Suche:j dub

Collection of all the instrumental versions of BMD-2. An essential dub album !

It was the spring of 2007 when Paul 'Mudd' Murphy and Kevin Pollard announced the arrival of the former's Claremont 56 label with Villa Stavros', a magical frst collaborative 12'. It
seems somewhat ftting, then, that Claremont 56's fnal release of its' frst decade will be N7 Odyssey, the frst collaborative album from Mudd & Pollard. By the time Villa Stavros' came out, the pair had already been regular studio buddies for a couple of years. Initially, Murphy had recruited Pollard - a hugely talented keyboardist and composer - to play on tracks he was working on for Rong Music. One thing naturally led to another, and soon they were joining forces to make music as Murphy's home studio in
Holloway, North London. As the years rolled by, further acclaimed singles followed Villa Stavros' - the bubbly, Rhodes-laden Balearic disco shuffe of Vincent', and the lilting, intergalactic dub disco of Scaffold', most notably - before the duo's other musical commitments began to take precedence. Murphy had his hands full running the Claremont 56 and Leng labels, while Pollard carved out a successful career as a soundtrack composer for both flm and television. Now, the album they set out to make all those years ago is fnally fnished and ready to be
released. N7 Odyssey - titled in tribute to the Holloway studio they recorded in for many years before Murphy moved - draws together freshly re-mastered versions of their previously released singles with a clutch of previously unheard tracks. Built around the duo's own fne musicianship, with Pollard handling synths, keyboards and electric piano, and Murphy guitar, bass and percussion, the album's ten tracks offer a musical journey through their shared love of shuffing grooves, sun-kissed soundscapes and
gentle positivity. Highlights come thick and fast. There's the swirling strings, futtering futes, jammed-out electric pianos and heady female vocals of Far Away', the enchanting new age ambience of December', and the rush-inducing Balearic disco breeze of Mawson's Walk', a former single blessed with sublime horn solos and rising, cinematic strings. Check, too, the head-
nodding beats, fuid electric piano solos and jazzy guitars of Inatin', the gentle Eastern mysticism and vintage ambient house aesthetics of Anura', and the ultra-deep house pulse of N7 Odyssey'. The album fttingly fnishes with a sublime ambient interpretation of Scaffold', arguably the duo's most celebrated track. It may have taken a decade to emerge, fully formed, but Murphy and Pollard have delivered an album that's beguiling, magical, and hugely comforting. Clearly, it's an odyssey worth
taking.

Tresor's newest release features BNJMN on Body Reflections Pt. 1.

The four track EP captures a uniquely subdued mood that resides at the nexus of ambient dance music, and that integrates seamlessly with Tresor's penchant for restrained and dub-inflected techno.

Each track on the EP introduces symmetry and rhythm in the form of organic percussion. "Overskies" and "Enceladus" are more lethargic and ethereal, each blanketed with discordant melodies and arcing synth lines. "Hadal Zone" is more dance-oriented - here, a sophisticated interplay of percussive elements loop over plaintive vocals and soft harmonies. "Syzygy" then brings the EP to a techno-focused close with driving kicks, oscillating synths, and repeating minor chords.

Body Reflections Pt. 1 is deeply illustrative of BNJMN's affinity for creating nuanced and delicately balanced layers, and a culmination of his vast experience.

'Soak by James Hadfield, featuring Danny Linton, is one of the main reasons for the launch of Me Me Me and a record I love so much I have done my first rem ix for the label,' explains Man Power. Further remixes from Axel Boman and Bird Of Paradise cement a stellar third release on the burgeoning Me Me Me imprint.
Soak is a distinct and uncategorisable piece of electronic music, with a rich thread of emotion running through it so strongly, it remains within each remix, albeit distilled in different ways. Fellow North Eastern Englishman Bird Of Paradise (Correspondant / HAKT) turns in two differing atmospheric interpretations of the track (one appearing as a digital exclusive), while Studio Barnhus supremo Axel Boman brings his own inimitable style to his rework, and Man Power's delivers a dreamy and forlorn infusion on this magnetic record.
James Hadfield has been releasing music over the last ten years under several guises including Lizards and Elizabeth Collective, although remains an elusive figure in the bubbling underground house and Balearic scene. Soak sees him teaming up with Danny Linton , best known as post dubstep producer Funk Ethics.
Man Power's ear for the more captivating and experimental side of electronic music is being championing through Me Me Me, putting discerning dance floors to the test through its releases. 2017 contributions include Mike Simmonetti, Chida, Fort Romeau, Hammer, Rex The Dog, Daniel Maloso and many more .

Nach ihrem ersten generationsübergreifenden Zusammenarbeit, "Late Night Endless" (2015), begeben sich die beiden Protagonisten zu spannenden, neuen Soundexkursionen in eine Vielzahl von Subgenres wie nervösem Funk, Industrial-Drone, Jungle-Rave, Cosmic (zu gesprochenen Weisheiten von Dub-Meister Lee "Scratch" Perry), furiosem Synth-Grime und trägem Breakbeat (im Cover von Ryuichi Sakamotos "Merry Christmas Mr. Lawrence"). Neben Lee Perry begrüssen Sherwood & Pinch auf "Man Vs. Sofa" weitere illustre Gäste wie Martin Duffy (Primal Scream), Taz (Dizzee Rascal) und Skip McDonald (Sugarhill Gang, Tackhead, Little Axe).

Simbad (aka SMBD) is a stalwart of the underground music scene in UK and because of his vast arrays of releases it's very hard to put him into any box or music category. Since his 2007 album Supersonic Revelation & his worldwide acclaimed dancefloor hit Soul Fever, the London based frenchy has been constantly travelling the five continents entertaining delighted clubbers with his super energetic dj skills or producing and recording various artists from many different genres including deeper Dubstep don Mala (DMZ), UK Hip Hop star Roots Manuva, Cuban songstress Dayme Arocena, Detroit House producer Kai Alce, Berlin based deep Techno artist Fred P, Seun Kuti from Afrobeat's most famous family, Brazilian superstar artist/actor Seu Jorge and being production mentor for the king of cool, radio DJ Gilles Peterson (who made him one of the resident at his Worldwide Festivals). With the Moon Theory EP Simbad demonstrates his talent on some deep analog frequencies for the very solid & ever growing label that is Apron Records. As the music wizard puts it himself : 'im just trying to make some timeless shhhhh man, soul in all forms really, trying anyway ! And I guess that the best is yet to come.

Jacob Long's newest recordings under the Earthen Sea moniker deepen his compelling synthesis of shadowy rhythms and opaque atmospherics, drawing on the most potent qualities of melancholic ambient and dub techno.

An Act Of Love' follows 2015's Ink,' released via Ital's Lovers Rock imprint,
and was inspired by internal tribulations and the experience of exploring an empty nocturnal metropolis. Careful waves of tones drift and decay, beats materialize and pulse across twilit landscapes, a noir mood reigns.

Given Long's background as bassist for revelatory tribal-punk trio Mi Ami, An Act Of Love' showcases a musician in the midst of transcendent redefinition, crafting an immersive language of texture and motion.

From Jacob Long:
This record was made over the course of the most emotionally difficult and stressful year in my life thus far. As such, it is both a reflection of that experience and also something that gave me space to begin working through issues to see a way forward, to a better place both psychically and physically.

An idea that was also central to my thoughts while creating the album was the concept and reality of being out in the city at night, wandering around a large urban area after dark - the contrast of empty streets but with life still going on all around, and the openness and possibilities that can bring. This music was an attempt to capture that feeling.

Jump in your spaceship and join us on our intergalactic exploration, as we are happy to announce that our next vinyl release is from Blossom Kollektiv's very own Leo Woelfel . Making his debut last year with a digital only release we are very excited to present his first vinyl release for the label titled Heuweid EP. The four track EP features three originals and a remix from Matthias Vogt that will take you on a deep exploration of space so buckle up and get ready to blast off.

We start our journey with the Frizzante mix of 'Heuweider Mineral' the track features a deep brooding bassline but with deep and dubby pads that takes us to a universe that plays with the darkness but keeps the light in plain sight. Backed with a solid kick and percussion to give the track a fully rounded feel this is one track that will put a big smile on any lover of the deeper side of house music.

Next up we get Matthias Vogt's interpretation of 'Heuweider Mineral.' Bringing a more broken beat reconstruction of the original, Matthias brings a raw flavor with a roaring bassline, moving snares and a redevelopment of the dubby pads that transforms the track and creates a feeling of weightlessness while floating through space.

On the flip side we are presented with a more classic deep house vibe with Leo's original 'Elke Ueber Der Bruecke ' this track is careful crafted with the dance floor in mind. A strong kick paired with tightly woven percussion and a classic deep house pad keeps everything moving in this distant but familiar world.

Our final stop on our planetary adventure is 'Stahlgruber Andacht' speaking to us in echoes the pads gently intertwine with a detailed drum patterns until the moving acid like bassline comes in to create a whole new dimension of sound. This concept is something that isn't all together new but done in a new and forward thinking way to finish off the full package of a finely tuned deep house record.

Oni-ki is the new studio adventure of old friends Onirik & Minoki, bridging genres, travelling through house, techno, electro, dub & ambient with their own touch, this is only the beginning. Onirik also provides his solo rework of the title track.

Infernal Sounds is discharging its fifth hefty, system-affine release, adding another highly regarded talent to their roster. Having featured revered producers like Von D, Sepia, Causa, Shu & Perverse, the label has clearly positioned itself in the front row seat of the modern dubstep movement. Representing a combination of upholding the values of system music with a 21st-century take on sound - the next release, catalogued as 'IFS005' is stylistically congruent and adds to the discography in total.

It is now time for highly talented Sub Basics (Tom Woods) to augment the imprint's discography with his ridiculously massive incarnation of bass music. His debut vinyl release on the Canadian imprint 'Visceral Vibrations' in 2015 has garnered ample amounts of positive reception by esteemed figures in the scene like Versa, Syte and J:Kenzo. After an equally praised 10' dubplate release ( Give Dem') in 2016, we now find ourselves in the silence before the thunderstorm, that is this very record. His upcoming release includes three tracks, two of which will feature on vinyl (A. Horus/ B. Cartel), while the third 'Northern Lights' will be a Bandcamp-exclusive.

Diving into the sound at hand, his arrangements are closely aligned and firmly true to the origins of Dubstep - conjugated with extreme clarity, as well as preposterous amounts of weight and gravitas. The impeccable execution of his minimalistic sound design will leave this release rumbling on soundsystems around the globe - and will most stay a fan's favourite draw from the record bag for a good while.


Perfectly displaying a refined sense of dynamics with 'Horus', Sub Basics effortlessly squeezes every available ounce of air out of the system, while preserving an immense sense of space. The highly infatuating groove of 'Cartel' is mingled with a sweltering foundation - tied together through his meticulous attention to detail. As etheral pads complement the gnarly drum reverberations and bird's cries recoil - the listener is left in a surreal world of the 'Northern Lights' - apprehended by the sonorous magnitude of the bassline. Completed by creamy atmospheres with tape-echo-esque characteristics, this whole release is sure to tick all your boxes from top to bottom - IFS005 has already received support from J:Kenzo & Foamplate among others, therefore the pre-order is strongly advised.

Vinyl Only

Dub and minimal sounds are interweaved in the second release of the TEVOL label. On the A-side you can find mystery and a beautiful dub story from artists based in Israel, the United States and Japan. The B-side brings you incredible energy based on unique dub-techno elements with a punchy kick and groovy bass line.

Sometimes in life you find yourselves at a point where you need to walk away and leave something behind if you ever want to go back to it. Other paths must be walked, other experiences learnt from to give you a fresh view of where you've come from. In that sense going back to the roots, rediscovering their past with fresh eyes, is the concept behind Richard Dorfmeister & Rupert Huber's new Tosca album, 'Going Going Going'.For over two decades and several albums Tosca has served as a vehicle for Richard and Rupert to express their personal moods and impressions, each release holding up a mirror to their inner lives. Now though after ten albums the journey has come full circle and once again they've returned to the kind of instrumental tracks, full of deep beats and dubbed out textures that made Tosca's name. The result is 'Going Going Going', an album that Tosca fans will immediately recognize and yet one that doesn't just trade on former glories. Hitting the ground running opening track 'Import Export' sounds like a Lee Scratch Perry version of a Ennio Morricone soundtrack, a motif reoccurs throughout the album, most notably on 'Dr Dings', their reinterpretation of America's classic 'Horse With No Name'.

East Wall was an Italian electronic dark wave band formed by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. In September 1984 they booked a recording time at Master Studio 33 in Cremona Italy. Working with produced Ray Masola, they recorded their debut single 'Eyes Of Glass', which was released on No Comment in early 1985. The equipment set up was a PPG Wave 2, Roland ProMars, Roland Juno 60, Simmons drum, and an upright piano. 'Eyes Of Glass' is an outstanding example of 1980s Italo disco full of dark, moody atmosphere and depth. Wilma Notari's coy vocals cast a spell on the listener as she weaves a story about lost love and 'bitter tears'. Included here are the original extended 12' mix and instrumental version with mid-song breakdown and dubbed out chorus.

Stirred up from deep within, from an abstract spiral of sound and movement, from a sensation of time and space absolving and converging at once, the Black Flower musicians have molded a tangible matter: the album Artifacts. Their second full album sounds international and ageless. Eastern influences, Ethiodub and jazz effortlessly merge. Fantasy and reality seem to fuse. In a word: nourishment for body and soul.

"Psyche-delicious and accessible 20th century Ethiodubjazz. As if John Zorn put on Fela Kuti's shoes and imbibed Mulatu Astatke's whirls."

Piloted by saxophonist /flutist /composer Nathan Daems (Ragini Trio, Dijf Sanders, Antwerp Gipsy-Ska Orkestra), this instrumental band aims for originality. Fellow musicians and 'brothers down the road' are Jon Birdsong (dEUS, Beck, Calexico) on cornet, Simon Segers (Absynthe Minded, De Beren Gieren, Stadt) at the drums, Filip Vandebril (Lady Linn, The Valerie Solanas, Antwerp Gipsy-Ska Orkestra) at the bass and Wouter Haest (Los Callejeros, Voodoo Boogie) playing keys.

For many of us, the Ethiopian aspect once made known to the world by Mulatu Astatke will stand out. Still, Black Flower further adds oriental scales, Afrobeat à la Fela Kuti, jazz in a John Zorn way and varied western music traditions such as rock and dub. The resulting melting pot is undoubtedly inspired by Nathan's distant travels and the multifariously colorful city of Brussels.

...Pretty legit if you ask me - LeFto, Studio Brussel

After their well-received debut album Abyssinia Afterlife (2014, W.E.R.F. / Zephyrus Records) that created an atmosphere of mythical figures and psychedelia, Black Flower now reflects on ancient and modern cultures. The album title Artifacts refers to centuries-old fragile objects or tools that empowered the development of human culture. The world today would look entirely different without those artifacts. The seemingly brittle suddenly becomes a powerful welding cornerstone. Add the musicians' personal musical backgrounds and the result is an album with an ageless mystique. Artifacts is the synthesis of different cultures, of the past and present, and personal and collective memories. It is the soundtrack to modern reality, based on the elements that connect us.

Brilliant - Gilles Peterson, BBC Radio 6

One of Belgium's Best Bands of these past years (...) Black Flower does not simply play a tune, they always groove! - Kurt Overbergh, Ancienne Belgique

Uncomplicated originality, plenty of space for fantasy and an organic tone: those are the ingredients for Black Flower to lay claim to an age-old human ritual: dancing! Still, Black Flower also stands out in various other settings. Their audience at a jazz club will have felt exalted, their audience at a late-night show will not have resisted dancing. The band wields influence over their surroundings in a way only heart-and-soul musicians can. This mastery has repeatedly taken them to United Kingdom, France, the Netherlands and Germany.

Yellow Vinyl

Elektro Guzzi combine club music and live performance to a unique, energetic mixture. They overcome the rigid boundary of analog versus digital, unifying the human being with his machines in an unprecedented way and surprising the listener with their innovative productions. Sónar, Roskilde, Melt!, C/O Pop or Mutek are just a few stations among others, where Elektro Guzzi fascinated with their dynamic live show, without the use of computers or loops.

With their new EP - Parade , the first release on German label Denovali, Elektro Guzzi broaden their trinity of drums, bass and e-guitar. With implementing trombones as extra oscillators, dissociating them from their conventional use, the trombones become part of the human-machine-universe and are used as an additional sound source in order to modulate and explore its variety live on the stage.

The four tracks emerged from commissioned work for the Artacts Festival for Jazz and Improvised Music. They move along familiar paths, but also show some new, unusual dimensions of Elektro Guzzi. Opener - Element starts gently, bringing the trombones slowly into appearance, culminating in that driving groove, which whips the melancholic sound of the track. Title track - Parade reveals the new source of inspiration of the Vienna-based trio. From Haitian Rara music, through New Orleans brass bands to Basic Channel dub, Elektro Guzzi create rhythms beyond four-to-floor, with that special, warm vibe, which remains in the ear of the listener.

Recording, mixing and sound design results from a collaboration with sound enthusiast Nik Hummer. The - Parade -EP hypnotizes the listener with its diversity of sounds, with floating and dubby rhythms, situated in a stunning sound aesthetic, in which the feeling of its live performance is conserved.

Gatupreto release their sophomore "Distino Di Nos Vida" on TINK! Music! The duo from Lisbon's hinterland return with a second round of their impeccable, futuristic theory on modern club music after the acclaimed "Modo Di Trabadja" EP, released in 2015. The tropical taste of Cabo Verde, the cool of that Lisbon dance floor fusionism, the appeal of classic vibes. Tracks too dark and twisted to be called "Afro", too sexy and melodic to be called "Techno", too smart and freaky to be called "House" and too cool and mature to be called "Kuduro", it is simply Gatupreto.
On the A side "I Became Me", deep afro dub with a killer sub bass and endless echoes, starring Portuguese soul and hip hop legend NBC as guest vocalist and a remix by afro Dutch master and fellow TINK! artist Philou Louzolo - who turns "I Became Me" into an irresistible deep house with african undertones.
On the flip side, the dark dramatic stomping tracks "Afrowerk" and "Gatu Di Noti", the first an eerie, irresistible peak time banger, and the later a stormer with sounds from natural Africa, harpy acid lines and an off kilter beat.

Despite a discography that stretches right back to the late noughties, little is known about Turkish producer Ali Kuru. Perhaps he's publicity shy, or simply wants to let his music do the talking; either way, the music he makes is magical, and undoubtedly worthy of wider acclaim. Kuru came to the attention of Leng late last year, releasing the Luna 12' his frst vinyl release for six years - in January 2016. That EP boasted two typically exotic and fragrant tracks, both of which effortlessly joined the dots between dub disco, hazy house, gentle downtempo movements and snaking, Middle Eastern instrumentation.
Here, the Istanbul native further explores his unique musical perspective, serving up a quartet of tracks that eschew easy categorization. Twittering birds, throbbing dub basslines, crisp hip-hop beats, trippy vocal samples, and distant chimes combine on the moody 'Mandari', while 'Causa' peppers a jangling, acoustic guitar-laden loop-groove with futtering futes, deep space electronics and rolling hand percussion.On the fip, his more exotic musical inspirations return to the fore. There's 'Zurna' - the musical equivalent of a panicked dash through a bustling late
night market full of drunken jazz drummers, metronomic groove merchants and snake-charming pungi players - and the low-slung stomp of 'Avaz'. Here, sampled vocal chants and Bollywood-inspired instrumentation wind their way around a rubbery bassline and handclap-heavy rhythm track. If
there was such a thing as Turkish-Hindi jazzdance - and maybe there should be - then this would be a guaranteed foorfller.
All four tracks offer further glimpses into Ali Kuru's fertile imagination. It's the perfect teaser for the Turkish producer's debut album, which will be released by Leng in early 2017.

! Monclova (David Alvarado) and Soma records artist Funk d'Void collaborate for the first time on this thumping dubbed out techno burner. The B side includes a never released track on vinyl format Tataa that captures the style David Alvarado is best known for!

Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.

Bratha is the name of the Berlin based collaboration of Matt Nowak aka No Mad Ronin and The Analogue Cops aka Lucretio and Marieu. Their releases on their own label Bratha, on Voitax and on Restoration have quickly sold out without any mainstream promotion. "Topless Dancers" is their debut E.P. on Matt Nowak´s imprint Zaijenroots. As usual, this vinyl only release recorded at the Restoration Headquarters and mastered at Dubplates & Mastering, combines refined samples and quotes with extremely solid, pumpin´ beats and fat basslines. The grooves move smoothly from the metronomic dance attitude with a romanian touch -topless dancers- of the title track, to the wobbling "Estate", undergoing to the suspended, melancholic fluctuations of "Space Boogie" and the slow discoidish "No Mad Ronins death". This pumping EP for sure fills every dancefloor with a deep and smooth vibe of real underground d

Blue Marbled Vinyl

For the second release of Sleepless Musik, we are extremely happy to welcome Tommy Vicari jnr and Alexandar Kyosev to the family with two outstanding remixes. Sleepless Musik presents Jerome.c, Dubfluss- Friendship Connection part 2! 500 Limited copies on this Multi coloured record, no repress, and of course, vinyl only.

After the phenomenal send100.1 'Check Check' feat. Konrad Cadet aka Baby Ford with remixes by Mihai Popoviciu and Dub Taylor, this is the long awaited vinyl follow up. The Sender 100 saga continues with another superb vinyl release by Benno Blome.

All three tracks from the Mind Control EP- vinyl 12inch will be available digitally in three different releases (send100.3 / send100.4 / send100.5), each track an individual catalogue-number.

Side A: Survivor Testimony (send100.5) Benno Blome & Joss With fast 45 Rpm on the vinyl, was produced by Benno Blome and Joss, his ukrainian friend from Kiev. They started producing the track in Joss's studio when Benno had a gig in Kiev, and finished it in Berlin. A special emotional mood with Juno 60 strings and a spoken testimony from a female CIA-mind control-project-survivor. Real deep shit!

7"
* One of the earliest recordings from Bush Chemists aka Dougle Wardrop & Chazbo which features vocals from King General on what was his first ever released recording dating from 1994
* Highly sought after by collectors. General's vocal cut previously only ever appeared on a Dubnology 12' back in the day. Also, the dub cut featured on the B-Side is a different mix from the version on the 12'.
* Another successful archive raid from Partial Records.

The name Tochno, Russian for "Precisely" speaks for itself, being a hardcore, pure and at the same time straight-to-the-heart Minimal Techno music producing firm.
Tochno is the product of a long gestation of its creators. Waiting for the right time to get on the stage, it will bring Minimal Techno to the levels they deserve with a no-BS attitude and hours of top quality beats.
Tochno won't bring you the latest and shiniest plastic puppets of the market. We have gathered real artists, throbbing with desire to divulgate their music and they will do so in a way you won't forget.
And it's not just the attitude, our music comes on vinyl only. You won't find any material for talentless time wasters here. Only analog music to be handled by expert and loving hands.

Early support from Mamiko Motto, Glenn Astro, Ame, Pathaan (BBC Worldwide), Jamie George (Rinse), B Traits, Charlie Tee (Kiss), Jodie Wisternoff, Damian Lazarus, Tensnake, Anushka, Detroit Swindle, Claptone, Dubfire, Iron Curtis, Breach, Auntie Flo, Matt Karmil, Edmondson.... and Jamie xx

Finnitus is back with its first 12" release! Spanning the entire A side, Superkind, consisting of Rulefinn and Kim Durbeck, delivers a driving Disco bass line, epic strings and screaming laughter, which The Glue dubbed as 'the weirdest thing we've heard in our entire lives'. On the flip, Rulefinn drops 'Just Try', a nine minute slow jam, slowly building to a climax worthy of finishing your perfect night at the club, and 'Let the OK music play', an intense Disco drum tool in his favourite bpm range(130s).

This is the first release of Steady Work By Dear Friends. Based in Heidelberg (Germany) they catered the city and its music lovers with good music for the last ten years. Dog Patrol is a young Mannheim (Germany) based producer and a long term and very good friend to the Steady Work By Dear Friends crew. Dog Patrol delivered for this release warm and shaking house. He twisted but not dubbed over his raw and lo-fi sounding style to three crawling but thriving tunes, which easily fit and hit every dancefloor.

RED-BLACK MARBLED VINYL

It is extremely difficult to detect an 'Extrasolar Moon' and this analog dub techno cut has been proved to be as close to the free-floating planet as possible. Its bassline-driven raw jacking acid techno is perfectly aligned with grad_u's signature heavily echoed dub, and the only thing that protects one from escaping the orbit is flipping to side B. There one'll find yet another 10+ minutes of goosebumps, this time erected by 'Geomagnetic Storm', a pure and emotionally vigorous dubbed out bomb.

The 12" from Redscale is an ultimate equity between the outer space of a dancefloor and the inner self of the mind. Last but by no means least is the fact it has been mastered at the legendary Dubplates & Mastering in Berlin.

Blood Debts' is the compulsive debut album from Years Of Denial, the alter-face of London-based French musician/producer and DJ, Jerome Tcherneyan.

Though his formulative Marseille youth was spent exploring the darkest corners of post-punk, New Wave, not to mention Public Enemy and the inspirational Mille Plateaux and Basic Channel labels, Tcherneyan, already an extremely capable drummer, quickly extended his sonic palate toward and beyond the bass-heavy electronic isolationism, insistent beats and drone experimentation that's still very much prevalent in his work today.
One should not either pass over his integral contribution to the much-lauded, though stolidly underground "ghost-rock" unit, Piano Magic, which engineered sublime collaborations with Brendan Perry (Dead Can Dance), Simon Raymonde (Cocteau Twins/This Mortal Coil) and Alan Sparhawk (Low). Tcherneyan, always prolific, can also lay claim to impressive collusions with Bonjo Iyabinghi Noah (African Head Charge), Damo Suzuki (Can), 70's psych folk legend, Mark Fry to name but a few.
In 2005, Jerome founded and promoted the infamous 'Flesh' parties; guests including Andy Stott /Claro Intelecto/Edit-Select/James Ruskin/Kirk Degiorgio/Mark Broom/Oliver Ho/Sigha/Steve Bicknell and many more. These nights served as an invaluable education in Techno and Dubmixology; marathon sets played deep into the sunrise.
Skip forward a decade and the DJ bug is even deeper embedded, with Tcherneyan sharing the booth with, amongst many others, Orphx/Phase Fatale/Joefarr and London Modular Alliance.

Tcherneyan's muse and foil on 'Blood Debts,' his first for Oliver Ho's splendid and already essential new Death & Leisure imprint, is Maya Petrovna, an entrancing London-based vocalist, film composer and performance/physical theatre artist, whose voice perfectly evokes Billie Holliday, Diamanda Galas and all stations between.
There's a black neon heart at the centre of 'Blood Debts,' a fetishtic ritual of contorted flesh and altered states; a feverish, infectious paradox of primitivism and modernity. Years of Denial is the ghost in the machine.

The DJ/production duo from Munich back with four tracks full of bass-heavy excursions into hybrid forms of club music close to Grime, Dancehall, Dub, Techno and the yet unnamed territory in between - their natural habitat. Lead single and first track of the EP is Copper And Lead, which features "London city warlord" Riko Dan of Roll Deep fame, spitting dangerous lyrics on a Bashment/Grimeriddim.Following this is Blurred Vision, low end monster named after their gigantic soundsystem event series, exploring the middle ground between Dub and the technoleaning 4x4 universe. Up next is Killer, a song with Warrior Queen from Jamaica, who prepares for a Dancehall dub war on a 808-heavy beat straight from Miami...err, Munich.Topping the EP off is Siren Riddim, an instrumental uptempo bomb for the apocalypse club gang and all the gunfinger crew. It's the first EP in a series of three, leading up to an Haul & Pull Up album in early 2017. With this, Schlachthofbronx will follow up their three previous original albums (2009s Schlachthofbronx, 2012s Dirty Dancing and 2014s Rave And Romance), completed by EPs for Labels like Mixpak, Monkeytown, Mad Decent, Disko B and Man Recordings as well as production work for artists like M.I.A., Snoop Dogg, Major Lazer or Bonde Do Role.

Dublin based disco imprint Fatty Fatty Phonographics return with the 4th instalment of their 'Downtownsounds Classics' series, this time throwing three stone-cold classics onto one 12, all given the re-edit treatment by in house producers Pablo and Shoey.
Voiced by Leroy Burgess, with drums by hip hop legend Marley Marl and production by The Aleem Brothers, 'Release Yourself' was a huge across-the-board anthem in the clubs of NYC on its release in 1984.
The lads have superglued elements of both the vocal and dub sides together for an epic end of night take on this beloved classic.The B side features two under appreciated classics from the pen of one Billy Nichols, a man known for his work with West End Records (the Levan mixed 'Give Your Body Up To The Music') and the funky band of brothers that was BT Express.
On 'Take Me...' Nichols' hooked up with disco master Patrick Adams for an emotional, string drenched disco belter that has found favour with the likes of Dimitri from Paris, Floating Points and Hunee.While 'Dance If Off' is a wonky proto Acid-Disco trip beloved of Rahaan and Eric Duncan of Rub 'n' Tug. With copies going for over 300 euros, you can do your bank account and your dancefloor a favour here...

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

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

White Vinyl

For the 9th installment in the PRRUKWHT series, Holland based ''Dubiosity'' makes his re-appearance on the Planet Rhythm imprint with the 4 tracks spanning ''Denying The Antecedent EP''. For the A1 ''Richter Scale'' the Dutch producer goes into very atmospheric territories with a pad based track that keeps on building whilst maintaining an overall mellow vibe. Title track ''Denying The Antecedent'' is a more dubbed out operation which cleverly uses non 4X4 drum patterns and crawling synth blops. This track is also based upon an utterly atmospheric pad sound. ''Juxtaposed'' is a more firm track that's somewhat tense but also with a smooth ambiance. ''Sunk Cost Fallecy'' serves as the more aggressive and paranoid closing down.

The terrific opening salvo of this thrilling prospect of a label, imprint of the eleven-strong, Bristol-based collective.

Intensely intimate, dread ruminations about racism, being and the UK — rooted in the dub poetry of LKJ and Mutubaruka — in tense, widescreen settings by Amos Childs, out of Jabu and O$VMV$M, and Sam Kidel, moonlighting from The Death Of Rave.

Hotly recommended.

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

Here comes R-Zone 05, this time coming from a pair of established producers who work both solo and as a duo (and one of them runs a prominent German label). The first track is 'Jungle Fever', a slowed down, dub-culture tinged track of sampled loon bird calls, tooting melodies and raw metallic drums that churn deep down below. It's the sort of track that needs to be played in summer, ideally with a reefer on the go. 'Down-E rave' again calls on druggy references for its inspiration - this time E'd-up dancefloors in the mid-nineties. It's a lazy beat with curious vocal stabs, prominent drum breaks and plenty of deft synth work that takes you up, up and away in style. The flip-side sees two versions of 'nRg Zone'. The Happy Mix is a rinsed out and tripped out track of streaming melodies, more old school and rough drums and plenty of bright, pixelated melodies stabs as well as softer background pads. The Moody Mix operates much more down in the darkened doldrums. It seems to have heavy heart and sultry mood as the percussion churns on beneath golden streaming pads and like everything on the R-Zone series, is stuffed with plenty of very real atmosphere.

Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Vibrant Forms II is widely considered to be one of the greatest achievements in the genre. As it turned out, Vibrant Forms II became one of the last records to be released on Mark Ernestus and Moritz von Oswald's classic label - a suitable swan song if there ever was one. And that's it, right

Well not quite.

If one would search for Fluxion - Vibrant Forms III, Discogs would come up empty and Google would treat it as a misspelling. Until now.
Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III as a CD as well as four individual 12" records under 2016. It contains everything you could hope for and more: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb and dub echoes. The warmth. Yes, above all else the warmth: Sometimes moist and dripping as in Safe Harbour, sometimes blisteringly dry as in Variant. It's no easy task, giving cold, dead machines warm breaths. And no-one quite does it like Fluxion.

The Reissue of Vibrant Forms II was an act of cultural preservation. It reminded us about the legacy of the Basic Channel label family, in which Chain Reaction played an important part. Without this legacy, the contemporary body of electronic music would look different and make very different sounds. With the Release of Vibrant Forms III, Subwax Bcn takes it one step further. Fluxion's Vibrant Forms III album remind us of the timelessness of truly great music, never mind the genre.

It's been five years since his acclaimed debut 'Severant' and time has proved it prescient, its futuristic trap influence is now ubiquitous. 'Slow Knife' seems to return to where 'Severant' left off, but with the intricate sound design of last year's haunting EP 'Assertion Of A Surrounding Presence' subsumed into the compositions, making them more exacting and beautifully crafted. Between albums Kuedo has been working as a sound designer and composer for hire and the application of intent and widescreen rigour that commercial work requires has definitely found its way into the new album. 'Slow Knife' has the subtlety, ambition and pacing of a brilliant soundtrack - a sense of an album of scenes, that easily lends itself to an impressionistic narrative. But, as with 'Severant', the title suggests relationship unease, with the slow knife being a metaphor for the building resentment in any close relationship. 'Slow Knife' is almost two albums, the first half, according to Kuedo, invokes the seduction of the city, taking the music of Michael Mann's 'Manhunter' as a cue, with the latter half being inspired by the bloody starscapes and voodoo wilderness of films such as 'Angel Heart', 'Night Of The Hunter' and more recently the 'True Detective' series. Both halves of the album are also in thrall to Mica Levi's inspiring 'Under The Skin' soundtrack, especially in the turbulence of the mid-section. The songs of the albums first half are synthetic and seductive, a gelatinous veil with shades of the pseudo-sophisticated trance of Enigma, of all things, underpinned with dusky unsettling shadows and atmosphere. 'In Your Sleep', perhaps surprisingly, features the vocals of Hayden Thorpe from Wild Beasts, who settles his dark, whispered vocals into the moonlit shadowy atmosphere. 'Floating Forest' is the first track to allow back some of Kuedo's experimentation with the Southern rap template, which he explored before it became commonplace, with echoed drum splashes and a sinister repetitive motif, ending with a haunting growl. The second half of the album enters wilderness territory with 'Approaching's slow descending notes, before 'Broken Fox - Black Hole' throws the record into the cathartic darkness, as undulating chords play hide and seek with riotous reeds and scratchy strings grown from challenging collaborations with cello player Koenraad Ecker (from Lumisokea). 'Breaking The Surface' shivers and coils, before metal and strings dominate while 'In Your Skin' feels like being lost in a vast hinterland before 'Warmer Light' introduces some memories of sunshine, with its plucked bassline and spiralling dub. 'Halogen Light' opens with the sound of crickets and a clear piano, cleansing the soul before 'Lathe' brings things down to earth with a short, yet powerful coda.

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

A veteran of the music industry, Dave Ellesmere is way past his hardcore drumming days. Harboring the accumulated skills with a multitude of instruments, his electronic productions are intricate and meticulous. His passion for Detroit and Chicago soundscapes is evident in his latest vinyl release for MixxRecords.

'Caught In A Moment' starts off the EP with a steady techno grip engulfing a serene melody interspersed with sharp and gritty accents.

The second track opens up with solemn piano progressions combined with high pitched synths, conjuring different spheres of the musical spectrum. Aptly entitled Universal Vibe', the track evokes a very diverse array of sounds layered on top of a dubby bassline.

The sub-bassy 'From Now On Only Good Things Will Happen' kicks off in a very introspective manner, developing into a dreamy yet dark journey filled with anxiety ridden chords and drum pads.

Label chief's Tony Rodriguez aka Brothers' Vibe is on duty for the 'Universal Vibe' remix. Percussion takes the main lead, giving the track a rolling pace. Stripping down a lot of the global elements but keeping some bell chords, Rodriguez's reinterpretation offers a tribal infused piece with a completely different mood that is just as contagious as the original.

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