Suche:k line

Petter B delivers an outstanding new EP on Drumcode proving that Swedish techno is thriving! The first track which, is a collaboration between Petter B, John H & M.E.E.O, uses an arpegiated synth before storming to the main section of the track and breaking down the doors.

The gliding synth sounds really fire with all guns blazing to produce a techno monster that growls. Petter B's next two tracks involve two solo offerings that are heavily techno based.

'Voltage Controlled Time' uses raw distorted drums and a catchy synth line to really give the track a lot of energy and power.

What do you do when you have a collection of Edits that have been working amazingly in your own sets and you're constantly being bugged by friends and fans about getting hold of them. Well, if you're Pets Recordings bosses Catz 'n Dogz you contact the original artists and agree an inclusion in a special new series of vinyl releases through the label... Welcome to PETS EDITS. 001 is the Catz 'n Dogz Edit of Blue Hawaii's 'Try To Be'. A track that has received an incredible response when played out and through their official soundcloud stream. Canadian duo Blue Hawaii have been releasing music since 2010 but it was their Untogether album from 2012 that really announced them on the world stage. Recorded throughout the Vancouver and Montreal Winter and Spring the album was said to reflect the vast world of self-awareness and delicacy. Try To Be instantly stood out for Catz 'n Dogz and became a firm ipod favourite on their global travels. A little tinkering and soon the guys had a version for their sets. The perfect blessing came from the band themselves who contacted the pair to let them know how much they liked it. Staying true to the original, Catz 'n Dogz underpin the Guitar line and beautifully melancholic vocals of Ra with a crisp understated 4/4 beat. On the flip and an exclusive vinyl only cut is the Catz 'n Dogz Edit of Shinedoe's 'Pure Groove'. Taking last years Bpitch Control original, the boys stripped it of its original synth breaks and sharpened it with a techier edge for their own sets. its been a fan favourite ever since and perfect track to kick off the Pets Edits series.

ZOV ZOV is a collaboration of Oliver Ho and Tommy Gillard - the culmination of almost 10 years of unreleased sound experiments. The two artists have worked on building up a vault of music that holds hours and hours of material.

This debut release signifies the first step of compiling this huge archive of material into reduced and distilled installments. Ruin Lust holds four sonic excursions, which further define the boundary-challenging aesthetic of Shifted's emerging sub-label Mira.

ZOV ZOV, a new word to describe something unknown, something ancient and deep inside that floods from the depths of the earth.

Took a bit of a break from demos and releases after extending the family with a cute little boy, but now we're back with some of the best deep techno and house lined up for you! But first, something completely different.
Michele Mininni hails from the south of Italy and counts everything from post- and krautrock over new wave, house and disco amongst his influences. He's been a DJ for years, but only recently released his debut EP on Optimo Trax in Glasgow. He immediately found himself on the playlists of Beats In Space and Rinse FM. We were literally blown away when he sent us his music and didn't hesitate to release it although it's not what you're used to hear from us. It's hard to describe 'Endless Ceremony'. Epic, but not as you know it. Cosmic, definitely.
For the remix we thought of Rocketnumbernine. Two brothers with releases on Soul Jazz, Four Tet's Text label and more recently an album on Smalltown Supersound. Currently touring with James Holden and Neneh Cherry. Their remix could be described as almost dreamy electronica/idm.
We think this is a really special release. The following people already agree: Gavin Russom, Âme, Ripperton, A Made Up Sound, James Holden, Optimo, Deadbeat... First pressing on coloured vinyl!

Third in the Fire Department series, this 12' vinyl compilation pulls together an awesome selection of smoking old skool disco funk - guaranteed party-starters every one. Kicks off with some serious squelching bass in the form of Roadway's up-tempo boogie monster 'Let's Go For It', a rare-as-hens'-teeth track released on the sought-after Chocolate Cholly's label back in 1982. Next up is General Caine's superb instrumental 'L.R.J. Pop', a relentless funk groover out of LA driven by the tightest percussion, pumping horns and some magnificent wigged-out bass and synths. Turn over for the 12' version of Clifton Dyson's brilliant bumping boogie cut 'Slow Your Body Down' followed last but not least by the über-rare 'Skate Party People' from Bobby Cash Redd, a heavy-as-hell funk jam with a fierce strident b-line, high-voltage synths and guitars originally released on tiny NYC label Duval. Red hot - don't miss!

"Teilstueck" (German for part or segment) is the next excerpt of Jacob Stoy's ongoing attempt to translate his surroundings into music. It's his second EP for Uncanny Valley and is even more multifaceted than his debut "Redenswart" from 2012. With "OMG" you'll get the feeling that something sublime will happen right from the beginning. It's one of those tracks whereby time stands still until a mighty synth-line unfolds in all its glory. "CFM" comes in the same musical vein with a similar and slightly melancholic bass-synth dominating the drumming. By far more cheerful is "MKM". Based on a catchy bass line foundation, Jacob Stoy showcases wonderful synth-effects and sound with the beautifully oscillated pad making the cut. This is House music for machine lovers. The flipside starts with "HIM" and probably the most floor-friendly track on the record. The slowly but steadily rising organ chords prepare things and when the carefully targeted percussion elements come in, it feels like summer will never end. In contrast, "QFL" lives from its mysterious atmosphere and is very good example for Jacob Stoy's preference to use Electronica-like sounds for his House Music. The record is rounded up with "HHM" and a little nod towards past times when he used to play in a Jazz band. With its Delay effects, a fuzzy guitar and a great bass melody it's not far away from Krautrock either. For the artwork Jacob Stoy teams up with fellow student Chris Dietzel.

Slight Delay aka Tiago makes a welcome addition to the Vibrations camp with this supreme e.p of leftfield house. 'West Sonic Vibe' is a deep eastern infused tropical gem with 'Party Over' taking on a harder edge on the same mystical journey. Oz producer of the moment Inkswel takes on the remix duties and rocks 'Party Over' into a slower funked up, bass line heavy trip via Sugarhill.

The outboard loving, super talented young Russian producer returns to Bokhari.

No short clip could ever do Triptych justice - it has three distinct parts which are woven together with immense skill. Not for those who buy tracks for 5 second loops!
A totally absorbing and evolving piece...

Another production masterclass on the flip as 'More' gently builds around atmospheric pads, crisp percussion and a creeping acid line.
Finally Dotylus wrap things up with a bold rework of Tryptich, marrying immersive synth washes to an insistent rhythm track and more than a nod to early 90's electronica

To celebrate the 10th release a download code is included containing five unreleased free tracks of Bokhari artists remixing each other - includes remixes from Gnork, Life Recorder, Semerka, Clarke Sawkill & Gitchell Moore.

Artwork reproduced with kind permission of Sue Wicker.

repress

The third output for the PRRUKBLK series is a special one. The Planet Rhythm team came up with an all-star line up consisting out of Rotterdam techno-stalwart 'Bas Mooy', LA based Modularz Head Honcho 'Developer', Berlin resident 'P.E.A.R.L.' and newcomer 'Von Grall'. Developer opens up the A side with a repetitive quest called 'Clench Of Fist'that lingers on and contains minimal yet powerful changes. Berlin Based P.E.A.R.L. delivers a somewhat harder effort with 'Ordeal III' Bas mooy opens up the B-side with the utterly rugged 'Thorfytt' newcomer Von Grall closes down the 12'' with the mystic 'Under A stone'

Great music extends father than your ears can hear. Listening to resent recordings of Peder Mannerfelts music is listening to recordings of a complete creative flow. Superb tracks created inside of Peder Mannerfelts Villa Nellcôte.
Opener "Rhythm Inflection" is similar to a heartbeat but rebuilt using a parade of machines and biting ice-cold sounds that implies a climax that never comes.
Repetitive thuds are the wrecking ball of "Technology As Apathy" while saw waves continuously crunch until your ear are obliterated on "Failed Grammar". "Titled" is the centerpiece, however. Its sonic gears grind into hollowed-out spheres. A voice from the heavens echoes "Reset, reduce, turn up, repeat" until the words lose all meaning and are battered into the metal walls by distilled rhythms.
EP2 is the last ashes of a manuscript that's been waiting for ages to be turned into dust. It is the final nail in the coffin of his past that began with EP1 and Lines Describing Circles. Peder Mannerfelts music is gradual and always on the move, the process spans over the whole production.

Earlier this year, Micha Acher and his band The Notwist returned with their latest full-length 'Close To The Glass' and received rave reviews around the globe. Yet, it's not the only album he's going to release this year, since Acher's about to introduce his latest musical entity - the Alien Ensemble. It's an all-acoustic line-up, devoid of electronic enhancements. And even though all members have a background in jazz, this is no classic 'jazz music' either - there's simply no need to show off technical skills... Since you'll hear anything from Minimal Music to Krautrock influences, from delicate brass sections to the sound of New Orleans, it's pretty much impossible to pigeonhole Alien Ensemble's sound or slap a genre term on it.

Drawing from an acute sense of what could perhaps be described as deep-minimalism-turned-into-a-quasi-equatorial-feast,
"Full of Holes" gradually unfolds and weaves its fabrics in ways that are evocative of the disparate sensations and heady
feelings one might run into in a proto-ritualistic setting, whilst XDB's recontextualisation routes a more linear
but no less absorbing excursion.'

During the '70s, work days at Umiliani's Sound Workshop Studios were hectic; thousands of sessions were held in order to keep up with a very busy Italian movie industry: Hundreds of soundtracks alongside with music library were recorded and released on vinyl in very limited quantities for TV and film production use only. Those LPs are now proper collectors' items, extremely hard to find.

Filled with hypnotic bass lines, heavy drums and screaming fuzz guitars "Underground", the first LP of the fictitious group known as Braen's Machine, is one of the rarest and the most expensive of them all, always "reaching" sky high prices throughout the second hand vinyl market. A fast-beat jam with hammond scales and a twin lead guitar theme ("Flying") opens the A Side soon followed by "Imphormal", a classicfunk-beat-meetsfender- rhodes-and-psychedelic-guitar number. The music then switch to "thriller territories" with "Murder" which is based on prepared piano swells and a deeply hypnotic walking bass, reminiscent of the best Morricone's soundtracks for Dario Argento's movies. Two highly percussive songs complete the A Side: "Gap" is an improvised song with guitar and keyboards dwelling over an infectious drum rhythm while a marching snare and a vibraslap effect are the special features on "Militar Police".

The mood relaxes slightly on the opening of the B Side with a lazy jazz groove on "New Experience" but the rock influences are soon brought back on the following track "Fall Out". "Obstinacy" is all about keyboards with syncopated rhodes themes and distorted hammond sustained notes whilst the fuzz guitar is back again screaming through the left channel on the last song of the album, "Description". We could happly say that that was the golden age of the Italian music library. But who's behind the name "Braen's Machine" On the original cover the songs are credited to the composers Braen and Gisteri. Braen was a pseudonym often used by Alessandro Alessandroni, an extremely skilled and versatile musician, and one of Umiliani's closestcollaborators. He could write, conduct and arrange, he could sing (ever heard "Mah Na Mah Na"), he could whistle (ever heard Morricone's "For a fistful of dollars") and he could play almost anything: guitar, bass tuba, accordion, sitar and the list grows..... His first album "Alessandro Alessandroni e il suo complesso" (Sermi, 1969), had transformed the Italian library music from orchestral sound beds into the psychedelia we all love; the extremely fuzzy guitars are very "present" on "Underground" too. For a long time Gisteri's real identity was rather mysterious; often wrongly attributed to Umiliani. Gisteri was the pseudonym of Oronzo De Filippi, art name of Rino De Filippi, music supervisor to the Italian public broadcast company (RAI) between the '60s and the '70s. De Filippi composed other notable pieces such as "Riflessi" (Edipan, 1975) and "Nel mondo del lavoro" (Sermi, 1972).

De Filippi passed away few years ago but we were able to contact Alessandroni to talk about this LP. Remembering "Underground" recording session as one of the thousands he took part of, Alessandroni told us that this record was produced very quickly, in two days maximum. This was made possible by a team of wonderfully capable session musicians and the creative genius behind the mixing desk; this incredible combination helped to focus on the mood of each track even more. Unfortunately there are no liner notes but Alessandroni's memories and speculations, based on other music tracked in the same period at Soundworkshop by resident engineer Claudio Batussi, led us to identify this as the most probable lineup: Munari on drums, Majorana on bass, Vannucchi on keyboards and Alessandroni himself on guitar. For this reissue the sound has been restored and the cover art reproduced exactly as it was.

Art Fine was the duo of Fabrice Bellini (electronics, vocals) and Rush Blakemann (guitar, synthesizer) from Tuin, Italy. They met in art school and became friends, inspired by New Wave, dance and electronic music. They recorded their only single 'Dark Silence' in November of 1984, which was released by Discomagic in 1985. It is now remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl is housed in the original jacket featuring a photo of the duo and that Art Fine logo in puzzle pieces. Each copy includes a double sided postcard insert with lyrics and liner notes by Fabrice Bellini

Pink marble vinyl / Sleeve artwork by ' The 'Warm'
Friendly Feeling Embodied in a Red-Pink One 1961 by Mcdermott & McGough.

ISNISNT offers it's second release of forward leaning electronics with a diverse group of modern techno from label head Jesse Siminski. Acting under his Heartthrob guise, Jesse initiates the release with 'Someone Called Again' a tough, but funky, bass driven tune that marries detailed production with his signature ominous melodies to great effect. Subtle modulating percussion work against harder, swung snare and synthetic drums workouts, as surprising analog synth bursts glue things together. Building smoothly into a headfirst groove, the track pressurizes and never loses it's drive as heady synth riffs keep things musical and emotionally interesting. In an even funkier tangent the two mixes of 'Cougar Juice' draw together an irresistible bass line with pushing breakbeats and precise synth stabs. These horn like synthesizer bursts mark surprising turns and recall similar moments in classic Hip-Hop jams or even tracks from Detroit's Anthony Shakir or Robert Hood- two of Jesse's production heroes. The 'Driving Past the Jail Mix' incorporates these synth stabs hypnotically within the melodic structure, while the 'Reduced Dub Mix' dials things back and focuses on the bass line, drums and dubbed out flourishes. With their funk driven momentum constantly moving forward, either mix will bring something unique to either a house or techno set. And finally 'Let Them Go' rounds out the group in a deep, yet still driving fashion. It splices sub bass pulses, a melancholic synth atmosphere, absurd bleeps and submerged voices amongst stripped down drums into a steadily building hybrid cut- not quite house and not really techno.

In the wake of Blocks & Escher's recent outings on Metalheadz, Critical, and Zomby's Cult Music, Narratives present the first solo
excursions on the label from one of its founders, Blocks. Varied, emotive and beautiful, the Séance EP is innately Narratives Music in sound and yet unlike anything the label has delivered previously. The Séance EP fleets between ethereal vocals, forlorn strings and analogue bursts of glassy synths, while drum machines dance with live kits that would be fitting of 90s Mowax records. Bass lines loom heavy throughout, simple and driving rhythms that bed the delicate keys and story telling harmonics above. As immersive as it is succinct, Blocks has created an extended player awash with feeling and juxtaposition; again displaying why Narratives Music has been lauded across electronic music from the likes of Goldie and
Com Truise to Zomby and Rob da Bank. Forming the veritable gem of the collection, is the vocal laden 'Haven', a collaborative piece between Blocks and the hugely talented Jennifer Hall. Live instrumentation of bowed strings and bass provide canvas for the heart wrenching tones of Hall. Doc Scott describes the track as 'Deep, deep blues'. More akin to a personal reflection of the artist than the frenetic speed of a club, more Twin Peaks meets Portishead than dance floor energy; this is music at a Drum & Bass tempo by a producer that doesn't want to be caught in a debate on style or subgenre. In essence it seems to emphasise a recent quote by Blocks, 'Drum and Bass is anything you can get away with'. Label support from Goldie, Kuedo, Doc Scott, Rockwell, Benji B, Paul Woolford, Zomby, Friction, ASC, Jubei, Teebee, Pedestrian,
Rob Da Bank, Midland, Kasra.

Phiorio's Animals release has been a labour of love. After co-running Metroline Limited for the past 6 years and after a series of digital releases and remixes for both Metroline and Retrometro (as well as Letroom Limited and MBF amongst others), Phiorio's vinyl debut on ML finally sees the light of day. The choice of remixers has also been laborious but over at Metroline HQ we are really happy that in the end we managed to secure two stunning reworks by the likes of the more and more in demand French producer Doubtingthomas (with releases on labels such as Hummingbird, Organic and of course, Metroline Limited) and the super-hot up and coming Russian producers Adjustment Bureau. The EP opening track Ninja Cat is a deep and quirky number. The groove is tight with heavy drums and crisp percussions. An acid b-line leads the way while atmospherics pop in and out until an off key synth appears and adds a level of spookiness to the proceedings. Doubtinthomas remix take things into even deeper territory. His landmark reduced drum programming is very noticeable here with shuffled up percussions, lush pads and a very heavy bass to guarantee maximum impact on the dancefloor. Superpupider is a no-nonsense straight up dark and dirty techno tool. It's all about the groove with this track, the drums lead the way with clever use of filtered hats and percussions. That said, Phiorio's ability with abstract sound is still in evidence with plenty of spooky voices, pads and noises firing off in all directions. Adjustment Bureau remix of Ninja Cat completes our tasty package. The Russian duo's (soon to release a stunning debut EP on Hypertone) approach is in line with modern trippy and experimental techno and has a distinctive 'Romanian' vibe. They used the original elements of the track and added extra percussive and vocal samples to create an epic, intricate and groovy paranoid funk number.

For it's eighth release Apartment delivers it's first long player, by mysterious producer, VernoN (Dixon Avenue Basement Jams / Night Gallery). Little is known of this artist - what we do know is that his formative years were spent in Belgium, immersing himself in the emerging New Beat and EBM sounds emanating from the country's dance clubs. For his release on Apartment he has created 6 tracks that reflect these early influences, whilst also taking in other techno, house and electro influences. Pounding drums, rasping hi-hats, rave stabs, twisting acid lines and grinding synths all come together under the unique tutelage of this most skilled of producers, all the while watched by the experts...

Key Fachwerk team member Sascha Rydell is back on his home label founded by Mike Dehnert with another EP of searing techno. 'Thought Disorder' is a cantering, bulky affair with clipped vocals trapped in the middle of meaty drum loops. It's a well-swung track that has plenty of height to it, while 'Haptic' appears to make sue of the same vocal phrases. This time it's subtler, buried deep in a minimal percussive line and dubby, swaying drums. With some cute finger clicks joining the fray, this one is perfect for early evening warm-ups where the opener is a peak time banger. Filling up the b-side is Moony's remix of 'Rings Of Smoke' - a track by Roberto that was released on Fachwerk's previous EP. This new remix is a jazzy bit of dubbed out house with whispered vocals, uneven but warm piano chords and rolling kick drums that all make for a seductive and propulsive listen

On the back of an exciting debut album in 2012 that saw him perform live at Sonar festival and later with his band at Vienna's Volkstheatre, before disseminating music on Permanent Vacation, Suol and Connaisseur Recordings, enigmatic Basque Country producer El_Txef_A returns with his sophomore longplayer 'We Walked Home Together'.
El_Txef_A (pronounced 'Elchefa') has crafted a work that just like its journey-conjuring title, charts a shifting palette of sounds and moods, exemplifying its creator Aitor Etxebarria's breadth of skill.
Produced entirely in Aitor's homeland of the mountainous Basque Country, the album showcases the talents of not just its creator who producers, sings and plays piano on the record, but also some of the Spanish region's most outstanding musicians.
Local artist Biskonti is one contributor, whose vocals coat a brooding bed of rough-cut drums on the ice-cold slice of electronica 'I'm Going to Paint You', while Hannot lends his pipes to the moving 'You Left Us In This Physical World' that sweep over a delicately crafted brew of guitars and keys. Both Basque vocalists featured on El_Txef_A's debut 'Slow Dancing in a Burning Room'. Sublime title track 'We Walked Home Together' turns into a family affair, with Aitor's brother Hibai playing the grand piano.
A graduate at 2013's Red Bull Music Academy in Madrid, El_Txef_A has an impressive array of sonic strings to his bow and the Detroit techno inspired 'Claim of Planet Earth' deliciously rubs shoulders with the album's single, the alternative slice of pop 'The Love We Lost' featuring DFA's Woofly.
Elsewhere, Aitor paints a dream-like soundscape with the sublime shoegaze-inspired trip '0730' that seamlessly bleeds into 'Every Day Is Blue Monday', with its atmosphere-heavy swirl of subtle acid lines, floating synths and evocative vocals delivered by Suol records contributor Meggy.
An artist whose music is inextricably connected with his homeland, the album concludes with the stirring 'Mugarrirantz' sung in the native tongue of Euskera by country folk band Napora Iria. It's proof that El_Txef_A is equally adept at doffing his cap to tradition as moving a dancefloor with his inspired brand of electronica.

Inspiriert von der Musik der Pianisten Comlon Nancarrow und Gyorgy Ligeti präsentiert Squarepusher fünf neue Kompositionen, eingespielt von den drei Robotern Z-Machines. Die drei Roboter, darunter ein Gitarrist mit 78 Fingern und ein Drummer mit 22 Armen, sind eine Entwicklung junger japanischer Roboteringenieure unter der musikalischen Leitung von Kenjiro Matsuo. Die CD ist ein Japan-Import im Klappcover mit Obi-Einleger und japanischen Liner Notes.

"To make music using instrument-playing robots fascinates me. People have often assumed that for music to be emotionally powerful it has to come directly from a human hand, whereas i disagree with that, and enjoy proving these people wrong. This project is an excellent way of exploring that area more." - Squarepusher

'You become responsible, forever, for what you've tamed", Antoine de Saint-Exupéry writes in his modern fairy tale 'The Little Prince', in which his protagonist travels through various worlds in search of friendship and benevolence. The quote is, no doubt, fitting for Niko Schwind, since the Berlin-based DJ and producer consistently demonstrates a deeply anchored love for and close bond to house music, the art form he himself has tamed. As a DJ, he travels the globe, having played in Europe, Australia, Thailand, Brazil, the US and Mexico, and in his sets he creates a feeling of connectedness between himself and others, as well as within the crowd. On Stil vor Talent, Niko Schwind now presents the fruit of his labour in the from of his third album: 'Grippin' World' captivates the listeners with its versatility and coherence, and kidnaps them to a world of sound, made up of elegantly reduced grooves, organic arrangements and accessible vocal-melodies. With 'Perfect Fit', the first single of the album, we are handed an absolute highlight, as Heartbeat's warm voice and a simple guitar-loop form a flawless musical symbiosis, accentuated by a synthetically creaking bass-line. Niko thus proofs he's more than capable of practicing restrained Minimalism with a pop-impact. 'Perfect Fit' then gets the floor treatment: while Niko turns in a reduced, tool-oriented club cut, the hitherto unknown Proud bursts onto the scene with a dreamy arrangement centred around atmospheric synths on his remix. Grippin'!

KRAKE is an annual Berlin based festival for challenging electronic music. Krake means - octo- pus' and the festival is organised in a comparable way: reaching out to selected locations during one week presenting the best in electronic music whatever style it is. The festival is not huge, not expensive, does not have big sponsoring deals or four different colour are passes. It's just a good and so far successful try to bring back the focus on artists who dare to step off the beaten tracks.
KRAKE 002 contains mostly exclusive tracks of artists who played at the Krake festival in 2013. The A-side starts with a dark ambient drone by DÄMMERN, followed by a pop-fueled two-step hit by PHON.O. Next in line is Irishman EOMAC with a warm and deep IDM track already char- ted by none less than Thom Yorke of Radiohead, followed by - Resolution', a little melancholic stepper by BILL YOUNGMAN.
The B-side is being opened with a techno track by grandmaster MONOLAKE in his most typical dubby percussive style. For the next track FRANK BRETSCHNEIDER reduces the sounds to the max again to deliver a percussive track as minimalistic as can be. Legendary techno producer CRISTIAN VOGEL, known for his constant search for new values, closes the compilation with an avantgarde piece of noise and drones.
Outstanding, we'd say!

Lopasura again delves into picturesque soundscapes drenched in emotion and melancholy, illustrating a typically dystopian setting for its latest offering. The A-sides opening track by Mark Forshaw is lean and mechanical in its make-up with an off-kilter combination of thick, stuttering bass stabs and percussion; creating a rather menacing undertone.
As a stark contrast, 'In the Smoke' by The Acid Mercenaries is a nine-minute tracky, steam train of clean and crisp scuttling hi-hats and razor-sharp percussion that dance around the relentless 303 acid line and beautifully soft 808 kick to devastating effect. On the flip side, a thunderous bass drum and freakish electronics stalk the discordant and arpeggiated synth that opens 'Hierarchy of Heritage', evolving it into some kind of hellish themed marching tune for the underworld. Frey then rounds off the EP with a typically rugged yet deliciously intricate piece with Gdn, effortlessly maintaining an intelligent groove throughout.
'Connect Four' is a rather fitting title for this EP, given the undeniable chemistry between all the tracks in how a story is told and tension is created; as Frey has done with the two previous Lopasura releases. The introduction of three debut artists on this release has paid off however, nestling comfortably into the label's aesthetic without compromising on the quality.

Cute Heels is the solo project of Bogota´ born, experimental producer Victor Lenis. Since the early 2000's Lenis has been working on a myriad of electronic projects, including the management of the labels Black Leather Records and Romance Moderne, in his current home of Brussels. Drawing on the influences of the radical punk scene that surrounded him growing up in Columbia while nurturing his passion for synthesizers and drum machines, Lenis developed the broody, gloomy brand of electro-techno that is Cute Heels. Deemed by Juan Atkins as ''the new blood and spirit for the next step in techno music'' Cute Heels has released various digital only releases over the years, as well as his first vinyl release, an EP on Gooiland Elektro. His debut album Spiritual, rides the line between cold electro-techno and left field electronic body music. Inspired by equal parts Liaisons Dangereuses and Drexciya, Spiritual takes the listener on a journey over 8 tracks and 40 minutes of music. Listening to "Spiritual" you can see why. The songs on this full length reveal a sublime influence from Detroit techno, early Chicago house and new wave; advanced electronics for the dance floor, pumping and sophisticated. The album was recorded and mixed by Victor at Sensorium Studio in Zagreb, Croatia in November 2013. Each song has been mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a custom-made jacket by our in-house designer Eloise Leigh and incorporates the geometry of analog synthesizers and celestial rose patterns. 

Following the release of virtuoso new singles Mr. Cover Up and No-Operative across January and February, seminal DnB duo State Of Mind are to present their fourth album, Eat The Rich, on March 31st. To be released by Black Sun Empire s Blackout imprint, the album celebrates some of the best work of their career to date, underlining their remarkable pedigree and with it, their ability to fuse darker, hard-edged sounds with genuine dance floor mcredibility. Famed for their rugged basslines, steely percussion and huge, driving synth lines, State Of Mind also showcase different sides to their craftsmanship on Eat The Rich, with a number of vocal features taking centre stage. As well as NZ
rapper PercIEve s appearance on the storming, tear-out anthem Mr. Cover Up, the duo also join forces with promising songstress Sacha Vee on the wonderfully eerie Black Raven; although still bullish in style, it highlights a softer, more thoughtful side to State Of Mind. Heavyweight second single No-Operative is also an album highlight, as are further future dance floor anthems like Where You At and Put It On, as well as two unique collaborations with fellow revered DnB figureheads Black Sun Empire. To compliment the rich diversity of sound on offer, the idiosyncratic, breaks-driven heat of Fast Life and the outer-worldly, synth-laden intro on U Control Me complete what is a stunning, career-defining album.
With a European tour in support of the album set to commence in March, ahead of further headline dates in Australia and New Zealand throughout April, Eat The Rich is set to cast State Of Mind into the spotlight like never before.

Es sind weder Goethe noch Grass, die vergilbt von der brennenden Sonne auf dem Armaturenbrett nach Aufmerksamkeit dürsten. Was hätten die auch in den Bildern zu suchen, die Bela B mit Smokestack Lightnin' und Peta Devlin, Gitarrist Walter Broes und Lynda Kay in weiteren Hauptrollen, aus Klischeefallen befreien. Aber aufgepasst, Rebellen, die Ihr Euch zum Twist und Line Dance vor "Bye" versammelt habt! Sehnt Ihr Euch in Eurem selbstverliebten Antagonismus nicht nach moralischer Stütze "Bye" verteilt keine Gebote, aber wenn man unbedingt einen Ratschlag sucht, könnte man die Anleitung zum Idealismus finden - auch im Musikalischen.

Cadenza head honcho, Luciano, often collaborates with many other artists, his constant touring schedule blessing him the opportunity to write and produce music with a multitude of like minded producers, and on 'Into The Aether", we get the first part of a two part series of tracks composed with various other Cadenza personnel. 'Arizona Green Song' sees Luciano and Marlowe (AKA Digitaline) get together for a vibrant and busy freak out. A plethora of rattling and sharp percussion cuts through a simple melody line and low slung groove. Building over ten tantric minutes, dubby inflections and hidden voices are woven into the detailed arrangement to great effect. A collaboration with Dani Casarano results in 'Bell's & Tonic", a slower paced vibe here, but with plenty of funk, from it's bending bass line and hand claps to the deft organ touches and shuffling shakers. A world within is created here, again distant voices, rattling cow bells and (yes) livestock and other field recordings are layered here to create a unique ambience. Uncompromising and original music then, from Cadenza's boss and friends. Expect a 'Part Two' to be released in the coming months....

Freestyle Records is immensely proud to announce the release of this new single from new signing Kalbata & Mixmonster - Prisoner In Love, which is taken from the forthcoming stunning album Congo Beat The Drum.


Kalbata & Mixmonster went into their home studio ago in Tel Aviv, Israel with the purpose of recording a 100% analogue dub album in the spirit of the late King Tubby and the early dancehall era of the late 70's and early 80's. A 16-track tape machine and an old analogue mixing desk were their main instruments, with musicians playing live all throughout the album.


A year after recording the instrumental backing tracks, they travelled to Kingston, Jamaica and started tracking down their favourite singers and deejays from days gone by. The stunning and totally authentic results evoke the heyday of Jamaican music - and on 'Prisoner In Love' legendary vocalist Little John, regarded by some as the first dancehall vocalist, hits just the right feel on this mellow, down tempo number. His voice floats alongside the ethereal piano and on the money drum patterns and deep bass lines perfectly.


On the flip - special guest Kutiman drives the CRB organ on this instrumental version excursion of Prisoner In Love - proper old school JA style!

The second EP from Jack Dice sees a huge leap in ambition for the project, a 5 track session that's more addictive, direct and heady than its predecessor.
'Sip Paint' centres around 'Stash's Theme' featuring rapper and producer Stash Marina, a track that deploys crisp triplets and saturated production straddling mainstream signatures on the one hand and a world of analogue/deviant recording techniques on the other. It's an odd, hyper-addictive track - available here in both vocal and instrumental versions.
'Low Glo', 'Kerosene' and 'Radium Dial' are more subdued and immersive; you could draw lines straight through the material here to a number of different projects Twells has been involved with through the last decade, though he seems to benefit immeasurably from Chambliss' presence. The pair find a perfect balance between their respective disciplines, resulting in an EP that at different points throws stylistic references to everything from Prince's Black Album to The Art of Noise, Drake, Philip Jeck and Evian Christ's DUGA 3 sessions - without ever sounding overworked or too knowing, a feat in itself.

Alexander Kowalski is someone you should know. Not only is he a resident artist at our club, but with uncountable EPs and several albums on Heiko Laux' label Kanzleramt and others, he has contributed more to electronic music than many others. To have a separate platform for the darker and harder productions of his, he created the alias D_FUNC. a while ago. When he approached us with the tracks that are now on the record in hand, we immediately fell in love with the Mills-like energy of them. Perfect drum programming, driving synth lines two perfect tools for any proper techno set. The Dirt Mix of Revalism which is included in the digital release package puts the original in a more modern jacket with its stompy beat - another proof of how well Alexander knows what the djs need to please their crowd.
Let the dancefloors burn!

An uber cheeky and rather fat 45 that combines two of everyone's favourite soul shufflers and expertly lays them down onto one massive piece of wax.

Any Soul and Hip Hop aficionado's worth their salt will instantly identify both elements to this...

Eddie Kendrick's 'Girl You Need a Change of Mind' (One of the greatest records of all time) and Q-Tips 'Vivrant Thing'.

Redmo starts things off with the infectious piano line from Eddie Kendrick's classic and proceeds to tease all before him chopping up both elements to produce a seriously tasteful Mash up of the highest order.

On the flip we have the dub version and with both sides mastered down with some serious love and affection this will be a sure fire hit on them there dance-floors in 2014.

A1 - Aldo Cadiz & Oscar Barila - Sofia Nights : I get long awaited moment , the debut of two international artists working together , Aldo Cadiz & Oscar Barila , as family members Original label , and of course, do it with three large Vilino courteous.The track that gives name to the album , and the A1 side of it is this , Sofia nights , bordering on the line we have this great deep house track , consisting of a solid base , tribal , percussive , very grooving and envelope accompanied by deep house melodies and vocals that bring to mind the fashioned Chicago House ., Track dancefloor and very danceable, with a remarkable elegance to highlight ., , B1 - Aldo Cadiz & Oscar Barila - Flex Pen: This such a distinguished track encompasses sounds like we had never before seen , is based on a broken and very atmospheric percussion , combined to perfection by this pair of great artists and old school Syntes voices blend very harmoniously . Topic has a great evolution without losing the line a...

After her much lauded debut 'Playin' Me' last year, Cooly G returns with an EP that switches from songwriting mode to create extended, spaced out and rhythmic house tracks built for the dancefloor. 'Hold Me' starts with minor note stabs and Cooly's vocal refrain 'Hold me' over a punchy bassline. The rhythm slowly builds as the vocal becomes more dubbed out and the atmosphere more smokey. 'Oi Dirty', made with DVA, is a piece of wonky, rhythmically lopsided house with a cavernous elasticized bassline and lots of micro detail destabilising the track then bringing it back, pitching drums and mini breakdowns. 'Molly' is a slow burning 4/4 house track built around a static grid that gradually builds up, getting stiffer and more intense, with wobbly acid-like synth lines and hissing static stabs, underpinned by a one note bass kick. It's a masterclass in creating tension with sleight of hand production moves.

We are pleased to welcome American producer Developer into our pack. Mr. Developer brings to Warm Up his beats and sequences all the way from the West Coast, with two original tracks plus a bunch of extra remixes available on the digital edition. On the list of remakes, none other than Argentinean top producer Pfirter and the label owner himself, Oscar Mulero, both in charge of providing all the funk.

The tangible plastic release starts with '
'Cuerpo', a frenzied number based on continuous synth lines, fast cabasa-driven rhythm patterns, obscure vocals and floaty strings. Spacey and grey, all at the same time.

On track two, Oscar Mulero keeps the fundamental elements, filtering them up and down and adding extra tension to create a perfect mixing tool to complement the original.

Side B opens with 'Western Ways'. Toms appear on the beat, along with FM sequences, and lush stabs that turn aggressive as the minutes go by. A floor stomper.

Pfirter fattens the kick, sharpens the hi hats, and provides some bleepy action and reverb-fuelled ambiances, giving the original a personal twist. Peaktime techno.

As a complement to the plastic version, the digital release boasts two additional revisions of 'Western Ways' by Oscar Mulero. One where he carries out the same routine as we found on 'Cuerpo', preserving most of the original elements, filtering and creating a dense atmosphere, and another with slower tempos, a liquid overall feeling and a more smokey and dubby approach.

Darshan Jesrani's new project Funn City continues to break open the notion of modern vs. retro and challenges the listener to categorize what is found inside. Extending the experiment in modern disco without re-treading already explored ground, Funn City offers a playful and rebellious approach to the recombination of old and new. Funn City sticks lightly to the fusion of live and electronic instruments, and heavily to its varied influences from rock and r&b to house and techno, yet casts them in a delirious, neon-lit sheen. 'All-Night People,' the project's first offering, is a relentlessly-upbeat, vivid, saturated trip of a maxi-single inspired by that liminal area of late-70s dance music which existed between shitty, bluesy rock, new wave and disco. Otherworldly, gurgling synths surf atop truncated, slashing guitar and thick, pattering congas. Taut synth sequences spar with sinewy lead lines and trashy vocals, bound together by a precise, modern sensibility, enticing you to waste your time inside a glorious, pinball machine dream. The dub on Side B works most of the same features but empties out the arrangement and infuses the mix with a bubbling, techno-inspired sequence and phaser-licked synth to create a new, more streamlined groove for the track-oriented dancefloor and style of play. Startree is proud to present this first release as a mission-statement in musical form and an indicator of things to come.

With France's long-fallow club scene back in international resurgence as Paris storms back into fighting form, Europe now has found a new source for yet-unheard music. It was a long time brewing, but names like Concrete, Katapult, Zadig, and Society of Silence, have begun to appear in the international clubbing circuit, and the growth is not limited to the capital. Further south in Lyon, a city quickly gaining its own renown for busy club parties booking bigger names, there exists a smaller circle of energetic operators whose name is also spreading rapidly and whose recent accomplishments include Nuites Sonores, Boilerroom and more. Spearheaded by Kosme, a DJ and producer of quickly increasing notice, the provincial powerhouse has already turned heads throughout France as Kosmo's Caramelo Records was snapped up by legendary Parisian distributor Syncrophone; he has a new label set to launch in 2014. It is with this background in mind that THEMA proudly offers Kosme's international debut, the 'April Moon' EP.

Kosme comes to the table with six tracks of low-slung Detroit-referencing house music laced with extra grit. 'Fondamental' rides shuffling hats and a building acid line to dramatic heights. 'Ever Shake My Mind' is slower and dirtier yet, with crushed hats and a bottom-lurking bass between Theo Parrish-esque drum-machine-down-the-stairs breakdowns. After an interlude, 'Mothafunka' resumes the beatdown with a talkover house track that escalates uncontrollably in intensity as drums shuffle before breaking down in congos & pads. 'Deep Function' dials down to sexier sounds with sultry vocal samples and sampled hiss, but it doesn't lose the drum kink. Finally the digital bonus 'A Thought for Yvonne' is the most subdued and skeletal of all with echoed drums and a lonely bassline tumbling over each other in slow motion.

Following the explosion of new sounds from the capital, it is no surprise to find the movement spreading, and THEMA arrives first with the freshest France has to offer.

Nach der Veröffentlichung des neuen Albums "Tomorrow's Harvest", das von einer aufsehenerregenden Internetmarketingstrategie begleitet wurde und Boards Of Canada weltweit erstmals in die Charts katapultierte, erscheint nun - aufgrund starker Nachfrage - eine Reissue-Reihe mit all ihren bisherigen Vinylformaten. Jedes neue Vinyl enthält diesmal zusätzlich einen Downloadcode sowie einen BOC-Sticker aus der jeweiligen Zeitphase. Zuerst erscheinen die Alben "Music Has The Right To Children" (1998), "Geogaddi" (2002) und "The Campfire Headphase" (2006), im zweiten Schritt das Minialbum "Twoism" (1995) sowie die beiden EPs "In A Beautiful Place Out In The Country" (2000) und "Trans Canada Highway" (2006).

After a superlative EP from Chicago's DJ Rahaan, Dublin's Fatty Fatty Phonographics is back with another installment of Pablo and Shoey's 'Rejigs', which have had support from the likes of Hot Toddy, Bicep, Get Down Edits, Leftside Wobble, House of Disco and Rub'N'Tug.

'No Good (Start The Jack) sees them take on Kelly Charles' 'You're No Good', a late 80's New Jersey house bomb and source of the infamous vocal hook from The Prodigy's 'No Good (Start The Dance). After one of the great 80's dance music clichés - an intro where some sassy mama gives her boyfriend shit down an old school telephone line - they go straight for the jugular with that big big hook, spinning the whole thing out for 10 minutes with lots of hypnotic piano loops and large chunks of the great song at the heart of it all. This is one that the crowd will be immediately singing right back at ya at 2am!

'Gonna Get Ya', meanwhile, goes for some Greg Wilson 'Edit The Edit' style shenanigans, taking on Barna Soundmachine's sly, slinky funk loops. The Barna man's original had a whole heap of Diana Ross' vocals from 'I'm Gonna Make You Love Me' at the centre but never let rip with the big hands in the air chorus. The lads have rearranged it here so it's alot less teasin' and alot more ease-in!

The 3rd track is as important to Pablo and Shoey as it is to Moodymann, so 'Funky Rump (Tribute To MCA)' pays tribute to the sadly deceased Beastie Boy by looping up some busy jazz drums from 'Paul's Boutique' and splicing it with a very fitting in concert tribute from the one and only Flava Flav of Public Enemy. The full track, when it eventually arrives, is a relentless clav funk monster that just keeps going and going....