House News

After the first release in 2008, "Let Them Come" is already a timeless classic tune in all the underground house music spots. Now it's time for an official vinyl release including new remixes by the french producers "Gokin", aka Greg Gauthier and Alex Finkin.

Vinyl will feature Individual, hand illustrated sleeves.
Distraction combines thundering bass elements from darker techno with deeper, emotive pads and flourishes to create a meditative yet driving late night groove. Best used to hush dance floor chatter in favour of getting heads down and putting a shift in.
Static and Choke also play with juxtapositions of light and dark elements, with Choke being the firmer of the two. Both offer sounds ideal for creating trippy and introspective dance floor moments, while not allowing those hard fought for energy levels to drop.

2020 Repress! Obscure chicago trax from the '80's, epic and melancholic, dark and manic at the same time!

Vier Jahre nach dem Release von "Midnite Ride", einem der stimmigsten Alben aus Brenk Sinatras Diskografie, können sich Fans und Musikgourmets nun auf den zweiten Teil dieses Instrumental-Klassikers freuen.


Brenks ausgefeilte Produktionen ließen sich nie so recht in bestimmte Schubladen stecken, und auch dieses Mal schlägt "Midnite Ride II" mit einer Vielfalt an Soundbildern gekonnt eine Brücke zwischen Boom-Bap und Trap, zwei oftmals als unvereinbar geltenden musikalischen Lagern.


Das Album spiegelt wie kein anderes zuvor Brenks aktuellen Mindstate in puncto Soundästhetik wider. Dennoch bildet "Midnite Ride II" eine nahtlose Anknüpfung an den ersten Teil und eröffnet gleichzeitig völlig neue Sphären aus dem Klanguniversum der Wiener Beat-Instanz.


Mit "Midnite Ride II" beweist Brenk eindrucksvoll, dass man seiner musikalischen Basis treu bleiben und dennoch den eigenen Sound organisch und zeitgemäß weiterentwickeln kann.



Kopfkino an - die Fortsetzung des mitternächtlichen Trips durch Brenk Sinatras einzigartiges Beatunviersum kann endlich weitergehen!

Gitkin's music exists somewhere between primal, rootsy memory and distant exotic yearning — A dusty bordertown where the familiar blends imperceptibly into the enchantingly foreign.

After a long and fruitful run as a bandleader with relentlessly touring party-rockers Pimps Of Joytime and a Grammy-nominated country blues collaboration with Cedric Burnside, multi-instrumentalist Brian J set out to "explore tonalities I'd never messed with," as he puts it. It was a release from "having to write lyrics or involve my voice," he notes, and so the (mostly) instrumental sound of Gitkin came into being.

Reviews of Gitkin's first LP grappled with descriptors, tagging it vaguely as "cinematic" and comparing it favorably with Khruangbin. True, the music is largely wordless, emotionally evocative, and guitar driven. But it possesses an alluring alchemy all its own.

Gitkin's first release, 2018's well-received Five Star Motel, amply demonstrated his ease with earthy funk and comfortably-cut rhythm. On his new full-length release Safe Passage, the itinerant guitar slinger broadens his already rich palette with melodies informed by Greek and Middle Eastern modalities, Peruvian Chicha and Tuareg Saharan guitar styles. No gimmick, this juxtaposition of gut-bucket blues and funk low-end with unexpectedly twisting lead phrases highlights the intense flavors found in each savory ingredient.

Recorded at his home studio in New Orleans, Safe Passage showcases a new batch of immediately engaging, repeatedly satisfying cuts, ranging from surf exotica ("Cat Nip") to raunchy roadhouse stompers ("Fools Gold" and "The Drive") to dreamy vocal cuts "Foot Steps" and "Hold On" to the floating finale of "Safe Passage."

Gitkin's production radiates character and warmth, leaning on soft-focus vintage mics, dubby spring reverbs and the quirks of a tape console. Further enhancing the intimate vibe are guests like veteran Chauncey Yearwood (congas) and New Orleans local "Spug" Smith, who provides a sousaphone low-end on the cumbia-not-cumbia "Spug Life." Carol C lends her striking voice to three tracks, including the strutting single "De La."

Safe Passage will be released by Wonderwheel on September 18th, 2020 and will be available on vinyl, CD and digitally.

Cape Cira is the lush, hypnotic debut album by acclaimed British producer K-LONE.

In contrast to his clubbier productions, Cape Cira sees the producer explore the full melodic and textural potentials of his sound, drawing influence from ambient, fourth world, and modern classical music to create a work more closely related to the outputs of SND, Jon Hassell, Burnt Friedman, or - more recently - Don’t DJ and Visible Cloaks.

The result of a short creative burst during a grim British winter, the record explores music as escapism, comprising a series of lush, warm vignettes that demonstrate music’s unique transportive power. Cape Cira takes place in a sensuous sonic world between the natural and digital realms: FM synthesisers mimic acoustic instruments, tuned percussion and bird song; and found sounds and field recordings are processed with a hyperreal sheen.

The gift for composition only hinted at in K-LONE’s work to date is on full display here. The artful and intuitive simplicity of the record’s melodies belies the complexity of their composition, where looping polyrhythms create shifting, unresolved patterns and ever-changing counterpoints.

Cape Cira marks the first full length release on Wisdom Teeth - the label he runs with friend and collaborator, Facta. The album stands as an exciting next step for both the producer and the label itself, furthering their reputation as key young voices in contemporary electronic music.

Part 2 of Red Rack’ems Disco Banger series brings 3 more killer cuts to the table. WYBES indeed.

Bruno Schmidt's Domesticated imprint returns with its third release, heralding the comeback of noughties minimal house hero Marc Ashken. Under his new alias SHKN, he's already presented a couple of EPs on London's Subsequent, in addition to releasing tracks recently as Thread and Lost Property (with Ben Micklewright). The track titles on 003 display what's possibly his original date of creation, we're just pleased they didn't just got stuck on his hard drive. Starting off with a curveball in the form of off-kilter electro funk jam "01_06_17" it is soon business as usual from this stalwart of the minimal scene: from the hypnotic and bass-driven afterhours groove of "9_9_2015" to the quirky and reductionist glitch funk of "10_10_16". Welcome back, Mr Ashken!

Second volume in the series following the first episode published over a year ago,Boogie Angst'sfresh new VA 'Boogie Beats Vol.2'gathers four hot talents from various backgrounds and latitudes to present and extrapolate their own definition of a funky groove.

First up on heavy floor duty, Brighton'sTiteknotsflies us to an all-out, slap-bass & piano-splattered vocal disco haven, chock-a-block with playful afternoon vibes and coastal feels. Having earnt himself accolades from some of the tightest players in the game, fromBonobo('Buzzard Walk'made it on his Fabric mix) toGilles Peterson, viaDimitri From ParisandNightmares On Wax,Titeknotsonce again proves the breadth of his talents when it comes to weaving well-oiled filtered house engineering with a touch of cheeky retro-disco glam.

Adeline, a multi-talented French-Caribbean artist and former lead singer of Brooklyn Nu-Disco bandEscort, follows on with'After Midnight', as revised for extended dancefloor use by chief trio,Kraak & Smaak. The result is a bass-heavy nu-disco/house roller taking us on a fun jaunt across widescreen seaside vistas and endless desert scapes. An invitation to cast off and dream your way into the world unreservedly,Adeline'ssong carries a message of love that resonates with an even deeper echo in these moments of uncertainty.

Pushing further in the direction of spirited post-balearic solace, UK-based DJ and producerGet To Know(previously heard onKitsuné, Sweat It Outand more) delivers a true masterclass in rhythmic prestidigitation with'Love Taught Me', exploring the widest sonic palette to shape up a finely acidulous, Afrobeat-infused, dream-funk number of the finest standard.

Hailing from the colder surroundings of the Volga River,Anton BogomolovaliasScruscrurounds off the package with a deliciously wonky, revved-up edit of an old gem,'S For Sexy', making the most of its brass-laden orchestration, rousing maracas and laser-blaster samples that sound as if dug up from an oldCerroneplatter and integrated within their new environment with fun-loving care and attention to detail. Blast awayand give in to the power of the 'Boogie Beats'second iteration.

From the magical mountains of Sydney Barney In The Tunnel (Barney Kato and Tunnel Signs) spew forth an EP of day to dark dancefloor moods over 4 luxurious tracks drawing from the friendship of the party, the synthesizer, the shroom, the drum machine and the science of fiction.

We are excited to release a 6-track EP from San Francisco based DJ, producer, and remixer Sepehr Alimagham. The San Jose native has been a fixture in the Bay Area house and techno scene for quite awhile now — on the dance-floor, behind the decks, in the studio, or all of the above. Early influences like Boards of Canada, Aphex Twin and post-hardcore bands later in high school started his affinity for off-kilter, underground music. In 2017 he began performing live PA sets, utilizing his immense production backlog to perform vivid and electric sets, from potent dance music to psychedelic and esoteric soundscapes.

"Body Mechanics" is six tracks of acid drenched dance music that ebb and flow from floor filling club thumpers to more cerebral soundscapes. Inspired by the new wave of the acid sound as well as nostalgia from his formative years in the San Francisco music scene, 'Body Mechanics' takes a functional, yet psychedelic approach to 303 styled techno and electronica. Attention demanding basslines, indiosyncratic structures and hallucinatory atmospheres provide an effective framework for Sepehr's vision. The themes of the track titles take root from a series of dreams Sepehr had with a common atmosphere of strange characters and textures, akin to scenes from David Lynch's 'Twin Peaks'. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket featuring a dark and inviting cyborg hand holding a rose designed by Nicole Ginelli.

Originally released via Terraform Records in 1995, ‘Systems E.P. 1’ was certainly too ahead of its time to meet with success back in the day. That said, as years went by, so swelled the reputation of this sextet of visionary, alien-engineered jams, soon turning the once $1 bin find into a highly sought-after item on the second-hand market. Much to the displeasure of hardline speculators but for the greatest joy of skint ’90s sound lovers, KOC reissues the Systems experience in full force and effect.

Harbouring a trio of submersible ambient-tech and 303-driven breaksy weapons, Red Shift’s own dedicated A-side has lost nothing of it's soul-fulfilling appeal. Getting the ball rolling, ‘3rd Moon’ skippers us to brightly hued sound niches, where trancey acid motifs merge with slo-moving ambient pads and uptempo breakbeat on a frenzy. Laced with a hint of bleepy abstraction, the more lascivious, piano-laden ‘Audity’ then shifts the scope to further introspective depths before ‘Himalayas’ takes us on a mind-expanding ride across imaginary snow-capped summits and lushly forested slopes.

Flip it over and here comes Ether and their mightily explosive ‘Detonator’ – a wild and woolly acid number that shall not go without conjuring up memories of the early Prodigy’s mid-nineties rave exploits. Not to be confused with that of his contemporary Australian counterpart, Escape Artist’s ‘Rain Eternal’ evokes the soulful RnB suavity of Sade’s classics, adorned with otherworldly organic warbles and addictive piano stabs. Constants of Nature vibey closer ‘Slow Symmetry Breaking’ rounds off the journey on a further distinctively atmospheric note, perfect to muster up the energy and drive to take it on the lam from our crazy world.

J.E.D Tape label and this mysterious unknown artist return with a four tracker EP with house, acid, electro and minimal sounds.

A balanced EP full of groove and superb production, essential for every DJ's record bag.

It's time to re-engage with your inner peace as Yovav follows his previous Correspondant cameo ('Andiamo' on 'Compilation 05' in case you're wondering) with this sublime exercise in horizontalism. Charmingly balmy, harmonic and hypnotic; this is the sound of Yovav bathing us in a gilded sonic sunset. Well... It's not called 'Caribbean Zen Mode' for nothing, Remix-wise we're in for a treat as Tuff City Kid Gerd Janson lays down a delicious hip-swaying Balearic version. Delicately layered with glistening guitars, chimes, harps and a rolling percussive groove that opens up into a broken swing while the steady kick matches the slinky, sultry bass notes, it comes complete with its own bonus drum groove for added deep mix creativity. Inner peace found, zen mode activated. Thank you Yovav.

He wasn’t sure anymore what had happened. Because whenever he tried to think about it, all he felt was extreme pain. So the best was to not think at all. Not feel at all. Not move at all. Not breathe at all.

Introducing Earth Plates vol 3 - the debut pressing of Budapest’s young talent CT Kidobó.

After a quiet year Jan Hendez is back with new textures for this 4th output on Lumbago's imprint. This release, built around different construction and moods, welcomes 3 originals and a clever equation of those joints by the infamous professor Le Loup. Welcome in the geeky cave!

A1 is composed of strong, deep basslines that melts with beautiful synths and twisted rhythms that will bring you directly to space.

A2 Jan Hendez achieve a really interesting mix of his influences with a track that we have difficulties to categorize, breakbeat oriented, also electro, but with his minimal touch. Ravy and deep.

B1 is the more housy oriented, a great tool for DJ's with a good drop of acid on the middle.

B2, Le Loup used elements of the three originals to mastermind a clever track between Minimal House, and Electro.

Cutie Qnete is back with four sublime works of house music
tinged with a drop of acid and a gentle touch of electro giving
you pieces of his mind, body and soul.

Norachi comes at you all slinky and smooth from the Victorian countryside with 4 tracks to rattle the bass bins of your deepest dancefloor. The optimist of the bunch; ‘Nurture’ reveals glimmering synths and tight percussion over a stout bassline, while the Reflective mix adds the tough yet melancholy attitude and robust mindset distinctive of Castlemaine streets in the year 2020. On the flip, Nature Bassline walks the line between beatdown and dub with hats lashing themselves over a bass melody reminiscent of classic Detroit works. The closer, Tool For Tim, is an exercise in after hours club moderation, settling itself into a dream loop you won’t wake up from. Sleeve art by Gavin Fennessy.

Three of the major pedestals in the Icelandic techno scene gave birth to a classic Thule release in 1997. This collaboration between Sanasol (Yagya & Thor) & Ozy gave result of an EP, which is considered by many to be one of the finest of the Icelandic techno of that era.
Seveneleven is a delicate blend of deep techno and minimalist house music. Enigmatic combination of lush pads, delicate percussions and dubby chords are destined to transport the listeners to an higher unknown state of euphoria. Fans of melodic dub techno will embrace this release as much as it was done 22 years ago - as good music never really grows old.
Thule Records is considered by many to be a pioneers in the field of dub-influenced techno music and was a starting point for many of Iceland's most renowned electronic musicians.

For our third release on The Secret Sun series, we compiled a second volume of previously unreleased material from the DATs archive of Ballet Mechanique. Produced between 1992 and 1999 and spanning thru different styles all the tracks have Ballet Mechanique’s distinctive and very unique sound: emotive, epic, ravey, funky, uplifting, romantic… some of our favourite adjectives to describe Jeroen Borrenbergs’ music.

At the end of the 90s, a movement began in West London that birthed a fresh direction in dance music. Though this movement never got mainstream press coverage, never had a crossover chart single, and never really transcended its community roots, there was a unique alchemy at work - a fertile moment of creativity, where a group of friends began to experiment with new cadences, rhythms and distilled influences, crafting a new direction in the attics and bedrooms of their neighbouring postcodes. Their music was a head-on collision between the sounds they had been raised on; the reggae sound system culture of Notting Hill Carnival, the sophistication and sheen of Electro-Funk, Jazz Fusion, Soulful House and Disco, the Afro-Beat sounds of Tony Allen and Fela Kuti, and the raw minimalism of early Hip Hop. Though "Broken Beat" was never a tagline that the producers anticipated, and one that they often publicly resisted, those two words would gradually come to represent the scattered rhythms, rolling basslines and soaring changes that were inherent to this exciting new sound. It's not clear who first coined the term "Broken Beat", but try to imagine how it felt to hear it for the first time; the production was grounded in MPCs and SP1200s, the hand-me-down samplers of the Hip-Hop and Jungle golden eras, and the drums that tumbled out of these machines at the hands of these creators had a jagged, stuttering feel, almost as though the groove was close to collapse.

Limited white label 12-inch from Amsterdam's Relmer International.
Dreamy '80s impregnated dancefloor tools. Spaced out and trippy synth gems...TIP!

Calum Gunn's debut LP on OOH-sounds "Paradox of Choice" OOH-022 looks down into our obsession with choice and the (in)capacity to handle a large amount of information.

By intervening on different strands of work—mostly small experiments that were filling up his hard disks in considerable amount—Berlin based computer musician Calum Gunn experiments here with what psychologist Barry Schwartz coined as the 'Paradox of Choice' effect: the dramatic explosion in choice and information have become so increasingly extended, biased and complex—from the mundane to the profound—to paradoxically turn into a problem rather then a solution, and lead to greater anxiety, indecision and dissatisfaction.

Instead of the "blank slate" problem, Gunn's challenging take is quite the opposite: how to fit a large amount of pieces together to form a cohesive whole and keep many different combinations of sounds and textures in focus, avoiding decision-making paralysis. Whether it's algoritmic destruction (LOCUS, TWELVES), synthesis techniques (ASSUMPTION, WALL OF FULL-STACKS) or awkward electro rhythms and future-dark-ambient-dub-ish sounds (INVARIANT, OFFSHOOT, SOLVED PROBLES XII) Gunn manages to glue his big-data-archive via a 'sympathetic filter'. He works on common elements and physical properties of sounds, coagulating and enhancing unnatural timbres, weird architectures and different genres into an enthusing organic whole by playing with sound processing, effects, and his signature coding steroids—techno-angel's share for the 'big picture'

The music of Maltese producer Rudi Agius aka Jupiter Jax has always felt as much defined by mood as movement, guided by the “specific melancholy” of specific melodies. His latest long-player skews even more cinematic, conjuring twilit gardens and crooked city streets, windswept and warped by memory: No Such Thing. Inspired by notions of escape and the unknown, and threaded with dexterous live instrumentation, the album treads vibrant hybrids of moonrise electronica, downtempo dream house, and Balearic breakbeat, brooding but breezy, a Mediterranean midnight of the mind.

Agius speaks of his songs in terms of intuition and inevitability, how and where they transport the listener. These twelve tracks slip between senses and spheres, interplanetary but placeless, noir glimpses of ghostly coastlines and re flective reveries. Flutes, trumpets, voices, and percussion contour his club designs with a tactile fluidity, jazz accents reflecting off rain- slicked marble harbors, the wakening dawn still worlds away.

Both noted for their powerful and inventive electro tunes (recently released on Return To Disorder or Nocta Numerica), L.F.T. and Raymond D. Barre are two of the most interesting producers of the moment. On that new split EP, the punk sensitivity from Hamburg meets the braindance influence of the parisian : here are five fucked-up acid bombs for all the 303 trainspotters !

Dexorcist, aka South London’s Si Brown, has been at the forefront of the UK electro scene since the late 90s – running the seminal Control Tower label with Radioactive Man and producing as part of a number of collaborative projects alongside his solo releases, including as Kronos Device with Bass Junkie.

His ‘Rage Signal’ EP, the first vinyl release on Ecstasy Garage Disco (following digital releases from LMajor and BufoBufo), journeys further back into his musical roots, combining his trademark industrial-strength aesthetic with elements of dub, bleep and hardcore.

‘Rage Signal’ starts the dance, blending rave whoops, slamming breaks, acerbic hoovers and vintage sci-fi samples for a track heavily championed by Local Group, the duo label boss Corporeal Face is part of. The searing bass, booming 808s and urgent bleeps of ‘Centurion’ then underline its gravelly vocal, which aptly attests to the roughness of the 21st century.

‘Don’t Come Cryin’ is another huge slice of thumping 140bpm rave-inspired breaks, Britcore vocals and urgent, winding melody adding chaotic force to the bass and stab lead. ‘Jah’s Comin’ closes out, a prophetic vocal, hefty sub, dubbed out horns and turntablist scratching heralding his arrival – while also signing off an EP that unites electro’s bass weight with the undying energy of rave’s early days.

Long awaited VAKUM009 is finally here. It's an inside project since the record is the first collaboration of VAKUM founders - Disrupted Project & Borut Cvajner under the D.P.B.C. name. Four diverse cuts ranging from ravey and distorted electro to 4/4 spaced out drivers and trippy soundscapes. As always, it's a very limited vinyl series powered by the mighty Analogcut Mastering from Berlin.

We are proud to welcome back San Francisco based DJ and producer Sepehr Alimagham for his debut album ‘Shaytoon’. Drenched in nostalgia from his upbringing, ‘Shaytoon’ pays homage to 1970s Iranian albums that were on rotation throughout his youth. Eight tracks of twisted acid, left-of center electro, sludgy psychedelia, and things-you-can-maybe-call-techno are a few of the sonic elements found within. Regular listeners will find Sepehr’s signature perspiratory dance-floor vibe, but some songs also showcase a low-slung, cerebral approach. Sepehr's unique sonic palette carves an interesting space in the dance music world by harnessing the spirit of his cultural ancestors. The artwork pays tribute to ‘70s Iranian pop and funk albums with bold Farsi calligraphy and portraits by Sahra Jajarmikhayat. In relation to the music, the album cover creates a dichotomy much like Throbbing Gristle's ’20 Funk Jazz Greats’. Berakhs (Dance).

Lunar Orbiter Program is ready for another launch.
At the helm of ‘Sensory Deprivation’ mission we find Torai, fresh from the International Space Station Program.
A must have for all the Drexciya Lover.

Repress

Here is ‘Vortex’....so when Michael Mayer listened to the demo, he tripped and banged his head on a cupboard. When he woke up he said...

“There's something about Rex The Dog that keeps my mind wandering back to the times when it all began for me. It was the early 80s, when young Michael first got exposed to the magic world of dance music. As much as these early sonic impressions (Stock, Aitken & Waterman, Italo Disco, Trevor Horn etc) still resonate in both Rex The Dog's and my current musical output, there's another aspect to those early days that sometimes tends to be forgotten. Do you remember the first time you saw coloured lights blinking, a blasting smoke machine and lasers cutting through the room? I was so fascinated by that first experience that I started spending all my spare time and pocket money on music and lights. My first self-made piece of disco equipment was a shoe box containing three speakers (ripped from old TVs and radios) and three LEDs that actually flashed to the beat of the sound. An achievement that made me proud as hell. Looking at Rex The Dog's self- made modular gear always opens a vortex of childhood memories.

Disco music and flashing lights... it just never gets old. “

Als Michael Mayer die Demoversion von „Vortex“ hörte, fiel er in einen tiefen Schlaf und sein Kopf auf den Tisch. Als er erwachte, sagte er:

„Es gibt etwas an Rex The Dog, das meinen Geist zurück in die Zeit versetzt, in der alles für mich begann. Es waren die frühen 80er Jahre, als ich zum ersten Mal der magischen Welt der Tanzmusik ausgesetzt wurde. So sehr diese frühen klanglichen Eindrücke (Stock, Aitken & Waterman, Italo Disco, Trevor Horn etc.) sowohl in Rex The Dogs als auch in meinem aktuellen musikalischen Output nachklingen, gibt es in diesen frühen Tagen noch einen weiteren Aspekt, der manchmal vergessen zu werden scheint. Erinnerst du dich an das erste Mal, als du farbige Lichter blinken sahst, eine sprühende Nebelmaschine und Laser, die den Raum durchschneiden? Ich war so fasziniert von dieser ersten Erfahrung, dass ich anfing, meine ganze Freizeit und mein Taschengeld für Musik und Licht auszugeben. Mein erstes selbstgebautes Disco-Equipment war ein Schuhkarton mit drei Lautsprechern (aus alten Fernsehern und Radios) und drei LEDs, die tatsächlich im Takt des Sounds blinkten. Darauf war ich sehr Stolz. Wenn man sich Rex The Dogs selbstgefertigte Modularsynthezier ansieht, dann öffnen sich Kindheitserinnerungen.


Discomusik und blinkende Lichter… das wird niemals alt sein.

Known for blurring the lines of conventional traveling with adventurous parties, the Berlin/Brazil-based collective O MATO opens a new chapter in their history. The first release of O MATO Recordings reflects on a broad spectrum of tastes, representing not only the crew’s diverse musical aspirations but also the many faces of the worldwide family circle that has been gathered carefully over the years. What begun in the Amazon rainforest as an experiment with ambiguous outcome now finds its way back pressed into vinyl: A piece of sonic nostalgia, from the jungle to your turntables and beyond.

O MATO Recordings 001 compiles nine unreleased tracks from contemporary fellow artists as well as two KPM library pieces and a 1996 beat by the Long Beach G-Funk crew Foesum. Special thanks to our friends from Childhood Intelligence for connecting the dots.

Two classic Detroit electro tracks from Sound Of Mind aka Erik Travis repressed from the original plates.

A retrospective of the Defective Records catalog, from 1994-1998. This release marks the reemergence of this acclaimed label from the "golden age" of techno, and which was the original home for several featured artists who went on to garner significant accolades (e.g. Mike Parker, Solar X, Glitch, DJ Who, etc…). All tracks, now long out of print, have been remastered by Schnittstelle, and beautifully released in double vinyl gatefold package.

One Records line up part two to celebrate 10 years. Label head Subb-an and Mathew Jonson collaborate on a deep cut with uplifting pads, tight drums and a classic Jonson baseline. Yamen & EDA drop in a 90s inspired dance floor groove layered with trippy spacey top-liners. On the B-side newcomers to the imprint Thoma Bulwer and Anna Wall serve up a hypnotic low end groove, thrashy claps and positive chords on the breaks letting the track breath to then drop back into solid groove. B2 welcomes back label regular Jack Wickham who delivers classic Wickham groove.

DJ Support
Ciel, DJ Moxie, Mihai Popoviciu, Severino Panzetta, FDF, Troy Gunner, Desert Sound Colony, Loco Dice, Gideon Block 9, Adam Pits, Archie Hamiton, Enzo Siraguza, East End Dub, Ben Rau, Cinthie, Kepler, Janaret, Lauren Lo Sung

Taking the baton from MW for the second volume of Casting Shadows we invite The Hague mainstay, Intergalactic Gary, to let us peep into his crate of secret gems.

A true music archaeologist and one of the leading lights of the Netherlands’ West Coast scene for over 30 years, his knowledge spans across genres and decades.

Opening proceedings on the A side, we go back to one of Andrea Benedetti’s acid classics – this time revisited at 33RPM, morphing it into a slow-burning dancefloor grinder.

On the B-side, Italo disco duo GAG get a re-airing of their lost classic Flyin’ Bolero. QUAD, the UK duo formed by Mark Carroll and Pete Diggens, closes the EP with a deep breakbeat excursion originally released on Kinetix.

New York producer Amo, an assiduous beatsmith and go-to force for some of the most eminent names in the game, expertly delivers a stirring four-tracker on Hector's VL Limited imprint. An off-shoot of VL Recordings, the sister label was launched as a platform for timeless releases with the avid vinyl collector in mind.

Flourishing within New York's underground house scene in the late 2000s, Amo's DJ sets earned him a reputation as a distinguished mixer before he hardened his production skills studying Recording Arts & Music Production. Later he'd establish a touring event series, GreenRoom Family, drop EPs on NG Trax, Dissonant Records, Brain On Couch and Underyourseat, whilst gaining support from Guti, Rossko, Randall M and Javier Carballo, amongst others.

"This EP has been a long time coming. I first got introduced to Amo's music via David and Chad over a year ago. We've been swapping tracks ever since. I was really impressed with his releases, thinking he could be the latest addition to the VL family. When Amo sent us more music I instantly picked these tracks for the label, I even played one out last year at our VL stage at Sunwaves. Amo fits perfectly with our musical ethos, and I'm excited to finally share this EP." - Hector

Leading the EP is 'Find Turn', a muted, oddball cut that lands with a woozy top line, propulsive drum loops, and a warbling, hypnotic vocal. 'Spitgame' slams with a bassline intensified by chunky drums. Label chief Hector and Vatos Locos sparring partner David Gtronic seize 'Find Turn' for a rerub, preserving the magnetic pull of the vocal while adding crisp, scattering percussive touches. Amo closes the EP with the spacey 'Whattosay', a moody track that's custom made for those head down moments.