalie May met me through soundcloud. She's been releasing UK Funky tracks for a while and worked with Rudimental. She reached out to me after hearing the Nova LP and the stuff on CoOp presents. She went to the studio with me after already writing to some instrumentals. Very professional and on point in the studio. Her voice is sweet and the perfect juxtaposition to the rough bass and drums on 'Complete Me' and when ISHFAQ got his hands on it, well... Nuf said really !

Daiva from the Lithuanian band KeyMono has worked with me for a good few years. We met in Lithuania when I was teaching music production to young people through MTV, I met their manager Istvan. She was on my Naked Truth EP and the Nova LP. I Love working with Daiva she's great! Her voice is amazing as is her professionalism. She sounds somewhere between Erykah Badu, Little Dragon and Fatima. She's always my go to for any collaboration! Hear her on 'The Edge'. The lyrics were written by Kermit (Black Grape / Ruthless Rap Assassins).

Renato Paris.. wow ! I mean what!!? We sent the backing track and two days later he sent back the vocal and we fell over! He has a voice that echo's Stevie Wonder and Omar! Really professional work ethic too. Still cant get over how good he is. This guy can REALLY sing and play keys. Watch out for more from me and Renato... Bruk meets RnB / Jazz.

We have created something special and unique where you can hear each persons input in the

tracks. We love it and hope you will too.

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

Joonam is here. The new project from fellow NY friends Elon Admony & Nima Khalilian is landing its
breaks and techno laden debut EP on Vakant this Summer. On remix duties we welcome OCB from
Casa Voyager.
Fotography by Expreso Nova (Valentín Rodríguez)

Parasian fellow Stephane Laporte joins the Antinote crew with a very introspective and dreamy full length record. kraftwerk gone ambient will be the best discription..TIP

• Recognised by fans and fellow recording artists, as one of the World’s most influential and best ever guitarists.
• This tribute is frequently confirmed when Hank regularly features high on the polls that determine the greatest guitarists of all time.
• Initially known as the lead guitarist of The Shadows, the band that evolved to become the UK’s biggest ever selling instrumental group,
Hank Marvin defined the sound of a generation.
• Hank was the very first guitarist in the UK to own an iconic Fender Stratocaster – when Cliff Richard imported the guitar from the US
exclusively for Hank to play.
• As a solo Artist, Hank Marvin has released 16 albums, with Top 20 albums spanning almost 50 years; 1969-2017 (to date), in a long and
successful career lasting more than 60 years.
• Hank Marvin, as a solo Artist, as well as part of The Shadows, with and without Cliff Richard, has spent approximately 900 weeks on the
UK Albums Chart.
• This ‘Gold’ 180g Heavyweight Gold Colour Vinyl LP set, covers Hank’s solo career, in this 15-track set.
• ‘Gold’ includes guest appearances/performances from Cliff Richard, Brian May, Duane Eddy and Mark Knopfler.

“Be There In The Morning” is such an amazing song Renee Geyer co-wrote she recorded it twice! While the 1976 original is smooth and classy, it’s the more upbeat funky 1977 version of the song she sang that’s the definitive and re-released here. It was first reissued by Expansion on 2003’s “Soul Togetherness” compilation, and the 1979 version of the song recorded by Norman Connors was reissued as a 7” by Expansion in 2016. For this 7” the track has been re-mastered to it’s ultimate best and coupled, for the first time on 7”, with a superb version of “It Only Happens (When I Look At You), a song best known by Aretha Franklin and also known by Jackie Wilson. The version is a duet with fellow Australian Doug Williams of The Rockmelons.

Dub echo, hip-hop lyricism and heavy guitar fuzz are boiled down into a heady, characteristic musical brew.

On “Dreaming Is Dead Now”, multi-talented wonder Skinny Pelembe meditates on grief, heartache, stunted aspirations and fresh possibilities in post-recession Britain. For his debut album, the Johannesburg-born, Doncaster-raised artist weaves together a patchwork of personal and musical touchstones; memories and observations are dreamily laced together, sun-dazzled California folk diced with the murkier corners of the UK dance lineage.

Tipping a hat to West London broken beat as much as My Bloody Valentine, the album was co-produced by Malcolm Catto (of The Heliocentrics, who’s previously worked with Yussef Kamaal, DJ Shadow, and Madlib), who helped to distil down its bounty of ingredients into the record’s distinctive flavour. Tough, tight-programmed rhythms are washed over with fuzzy overtures, and the title track is the product of a studio session with a foundational drum & bass duo (credited under the covert alias of The Bleeding Edge). It’s the rare kind of record where the messy, in-between musical spaces are given a light to shine.

First discovered through the Gilles Peterson- and Brownswoodfounded Future Bubblers programme, Skinny has since made it onto Peterson’s iconic Brownswood Bubblers compilation series, performed and collaborated with fellow Future Bubbler Yazmin Lacey, and been tipped by the likes of Ghostpoet and James Lavelle. Praise has also come from The Observer, The Quietus and Huck, with previous singles “Spit / Swallow” and “I Just Wanna Be Your Prisoner” bumped up onto heavy rotation on BBC 6 Music’s A-List. He’s also been in demand for live sessions with The Vinyl Factory and Worldwide FM, and supported Nightmares on Wax and Maribou State.

Italian producer and musician DJ Rocca (AKA Luca Roccatagliati) is back on Nang. Rocca has been around the dance music block a few times; having collaborated with the likes of Howie B, Zed Bias, Daniele Baldelli and Jazzanova. He has also remixed a whole host of artists such as Oliver Koletzki, Luke Solomon, Blaze and even Flock of Seagulls.

Now our friend gets his own spotlight to shine with his debut solo artist album, Isole.

'Isole' consists of eight eclectic songs; the steady, deep beats of 'Alcatraz','Taquile' and 'Hong Kong' juxtapose the euphoric 'Tokyo', a warm sunset of a track. 'Nassau', written with fellow Rome-based Rodion showcases sensual and percussive waves of synth, whereas 'Favignana', written with Kool Water (aptly named after an Island off the southern coast of Italy) takes you deep underwater through its distorted build-up. 'Stone Town', written with Dimitri from Paris who is influenced by 1970s funk and disco, encompasses the marimba in keeping with the beachy feel of the record. Finally, the jazzy track 'London' written with Jukka Reverberi could have been inspired by DJ Rocca's work with the critically acclaimed jazz musician Franco D'Andrea, with whom DJ Rocca created the 'Electric Tree Project' which fuses jazz and electronics.

DJ Rocca has been touring his energetic sets globally over the last few years in clubs in Berlin, Paris, London, Oslo, Bruxelles, Vienna, Zurich, Bern, Helsinki, Brazil, Turkey and Croatia. Stay tuned for more solo and collaborative venture on Nang too.

Longstanding FUSE resident Rich NxT combines with fellow London favourite East End Dubs this June to release their debut collaborative EP ‘The Four Slip’, featuring two bubbling, heady cuts.

As one of FUSE’s original residents, Rich NxT’s evolution alongside the London brand has seen him become one of the scene’s most respected DJs and producers, releasing a slew of material via their renowned in-house imprints as well as via the likes of Tamango, Elision, Vatos Locos and his own NxT Records. This pairing sees him up alongside one of the scene’s most prolific and consistent producers, East End Dubs, who arrives fresh from a string of EPs via his own self-titled and anonymous imprints, and material on Eastenderz, Infuse and Moxy Musik to offer up the two-track ‘The Four Slip’ EP, marking the pairs debut collaboration, which was over a year in the making, whilst offering a concentric overlap between their own unique sounds to tell another fresh story for the 34th release of the rapidly maturing imprint.

The A side sees the paring combine to offer up ‘E3’ - a slinking and swing-fuelled lead cut that merges woozy, spacey melodies, chunky kicks and warping electronics, before employing crunchy percussion licks, rich chords and a glitchy, low-slung core groove throughout ‘Bubbles’ on the flip to close the package in fine fashion.

Eduardo De La Calle s recent Distortion Theory III EP on Abstract Reasoning was another impressive piece of work from the prolific producer. Now come four diverse remixes of the title track, each with their own unique twist on the warped machinations of the original.

J - Keel kicks off proceedings with a droning, tense interpretation which toughens up the original considerably. Reversed chord stabs pitch up and down as ominous bass bores a steady course through the track s underbelly, with ticking percussive elements ensuring a motorik pulse.

The masterful Roman Fl gel teases out the chime motif of the original and supplements them with muted marimba-esque arpeggios for a soothing, underwater feel. The beats are kept to a succinct minimum, with subtle swathes of strings bringing a majestic, dreamlike tinge to this refined, minimalistic production.

Fellow Spaniard ORBE brings an ambient feel to the hazy, delicate melodics of his mix, with the delayed, warped synth patterns that struggle to be heard and beautiful atmospherics recalling Carl Craig. Moments of distorted pressure seep through and remind us of the buggedout flavour of the original.

Holland s Conforce rounds things off with plump low end throbs and sparse synth pulses reminiscent of Basic Channel, with gently shuffling hi-hats underpinning the murky yet warm textures and broad, heavily reverbed swathes of chord drama.

Australian band Pleasure Symbols enter a new phase in 2019, physically and stylistically with the forthcoming release of their first full length record Closer and Closer Apart. Three years have passed since the release of their debut, self-titled EP through Avant!. The time away being a necessary moment of reflection and regeneration for singer, songwriter and bassist Jasmine Dunn. Joined by fellow musician Steven Schnorrer, the duo began the push towards a more 80’s inspired post-punk sound with a ‘pop noir’ twist. Deciding to record and produce the album themselves, gave the freedom to take time to grow and explore their new direction as a song writing duo. Despite current trends in popular music, Pleasure Symbols continues to focus on a more guitar based post punk, dream-pop sound, while slowly diverging from a previous minimal wave, synth based musical output. With themes of desire for desires sake and self confrontation, the new musical direction may seem initially harrowing, but look closer and you will see vulnerability and tenderness triumph over the struggle of the human experience.

In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. Finders Keepers present the first-ever release of these vital archive recordings.

As a genuine vanguard of electronic music composition at the forefront of the modular synthesiser revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesiser designer Don Buchla. In choosing to adapt the controversial prose of French poet Charles Baudelaire, Suzanne would join the ranks of ongoing generations of pioneering musicians like Olivier Messiaen, Karlheinz Stockhausen, Serge Gainsbourg, Etron Fou Leloublan, Celtic Frost and Marc Almond (not forgetting Star Trek’s William Shatner!), all equally inspired by the 19th century writer’s works of “modernité” (modernity), a self-coined term dedicated to capturing the fleeting, ephemeral experience of life in an urban metropolis, best exemplified in his symbolic, erotic and macabre ode to Parisian industrialisation, Les Fleurs du mal (Flowers Of Evil).

In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. For the many enthusiasts that have already drawn the parallels between Baudelaire’s writings and experimental/electronic music (a relationship rivalled only by the likes of J. G. Ballard and Aldous
Huxley) some might instantly recognise an unconscious sistership between this recording and another 1969 electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White’s excellent version of Flowers Of Evil (released via Limelight records, home to the likes of Fifty Foot Hose and Paul Bley) is that its dark tone generation and vocal manipulation was created with a Moog synthesiser, the commercially triumphant
rival to Suzanne and Don’s Buchla Systems (Buchla and Moog’s historic, simultaneous, neck-and-neck synth developments are well documented.) The fact that Ciani’s version was never intended for commercial release (not unlike her 1975 Buchla concerts, which could easily have taken Morton Subotnick’s Bull by the horns!) is also poetically reflective of the nature of Ciani and Buchla’s alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani’s faithful reaction from some of its better-known variations. Having attempted to voice the poem herself, the multilingual Italian-American composer’s French accent did not meet her own standards, resulting in the request for a fellow unnamed French student who lived on campus at Mills College in Oakland to accurately verbalise the section of Baudelaire’s collection entitled Élévation.

We are proud to showcase more Bay Area family with the release of a new EP by Doc Sleep who cut her chops as a DJ in San Francisco’s vibrant scene the past decade. In 2016 she made the move to Berlin and became a resident of Room 4 Resistance. Since 2013, she's been the co-owner of Jacktone Records, which specializes in techno, ambient, and experimental electronics. In 2016/2017 she released her first 12's on the Hot Mass-affiliated Detour Records and Bottom Forty. She also co-wrote a track with Bezier and Nicole Ginelli, titled “Stranger,” that we released on the ‘Primes’ EP in 2017. Her latest release, ‘Your Ruling Planet’, was released on Jacktone in March 2019.

We first heard “Creme Fraiche” on Doc’s soundcloud page and begged to release it. The track has the feel-good vibes you get on early morning dancefloors as things are winding down or up. Paired on the A-side is the pulsating dark jam “Never Eating Again” that previously appeared on ‘Run The Length Of Your Wildness V.2’ and, like that compilation, proceeds from this track will be donated to Ghost Ship Fire victim Cherushii's family. On the B-side are two remixes from close friends of Doc. First up is a fresh breakbeat remix from Violet: DJ, producer, boss of Naive records, co-founder of Rádio Quântica, and mina resident shaking up Lisbon's nightlife. Second is Berlin-based producer and fellow R4R resident, rRoxymore, who presents an innovative remix of future-facing techno and bass variations adding her own vocals on top. For this release we’ve teamed up with Jacktone to release a cassette version, our first in this format, featuring two peak-time bonus tracks. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in jacket designed by Eloise Leigh with neon pink and lavender gradients echo morning sunrises with a collage of dreamy elements using a photo by Doc of Club Toilet in Detroit.

'When you put on the first track on the album 'Antisocial Background 2017 - 2019 by Mythologen your likely to think: 'this is THAT kind of an album', and fell happy with that. But Mythologen aka Alexander Palmestal is not 'THAT' kind of an artist and this album reflects his broad musical background. It spans from Japan to USA, from the 70s to the 00s and from cold concrete floors to fluffy cotton clouds. Palmestal, with a background in bands such as Pistol Disco and Iberia now releases his second full-length album on Hoga Nord Rekords

The album is a play with emotions and genres, with unexpected meetings between major and minor keys and is a collection of tracks where Jungle, Electro, House, Synth and Big Beat are deconstructed and put together as relevant contemporary dance music. The production on 'Antisocial background' sometimes sound like a more electronic version of Boredoms but most of the time it puts the listener on the British isles and in the 90's. Palmestal pays respect to his masters but he is not in any way too careful with their legacy and let, just as on his debut album, influences from the 1970's and 80's Nigeria and Soweto.'

Unart8 says THX! He thanks all his visible and unvisible
friends, fellows & supporters. Primarily he thanking his love on
his side, who supported him on his way and who is believing
on him and his son, w ho is his greatest task and his greatest
inspiration. Cheers! lovely universe. For all experiences.
Because of that I am like I am: Unart8. You can hear it in all my
tracks by Drec

With 10 albums already to her name, Muriel Grossmann is well-placed to create more sonic waves in 2019. Taken from her mesmerising spiritual jazz LP 'Golden Rule', we have deep jazz, modal jazz, esoteric jazz, spiritual jazz; refined, intensified and concentrated into 2 whirlwind sides.


"Arresting, deeply moving spiritual jazz... it's deep"

"Muriel Grossmann... embraces the groundbreaking, exploratory jazz of Sun Ra and John Coltrane, gives a very respectful nod to fellow contemporaries Nat Birchall and Shabaka Hutchings, and immerses itself in a swirl of transcendental expression" - UK Vibe

" Recommended, particularly for listeners who are ready explore sounds beyond straight ahead jazz or those comfortable with more esoteric jazz sounds." - The Vinyl Press

After S3A's 'Deep Love' contribution last year we are stoked to present you this great collection of music! Coming from the French underground S3A aka Max Fader is absolutely no stranger to the scene. With releases on Local Talk, Quartet Series and his own 'Sampling As An Art records' he is deeply rooted in House, Hip Hop, Disco, Soul and Funk serving residencies at Paris clubs 'Concrete' and 'REX' he has become a local favourite as well with his DJ and Live sets. We are more than excited to release this special debut album that showcases some older and recent work, with live acoustic songs from early 2017 recorded at the Paris 'Red Bull Music' studios to new sample based House and Disco infused tracks in the signature 'S3A' style we got to love so much in recent years. 'Fever", 'Friends, 'Joint No. 5 and 'Greed' are all funk fuelled jams composed by Max, re-played and recorded again in several live jams with fellow musicians Nicolas Taite, Raphael Vallade and Pierre Vadon and edited in the studio by S3A afterwards, they breath this special Soul and Funk love Max got into by listening to 'Masters at Work' and old Disco jams. The latter 'Greed' has a special story, it is a cover of an early 'Laurent Garnier' track that got reworked by 'Avril' in the early 00's, here Max wanted to present his own Jazz and Funk perspective on that same track. The club stompers 'First Day With Lucien", 'Lockwood", 'Clarence J. Boddicker' and 'Leaving 19th' are the true party business on this album and range from Deep House to more classic edit style Disco tracks with live improvisations played on top of them.

“Introducing COSMIC RESIDENTS v. 1, the first in an ongoing compilation series from Cosmic Resonance Records. This series will showcase emerging talent from Toronto’s underground creative electronic music scene.

This first edition features local favourites and Cosmic Resonance residents Radiant Aura Faculty (aka Raf Reza), KOREA TOWN ACID and Hemingway along with (and making their vinyl and Cosmic Resonance debut) Body Butter, WeTurnToRed and Smoke & Shadows.

On the A-side, Hemingway kicks things off with Astralnauts, a deep, dubbed out boogie breakbeat burner dedicated to explorers of the astral plane featuring fellow label don Chris Evans on rhythm guitar. Radiant Aura Faculty (aka Raf Reza) takes us even deeper with the mystical 'Cid Pit Riddim', a slamming 707 acid bender sure to melt any dance floor. Things get slippery with Body Butter’s debut single ‘Lights In The Hallway’, a timeless operatic pop opus featuring Neil Rankin (aka Burt Sugar), Chris Evans (aka Mr. Bliss) and Hemingway behind the board.

On the flip side, things heat up with Shamanta Chandran’s project WeTurnToRed (recently releasing their debut EP on ORO Records), featuring the progressive modular techno odyssey 'Warm Winter', an escape from Toronto’s long and tumultuous blizzards. Emerging from the Mahogani Forest, Korea Town Acid reinterprets Hemingway’s emotional ode to the jazz aesthetic 'Blue Notes' with her trademark cerebral rhythms and a masterful bassline that elevates the original to new heights. Closing it off, we have an amazing collaboration between Curtis Clark (aka Smoke of Lab.our Music) & Em Zy (member of Nikki Fierce) called Smoke & Shadows with their stellar debut single Convincing Thoughts that features Em Zy’s hazy vocal emanations amidst a backdrop of mystical reverberations and a dark, powerful groove.”

Sometimes, - despite today's high-octane, fast-track and hyper-hysteric music business - you come across things that seem so pure, perfect and poetic that it almost hurts. "Socialo Blanco" is one of these objects.

It appears understated at a first listen, startling at the second and totally enamouring by the third run. To lay it all out on the table: it sounds like a Music from Memory re-issue, looks like a Growing Bins Records discovery and feels like a flea-market-hippie-uncle-record-collection find.

Based on the language (coincidences and misbehaviour included) and direction of the classic EMS Synthi AKS and recorded by hand and directly to tape (no midi, no sync, no computer), it is at once out of time and out of touch with current sound aesthetics, but that only makes it even more contemporary (vintage) - like a great piece of furniture.

Unsurprising, if you know that Feater is helmed by Daniel Meuzard. Hailing from Vienna and having made a name for himself as a trustworthy and skilled studio equipment dealer and working closely with producer and studio engineer Sam Irl, the man has a knack for turning yesterday into today.

Already is his project's second album, "Socialo Blanco" is the result of all of this and some magical and effortless sessions. The voice of Vilja Larjosto from Finland and Ghana's Eric Owusu (Pat Thomas, Ebo Taylor) on percussion, spontaneously invited to the recording sessions by fellow Viennese Giuseppe Leonardi, are the icing on the cake. All of that and especially the non-conformist pop song "Time Million" symbolizes the heart and soul of an album that deserves to be billed as such. And that is no mean feat.

Consisting Neither Of One Lone Woman, Nor Hailing From Either The Eurasian Country Or The North American State, This Georgia Is In Fact Comprised Of Two Human Males Working Out Of China Town, N.y.c., Namely Brian Close And Justin Tripp. Together They Form A Creative Partnership Responsible For Not Just A Slew Of Output Upon Such Highly Regarded Imprints As Meakusma, Palto Flats And Emotional Response, But Also For A Kaleidoscopic Variety Of Multimedia Work With A Whole Host Of Clients, From The Corporate To The Counter Cultural. With An All Embracing, Freeform And In Some Ways Contradictory Approach To Production, Their Sound Is At Turns Stimulating, Terrifying, Comforting And Confounding. Separated From Any Visual Representation, The Audio On Its Own Becomes A Soundtrack For The Listeners' Own Intense Internal Projection Screen.

With 'time', Georgia's Vision Is Especially Well Realised As Here, In Collaboration With Fellow Intuitionists Firecracker Recordings, They Release Into This World An Album Which, With Any Luck, Shall Help You Unlock Your Inner Portals - Should They Need Assistance In That Regard Anyway. Unquantisable Polyrhythms Knock Against One Another In An Uncannily Externalised, Conflicting Collage Of Half Remembered Dance Ritual Memories. Fragmented Melodies, Disembodied Vocal Snippets, A Hint Of Ethnomusicality In Places All Give Deep Nods Simultaneously To Ancient Experience And To Post Human Intelligence, Condensing Past Present And Future Into One Eternal Instant.

'time' The Album Asks Us: What Happens When One Removes Ones Expectations Of Where In Time A Piece Of Music Or Art Must Sit And What Of Time Itself As A Construct, Now That We Have Myriad Ways Of Measuring It, Even At The Atomic Level; But Still Its Passing Is Completely Relative According To The Observer, And Indeed May All Be In Our Minds Anyway Equally, You Can Always Just Put It On - Again, And Again - Empty Your Mind Of Such Thoughts Completely, And Allow All Of Your Particles To Move Around Freely To This Joyful Noise... After All, That's The Point, Isn't It We're Gonna Have To Stop Asking Questions Eventually.

London's elusive Lukid has never been one for convention. In the few short years between 2007-2012, he struck out on a seemingly effortlessly impeccable run of releases on fellow iconoclast Darren 'Actress' Cunningham's mighty Werkdiscs imprint, as well as his own label Glum. Those albums and EPs flaunted genre distinctions and embraced a freewheeling approach to melody, rhythm and atmosphere that felt at once exotically psychotropic and yet grounded in a resolutely english eccentricity. Thus, they feel like especially-prescient recent classics that continue to find new fans.

In the intervening years, Lukid's energy has been poured into his stunning monthly transmissions on NTS while his output has been sparse aside from a pair of mindbending EPs via Liberation Technologies and Glum, respectively. Those radio sets serve as a telling blueprint for his contribution to the ongoing Arcola project. From low slung Memphis rap mixtape cuts to clattering industrial cassette rarities, turbulent grime and outsider synth hallucinations there is a warped palette that comes vibrantly alive across the four included tracks here. The stormy bump and spectral melancholy of 'The Drip' and 'Clappers' seems to wed them together as thematic bedfellows across both sides of the EP while 'Head Shrinker' tries to squeeze an overcast psych-pop opus out of a rack of malfunctioning hardware. Spit out the other side of this ride you exit to the chopped-and-screwed goth grime of 'Conked Out', having had your brain smeared with the uniquely viscous ectoplasm that only Lukid can excrete. Perfectly slimy.

Debut, 4 track 7" on KingUnderground by Flughand & Smuv. Flughand and and Smuv, 37 and 27 year old producers from Germany, collaborate on their debut EP "Fluo". They are both giants in the streaming game and known for their laid back, dreamy, lofi hip hop beats. They are two of the most well-known artists in the genre of lofi, with streams counting more than 100 million clicks. BeatPete, a fellow German and widely respected DJ, is the link here for the release on KingUnderground.


They each have their own distinctive style of cover art for all their solo projects and this time they worked with an Italian artist, "Heey Studio Design" for the "Fluo" EP illustration. It conveys the two of them, a cat (Smuv) sitting on a little island, chilling with a cocktail in the middle of an ocean and a dog (Flughand), flying an airplane up in the sky.

Blitzzega is the electronic project of Bjorn Eriksson. Bjorn is a famous Antwerp composer, guitar player and lead member of bands like Maxon Blewiitt, Eriksson Delcroix (together with his wife Nathalie Delcroix, better known from female folk group Laïs) and The Broken Circle Breakdown Bluegrass Band (responsible for the mighty soundtrack for the highly acclaimed movie 'The Broken Circle Breakdown"). Although Eriksson grew up with country & western he - like many others of his generation here in Belgium - fell in love with electronic music thanks to the NEW-BEAT mania in the late 80s. Chavalo, Blitzzega's very first vinyl maxi, is a groovy sing-along electro bomb. It features the fantastic voice of Nathalie Delcroix and comes in 4 variations: Original version, a remix by Bjorn Eriksson himself, a remix by Milan W (JJ Funhouse, Ekster) and a remix by acid overlord Freddie Fresh (Analog, USA).

Robert Steenkamer is known as a purveyor of exquisite house music. Under his Roberto S guise, the Torontonian has released several landmark records. Besides this, he is known as a valued selector in his native Canada. The collaborative releases with Jex Opolis under their "Conga Radio" moniker have received worldwide praise throughout the house community. For his Pulp debut, Steenkamer has created a diverse body of music that touches different moods and genres.

On the A-side, the opening track "Inner Rhythm" is a orchestrated piece of work that uses an uplifting vocal cut and ethereal flute sounds to create a calm and positive dancefloor experience. Also on the A-side "Swizik" is a melody-heavy work where Steenkamer uses fun sequences, euphoric pads and well balanced drum patterns.

The title track is placed on the A3 position and is a genre-transcending cut. The tempo is is low and the beats are dragging along with the well-executed pads and synth riffs. On the B-side, the title track is being remixed by fellow Canadian "Florist". On this remix, Florist turns the slow vibe of the original into a soul touching dancefloor creeper that will definitely gain a lot of support in melodic circles. "Remember When" is a positive work with a snappy bassline and oozing synth sounds. Glass Road EP will be available from all specialized retailers in early 2019.

Claremont 56's latest release is very much a family affair. It sees Idjut Boy Conrad McDonnell - a regular remixer of Claremont 56 releases since the label's inception - serve up two spaced-out, dub-wise revisions of a little known cut by Bison, the imprint's very own 'super-group'. The 12' has extra emotional resonance for Bison's Paul 'Mudd' Murphy and Ben Smith, as it marks the band's first release since the passing of fellow founder members Holger Czukay and Ursula Kloss.
Clutching his cherished space echo and tape delay units, McDonnell has delivered two tasty new dubs of 'Salmon Spungcake', a spacey, gently throbbing Bison cut that he co-wrote, produced and mixed for Claremont 56's 10th Anniversary box-set in 2017.
While the original version shied away from the dancefloor in favour of creating a hazy, horizontal mood, McDonnell's 'Zip It Shrimpy Mix' re-invents the cut as a hypnotic dub disco shaker rich in weighty bass, layered hand percussion, locked-in kick drums and spaced-out vocal snippets. In true dub fashion, flashes of the band's original instrumentation - effects-laden guitars, hazy electronics and meandering, deep space chords - float in and out of the mix at irregular intervals. It's the kind of remix you want to get lost in while wearily shuffling at 5am in a dark, sweaty basement.
The glassy-eyed, head-in-the-clouds fun continues on the 'I Think I've Got Gout Mix', an even more spaced-out affair that recalls some of the other inspired dancefloor dubs McDonnell has produced alongside Idjut Boys partner Dan Tyler. Stripped back, heavy, percussive and driven forward by sturdy kick-drums and the track's rich, warm bassline, this is a deep space dub disco tailor-made for space cadets and intoxicated sunrise dancers.

The Second 2019 Release On Seilscheibenpfeiler Is Reserved For One Of The Most Unique Producers Of Our Times And Marks The Label's Most Experimental Moment Yet. Peder Mannerfelt's Discography Stretches Back More Than Ten Years To When He First Started Putting Out Techno Records As The Subliminal Kid. Amongst Other Things He Helped Producing Two Acclaimed Albums By Fellow Swedish Artists Fever Ray And Gained Recognition Under His Real Name, Especially In Recent Years With Releases For Numbers. Or Hinge Finger And Critically Acclaimed Albums Like - controlling Body (2016) Or - daily Routine (2018) On His Own Imprint.

Last Year Mannerfelt Contributed To Modeselektion Vol. 4, Now He's Back With A Set Of Four Tracks Following His Unique Strain Of Abstract Techno. - life Without Friction Is About Disruption As Well As Peculiar Moods And Rhythms, And Other Than Its Title May Suggest, There's A Lot Of Friction And Tenseness In These Tracks. The Title Cut And - un - Air Show Mannerfelt In Almost Straightforward Mode, Always Ensuring It Never Gets Boring Or Too Comfortable. - lucid In The Sky And - hold The Line Combine Mellow Sounds With Stabs Of Noise And Twisted Percussion. As Always, Peder Mannerfelt's Productions Remain Unpredictable, But Predictably Great.

Fifth part of the Strata-East Dolphy Series, Glass Bead Games is arguably the crown jewel of the Strata East movement, an amorphous genre that treads an unusual path between post-bop, 70's avant-garde and spiritual jazz, with a groove.

Glass Bead Games is full of revelations at many levels. First, the decade of the 1970s did produce genuinely creative, "human" new music flowing from the jazz mainstream; second, Bill Lee was more than Spike's dad: he was a superlative bassist, a team player of the first order, a powerful catalyst who, if anything, deserves to be better known than his son; third, Billy Higgins was, as so many musicians insist, a once-in-a-lifetime drummer—the bellows inspiriting the collective flame.

Most importantly, Clifford Jordan was an artist of the first order, his playing so effortless and unforced, unselfconscious and focused, mature and wise that, at a time when altissimo fury was all the rage, it's small wonder his authentic voice frequently went unheard. His musical rhetoric is so personally expressive, its substance so compelling, the listener couldn't care less about the extraordinary technique required to convey its captivating message. Compared to some of his more acclaimed peers he's a less aggressive yet paradoxically more directive and shaping influence. The climaxes, rather than spelled out, are merely suggested, registering with deep and lasting impact on the listener. It all comes down to learning the language, those precious little beads. Not every player, including Jordan or the listener, can use it like Shakespeare, but all can learn to read Shakespeare and understand its principles of arbitrariness and serendipity, of invariance and transformation.

Jordan, no less than Shakespeare, requires a like-minded cast of players—in this case four musicians of such redoubtable proficiency that each remains committed to keeping the beads in play. He's not a man content with a mere musical "dialogue" with his fellow musicians nor is he about to take the initiative in pulling his troops up to his level. Instead he begins to tell a musical story that's so compelling his three comrades are inspired equally to contribute to a collaborative narrative. This is brilliant music-making by a Coltrane- influenced successor who feels no obligation to mime the predecessor. It may be the most significant saxophone performance on record since Coltrane and, providing the listener stays with it for any length of time, the most deeply satisfying. Jordan's game—so effortless, unforced, and "level"—erases distinctions between composed and improvised, soloist and ensemble, narrator and narrative, the dancer and the dance. It seems incapable of wearing out its welcome.

By Samuel Chell/All About Jazz

We are very excited to present you this new signing and debut EP by Dampé. A studio and live project from South East London. Since moving to the city, Dampé has been intimately involved in its club culture " from running warehouse spaces and booking venues to DJing and performing in groups across the city and Europe, under a slew of different aliases.

The music is made on a boat on the Thames and is a combination of dusty analogue gear, live instrumentation, and samples. For Dampé, influential parties were "Co-Op, FWD>>" and "You're A Melody" and echoes of those dances can almost be felt in the sound. Across five original tracks, the EP explores weirder and worldlier ends of house music, all with a nod to undeniably UK sounds.

"Peach Shuffle" is a made-for-the-floor, broken beat work-out that has this great warped and chopped Persian vocal sample giving the track a unique and world-wide touch, followed by "St James" Road", a crunchy live Rhodes jam and ode to a favourite street south of the river. "Move Me" is all garage-infused vocal loops and singing bowls and acts as an experiment-come-DJ tool. "Carn" is a super-swung hip hop beat featuring "SMBD" aka "Simbad" providing additional keys. Closing out with "Zongo Junction, At Night", a late night roller with material pieced together from saturated CR 78 samples and field recordings made when Dampé was recording sound for a film about witchcraft and the internet across rural Ghana.

To round up this exciting EP we ask a fellow SE London enthusiast "Nebraska" to make a remix of the title track "Peach Shuffle". Cutting up the vocal of the original, adding some mean bass and pouring a smooth "dance floor" sauce over it. The delicious end result is something we are very proud off and we hope you will enjoy as much as we do!

Project Karnak is the production duo brainchild of keyboardist Dominic Canning and drummer Sam Ouissellat. 'Equinox' is their debut EP released on London label None More Records.

The whole idea behind the band is that they make synthesised, electronic sounds and bring them into a "jazz" realm accompanied by tight, energetic and fresh drums.

The duo meld influences from drum & bass, jazz, funk and the "Final Fantasy" soundtrack into their fresh new sound.

As humans living on the planet today, we have become so removed from our original, natural habitat—the forest—that we forget our wild roots, our primal, animal origins. Music is one of the things that can bring us back to that place, that can put us in contact with a felt world of instinct, immediacy, and presence: a world where language and the problem-solving mind are not needed, where the music keeps your mind and body in the present moment, and the point of dancing becomes the dance of our inner wildness and animality itself. Hans Berg's Sounds of the Forest Forgotten affirms that music can bring us to a state of mind and body that can help us feel what we've forgotten from the forest. The overlaying project of the album is to conjure musical and conceptual resonances between mysticism and nature, summoning the incredible depth and force of nature that we usually miss, especially living in contemporary urban cities. Sounds of the Forest Forgotten channels the creativity, playfulness, and freedom of a life both before and beyond ours through the sounds of analog and digital synthesizers, a modular system, drum machines, and computers. Recorded between Hans's studios in Berlin and on the Swedish countryside, the album similarly shuttles between contemplative and ecstatic, between delicate and powerful, mixing sublime psychedelic techno compositions like 'Emerald Sea' with acidic dance-floor bangers like 'Storm' and 'Milk Thistle,' all nestled between contemplative and textural ambient compositions like 'Butterfly' and 'Glow Worm.' Berg is known for his enthralling productions and energetic livesets that capture dance floors with his particular brand of hypnotic techno, replete with angular lines, affecting melodies, pulsating basslines, and big drums. He also produces atmospheric scores and ambient soundscapes to accompany the video art and installations of long-term collaborator and celebrated artist Nathalie Djurberg. Berg's live sets have found a home in nightclubs around the world, with recent gigs in Berlin, Stockholm, New York, Tokyo, and Melbourne, to name a few. In addition to 2MR, he has released his solo work on record labels including Ian Pooley's imprint Montage, Klasse Recordings, and The Vinyl Factory. His ongoing collaboration with fellow Swede Johanna Knutsson - as Knutsson/Berg - has led them to start the label UFO Station Recordings, on which they release their own material. The duo also has released on labels such as Idle Hands, Default Position, Kann, and Random Island.

David Marston is a producer, DJ, musician, and guitarist hailing from the vibrant Caribbean island of Jamaica. He takes a multifaceted approach to his music, and has worked to achieve a sound that is a fusion of multiple genres, including, but not limited to, house, hip-hop, disco, jazz, as well as reggae. During a six-month stint in Jamaica in 2016, Marston reconnected with a close friend and fellow musician, Craig Williamson, and the pair began writing music that would become the basis of Marston's first full length album. With the album set to be released in early 2019, Marston has endeavored to put together a special 12" to showcase the club-friendly side of his music with a selection of the album's dance cuts.

The A-side of the vinyl kicks off with the title track, "Feeling You", which features Williamson's crooning voice over a hypnotic instrumental characterized by a swirling arpeggiated synth, punchy bass hits, and stomping drums. To round off the A-side, Italian DJ and production duo, Lowheads, give the aforementioned track a fresh makeover with their lively classic house remix and dub version. The flip side of the record consists of two instrumental tracks. The first, "Ragamuffin", is a mesmerizing four to the floor tune constructed around an Indian raga sample. The final number, "On My Mind" is an off-kilter house groove with rolling keys, garage style drums, and a soaring lead. Taken together, the 12" album 'sampler' is a robust yet tantalising collection of club-ready tunes.

Soundway Records present a special summer tribute double a-side 12" with two tracks from African musicians that both passed away within a couple of months of each other at the end of 2013 / start of 2014. Both tracks are perfect smooth summer tropical DJ fodder for the dancefloor.

On the first side South African singer Shaluza Max's massive Mashkandi / house anthem from 2002 gets a first release on vinyl. This track was a huge hit in South Africa and around the world on its release. With a soaring Zulu vocal and big sound it's a fitting reminder of a very talented musician who worked as a very well respected producer, composer and arranger who died tragically young at the age of 47 in January of 2014.

On the flip we drop a fairly unknown track from the mid 1980s from one of the biggest names in African music, Tabu Ley Rochereau. With a kind of almost balearic proto-house congolese pop cut with drum machines, and trademark sweet congo horn section, Hafi Deo is a beautiful track that fell into obscurity by perhaps being too smooth for the world music crowd in the mid 80s. Tabu Ley passed away in November 2013 in his late 70s with over 250 albums and 3000 songs to his name. A true pioneer of the congolese soukous sound, he was also one of the most influential African musicians of his generation.

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

Beautiful, real deal roots from Ronnie Davis, produced by fellow Tennors band mate George 'Clive' Murphy. Recorded in 1975 at Joe Gibbs studio. Impossible to find a record in clean condition, its now bought back with clarity and dub at correct speed on 7inch.

DGTL Records hits close to home with their latest release 'Dancing Glass Figures' by De Sluwe Vos. The dj/producer has been affiliated with DGTL since the beginning, as he played at numerous of their festivals from day one. So it was only a matter of time for De Sluwe Vos to release his music on DGTL's label. With Dancing Glass Figures he delivers a strong 4-tracker that is truly hard to resist. De Sluwe Vos has been making waves lately, not only with his steady sets but also with his own label Patron Records, which has seen a string of well-supported releases since its launch. Never Know, the first track of the EP, takes no prisoners, as this straight-up banger with the hard-hitting synth line keeps you captivated throughout the entire track. The repetitive vocoder vocals give the track a spacey touch, especially during the break. De Sluwe Vos teamed-up with fellow Amsterdammer Sjamsoedin, who's known for his exceptional synth knowledge and hard-hitting live-sets. Together they produced a strong lead track that you will definitely get to hear a lot on the dance floor.

Fast rolling drums and a dreamy warm synth lure you into the title track Dancing Glass Figures. But don't get too comfortable, halfway into the track you will get a sturdy surprise, which only makes the track more interesting, while taking you back to where it all started at the end of it all.

Moving on to the B-side. Sophisticated Topless Raver is mesmerizing, with an intriguing and hypnotizing melody that comes and goes throughout the track. Bringing in some hard claps and an eerie laughing vocal, this track for sure is one for the later hours.

Bambounou has the honour to close-off the EP with a remix of Sophisticated Topless Raver. The French dj/producer, who's been on everybody's radar this past year, slowed down the original version and added a sleazy bassline, synth stabs and extra percussion, while keeping the melody and the vocal. Making the track just as enticing as De Sluwe Vos' version.

RAMP is proud to welcome Visionist through it's esteemed halls.
*Appearing on the scene in 2011, new school Grime producer Visionist's dark, stripped down, emotive sound has won fans from Oneman, Benji B, Kode 9 and Pearson Sound to fellow RAMP artist Zomby. Visionist arrives on RAMP with "M" & " Secrets".

'Larry Jon Wilson He can break your heart with a voice like a cannonball.' - Kris Kristofferson. Larry Jon Wilson came to the party late. When he arrived in Nashville, country soul pioneer Tony Joe White had already made six albums. Townes Van Zandt had made seven, Mickey Newbury eight. Kristofferson, the accepted High Priest of the New Nashville, had made five. Larry Jon, by the time he arrived, had spent ten years in corporate America. He did not start playing guitar until the age of 30, but five years later he released his debut, New Beginnings (1975) and followed it just a year later with Let Me Sing My Song To You, both on Monument Records. A revelation among the hipsters and critics of Nashville, the LPs ensured Larry Jon was immediately embraced as part of the mid-70s 'outlaw country movement' that eschewed slick production in favour of a raw, gritty approach. When a film crew came to document this burgeoning sound, they made straight for Larry Jon's door. The legendary Heartworn Highways (1981) featured his mesmerising performance of 'Ohoopee River Bottomland'. He was a singer and writer of intensely private, painfully moving tales of southern life. With his deep, papa-bear voice, funky southern groove, and richly evocative narratives of rural Georgia, Larry Jon was a unique stylist but his gutsy, greasy sound did not translate into sales. Too funky for the country crowd, too heartfelt for pop radio, he fell between the cracks.

F*CLR are hugely excited and honoured to present Moscow producer/DJ Mutenoise aka Alexander Bannikov and his masterful 'Midnight' EP - available on digital and limited 12 Inch, the vinyl has the bonus track, 'Northern Lights' is a Vinyl exclusive!

But meanwhile, back to the EP - kicking off with Mutenoise's original version of 'Midnight', rooted in the deep tradition of jazz dancers, has a toughness that crosses over and aligns itself to modern house with a warm, soulful vibe. On the remix tip, Ashley Beedle ramps up the drums with a nod towards the classic sound of 90's New York and MAW releases and along with the 'Stripped Back' + 'Mixers Delight' edits, he adds an extra element of remix goodness for the heads. 'Rules of Monopoly' is proper late night tunage, perfect for those 5am sets, with its crisp handclaps + percussion, rising chords underpinned by an unwavering bassline - house music at it's very best. And just to tease you - 'Northern Lights' (bonus vinyl only track) - another jazz soaked house track with beautiful chords, ephemeral vocal samples - echoes of downtown Moscow after dark....

Originally from far flung Western Siberia, Mutenoise gravitated towards Moscow and became an integral part of the vibrant Russian electronic dance scene rubbing shoulders with the likes of Lay Far and fellow F*CLR artist, Stan Serkin. Mutenoise has released on such labels as Raw Underground Records (UK), Vesna (UA), Underground Sources (TN), Smile for a While (DE).

For half a decade, Doncaster deejay Parly B has been a fixture of the UK and international sound system scene. His first album on Glasgow's Scotch Bonnet Records, Lyrics Spree, builds on 2016's EP 'This Is Digital'. Blessed with a voice as deep as Bounty Killer's, a crowing gimmick reminiscent of the great Dennis Alcapone and a bottomless bag of verbosity, Parly is the complete microphone talker. He rides a shopping trolley load of digital rhythms by likeminded producers - including Danny T & Tradesman, Stalawa, Interrupt and Mungo's Hi Fi - ranging from upbeat celebratory skanks to sweltering body winds. Tracks include the exuberant 80s vibes of the title tune, the brass-driven UK sound of You Mi A Look featuring fellow Mungo's mic man Charlie P, and the moody reality chant Skylark. Lyrics Spree is infectious, verbally dexterous dancehall, spraying lyricism in your direction

Born in Venezuela and based in Barcelona, Luis Garban aka Cardopusher has spent the last decade creating a wide variety of noisy dancefloor assaults. Although his roots lie in the breakcore scene, he's slowly gravitated toward a raw, electro-infused take on techno that is no less compelling. Along the way, he's released music via labels like Terminal Dusk, Murder Channel, Hyperdub, and Tigerbeat 6, and has also found the time to launch his own Classicworks imprint, which he continues to run alongside co-founder Nehuen. Cardopusher has also forged a relationship with German bass enthusiast Boys Noize, issuing a pair of EPs as well as two full length albums.

We are proud to present a new 6-track EP titled 'Muscle Memory' that takes the listener on a deep and gritty ride through his diverse sound, from techno to electro, acid, rave, and house. Luis is inspired by labels like Warp, Schematic, Planet Mu, Rephlex, as well as EBM and New Beat. Hard-smacking claps and raw TB-303 sequences merge with robotic vocals, solid and perfect for dark dance floors. The B-side features one track with haunting guest vocals by fellow Barcelona musician, Ivy Barkakati. Luis says the main themes of this EP are obscurity, desperation, confusion, nostalgia, escaping the world's indifference. All songs have been mastered for vinyl by George Horn at Fantasy Studios. Housed in a workout themed die-cut jacket designed by Eloise Leigh with raw acid-style mixed bold type and sporty graphics.