House News

Berlin-based French selector Shonky adds a new dimension to his music career with the launch of his brand new label, Stoned Pilot. Inspired by his love of collaboration, the platform will focus exclusively on collaborative projects with each new release. At his studio in Berlin Shonky has assembled a mouthwatering array of equipment; vintage synths, drum machines and sequencers. The set up allows him to cultivate a highly creative atmosphere - a playground for those who visit - and the resulting productions exude the kind of energy that you typically find during liberating jam sessions. Shonky cites the studio, and its many playthings, as a key part of his growth as an artist. While everyone he invites to join for a session leaves feeling invigorated by the experience.

On the first release he appears with Otis, an Italian producer who lived in the same building as him. Through lockdown the two men became better acquainted and they decided to hit the studio together. The result is the Humanizer EP, featuring four cuts that encompass the merging of Shonky and Otis’ individual styles into one cohesive body of work. On the EP the duo delve into the deeper side of the dance floor, utilising bass, rhythm and energy to explore varying styles and tempos, tinged with an air of mystery.

So the stage is set, Stoned Pilot heralds a new phase in Shonky’s career, from global tours, to his exemplary back catalogue and now label owner with a core ethos centred on creative collaboration.

Full Dose kick your door in with this prime selection of cuts from a new name on the label: Tuck Chains. Who is Tuck Chains? Who knows! But with a crew known for their futuristic and dub-inflected sound, "Tapes" manages to take the label to new heights.

Serving as a masterclass in the sacred art of sample chopping, Tuck Chains offers up a platter of instrumentals that wouldn't sound out-of-place coming from LA in the late 2000s. True to its name, FD013 feels like a mixtape in its delivery, but has a depth and refinement that's difficult to find. Instrumental hip hop of this quality may well have disappeared from the underground but Tuck Chains has successfully iterated on a style guaranteed to bring blunted energy.

"Lock Down", the opening track, quickly sets the scene with metallic and saturated drums. Interspersed with surgical sample chops, the track oscillates between lively and chill after an almost musique concrète sounding intro. This contrast between straight and faded becomes a theme of the album, with moments of intensification punctuating the mellow.

Tracks like "Chrome and Glass" balance fizzy snares, rumbling low end and stabby piano hits to take you on a slow motion coastal journey, while "Ewan Hughes-Army" has an erratic and head-nodding feel that demands your attention. Warbly, downtempo tape vibes feature throughout the release, a combination ripe for repeated, couch-bound listens. With this in mind, "Spanish" feels like the perfect closer - the type of track that oozes sun and THC. Let this be the soundtrack to your hazy holiday.

Arriving directly from the plant and mastered by the label's own Lvcchesi, this could well be the beat tape you knew you were missing! "

Oráculo Records joins forces with Banshees Records to release the vinyl debut of the spaniard act JG OUTSIDER. In between futuristic industrial, electro, ebm and new beat sounds, JG OUTSIDER sound is harsh and fresh, as well as rhythmic but experimental, you could expect all that at the same time. This debut EP comes with four original tracks plus one blasting remix by our berlinese partner in crime SKELESYS, a darky plastic bomb ready to fire up any darky dance floor. Comes presented in a one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

‘(Earth in) Blue’ by rogue Japanese producer Hiroshi Matsui aka Royal Mirrorball. Including a previously unreleased instrumental! Comes with obi.

While still in high school, Matsui started studying multi-recording synthesizer composition. His fascination for electronic music quickly became an obsession and in 1985 the eighteen year old Matsui took part in The famous Parco department stores-organized Organ-Zaka competition to win the grand prize, beating such luminaries as Towa Tei (of Deee-Lite fame) and Zabadak and kickstarting his career as a professional musician scoring jingles and commercials.

In 1992 Matsui’s ‘Samba de Howa Howa’ was released as a Japan-only promo. The song nevertheless garnered the attention of Tony Humphries, became a fixture on Kiss FM and was eventually featured on the first volume of King Street’s infamous ‘Sounds of Far East Dance Music’ compilation.

At the end of the nineties Matsui established his own Royal Mirrorball production company and label, kicking off with the EP that featured the wonderful ‘(Earth in) Blue’. Matsui: “the name ‘Royal Mirrorball’ was inspired by the gay clubs of the 80's. That’s what I had in mind whenever I made music, whether it was house music, J-pop, noise or contemporary music.” Quantities of the EP that spawned ‘(Earth in) Blue’ were extremely limited as they were originally intended only as a gift for friends and colleagues. Matsui: “But it was also an issue of cash on hand and production costs. Funds were limited back then.”

Fully remastered from the original tapes and available on vinyl for the first time in 42 years, and CD for the first time in 30 years.
Sleevenotes by Jon Hassell and Brian Eno. Back in record shops on the day of the 2020 vernal equinox, the second release on Hassell’s own Ndeya label.

Hailed as one of the 50 best ambient albums of all time by Pitchfork, Vernal Equinox was the first commercially released work by Jon Hassell, originally put out by Lovely Music in 1977.
It's also the debut of a pioneering new form of music that would become known as “fourth world”: a subtle blend of field recordings, electric jazz, ambience and global music influences.
Hassell’s trademark FX-soaked trumpet is carefully embellished by a studio ensemble including the master Brazilian percussionist Naná Vasconcelos and David Rosenboom on synth.

The result is a quiet, meditative and highly original work of outstanding beauty. Vinyl version is housed in a reverse board outer sleeve with printed inner sleeve. Includes download code.

recut and repress !

The 10010 Records is born tonight.

The man behind the label is Ksky, a Dj and a synth lover from Saint-Petersburg.

His unfabled vinyl-only ‘Underwater Tales’ are gathered on this debut-release.

Main track ‘Underwater Tales’ is pulsing dreamy 130 bpm house with cold 808's rhythm-section and warm Prophet 6 analog synthesis. Just like Gulf Stream, this combination creates something imperfect and vivid.

‘Bad Philly’ is a great banger. There's something epic in this simple track. The portal straight to the morning dancefloor.
The story told in one breath.

‘Metromono’. Loopy house track with 909's and 303's atmosphere. Listen to it and dream while the pictures are rapidly changing behind the window. You’ll never dream alone.

‘Look Back’ is an outro for this release. Because every tale needs an ending.

REN005 brings us 3 unreleased tracks from the SJ vaults along with a new production from 2020.

The EP opens up with the out of this world cut ‘Supernova’, featuring vocals from the man himself along with a spacey blend of beats & bass. ‘Bag Full Of Sess’ marks the return of the Stalker alias with co-producer Johnny C, first used all the way back in 2000 this one features a chunky breakbeat rhythm with plenty of smooth pads and string samples.

On the B-side, ‘Dumbo’ is a delightfully wonky and unconventional UKG cut for the afterparty. ‘Voyage’ gets straight to the point with some darker vibes and distorted basslines.

repressed!

Hits from your favourite era, transported into the future with 2 JJAAMM HOT electro reworks direct from the PXUniverse.

BLEEP was the hype par excellence at the beginning of the techno movement in 1990/91. BLEEP – inspired by the beeping sound of small toy robots – stood for a phase of good mood and sounds that had never existed before. LFO with their groundbreaking track of the same name and Tricky Disco were two protagonists of those happy days.

More than 30 years later, Jürgen Laarmann (editor of the legendary Frontpage Magazine 89-97, promoter of Love Parade and Mayday 91-97, Bash Rec. 91-94) had the thought that nothing is missing in current electronic dance music as much as bleep.

The idea came about when discussing how to create a soundtrack for the art and techno hype of the day and the crypto art moving currenting stirring up the art market. The comeback of bleeps in a new guise is surely a tried and true remedy: the Bleep Gigaverse makes the blockchain shake.

With his old friend and Bash Records buddy Mijk van Dijk, Laarmann developed the NFT anthem with the striking Fazer bullet intro and a fat 2022 bleep that has been extensively tested on post-Corona dancefloors. Club legend Justus Köhncke (Whirlpool Productions among others) himself a big Bleep fan and Laarmann’s neighbor, contributed a house mix. Most recently, they managed to bring the great Michael Wells – the Godfather of Bleep into the Bleep Gigaverse. He contributes as Tricky Disco with all new bleeps and also with a Hardstyle mix, so the EP offers a spectrum with really different mixes.

May it bleep forever now!

By Mijk van Dijk & Jürgen Laarmann
BLEEP war für wenige Monate zum Beginn des Technomovements in 1990/91 der Hype schlechthin. BLEEP – angelehnt an das fiependen Sound von kleinen Spielzeugrobotern – stand für eine Phase guter Laune und Klängen, die es nie zuvor gegeben hatte. LFO mit ihrem bahnbrechenden gleichnamigen Track und Tricky Disco waren zwei Protagonisten jener glücklichen Tage.

Mehr als 30 Jahre später hatte Jürgen Laarmann (Editor des legendären Frontpage Magazins 89-97, Veranstalter von Love Parade und Mayday 91-97, Bash Rec. 91-94) den Gedanken, dass nichts der aktuellen elektronischen Dance Musik so sehr fehlt wie der Bleep.

Die Idee entstand, als man darüber diskutierte, wie man einen Soundtrack für den Kunst- und Technohype dieser Tage erschaffen könnte, jene Kryptokunst, die den Kunstmarkt aufwirbelte. Das Comeback der Bleeps in neuem Gewand ist das probate Mittel: das Bleep Gigaverse lässt die Blockchain erbeben.

Mit seinem alten Freund und Bash Records Kumpel Mijk van Dijk entwickelte Laarmann die NFT Hymne mit dem markanten Fazer-Geschoss Intro und einem fetten 2022er Bleep, der auf den Post-Corona Dancefloors ausgiebig getestet wurde. Club Legende Justus Köhncke (u.a. Whirlpool Productions), selbst großer Bleep Fan und Laarmann‘s Nachbar, steuerte einen housigen Mix bei. Zuletzt gelang es ihnen, mit dem großen Michael Wells den Godfather of Bleep ins Bleep Gigaverse zu holen. Er steuert einen NFT Tricky Disco mit ganz neuen Bleeps und einen Hardstyle Mix bei, so dass die EP ein Spektrum mit wirklich unterschiedlichen Mixen bietet.

May it bleep forever now!

By Mijk van Dijk & Jürgen Laarmann

Placid aka Paul Wise is the leading light behind ‘We’re Going Deep’ – an online community and record label, born out of a lifelong affair with the many shades of electronic rhythm and obsession for collecting records since 1988.

Known to many in underground House and Techno circles, he’s spent the last few decades moving heads and feet at select venues, parties and fields across the UK and beyond. On a mission to share and release new music via his imprint: only the best in Acid, Electro, Techno and Deep House for the dance floor, front room or even just your headphones makes the cut.
For the latest We’re Going Deep solo series edition, Paul welcomes the mysterious talent and touch of Dircsen. Whilst little is known about this impressive producer hailing from Germany, his superbly rounded set of releases for the Hague’s Soundtravels and Croatian outfit Beef Records have certainly captured the ear and the imagination. With a penchant for the purest sounding waves of TB-303, soaring synths and punchy percussion – there’s nothing but magic when it comes to his work.
Kicking off with the hypnotic, dubby tinged tones of ‘Nothing Remains’ on A1 – the stripped back shuffle of percussion and shimmering stabs evolve in ghostly fashion as an evocative mood prevails: a purist exercise in restraint and calm. Balanced with gnarly intent of ‘Artificial Mind’ on A2, he lands the cutting SAW of his trusty synth to an unfaltering 808 groove. That simply grows in intensity and growl – burying itself in your psyche in the process.
B1 ‘Nervous Disorder’ drives on even further into twilight zone, unleashing a soaring lead to the punch of a swinging 909 that’s designed for pure pleasure – an ode to Chicago’s finest. Ending out on the mellower, house inflected tones of ‘Imminent Flow’ on B2. The cyclical roll of the melody and gentle sub compliment each other perfectly as airy pads lift the atmosphere and bring the EP to a dreamy conclusion.

In the label's own words:

"Kennedy returns to another musical dream state bringing nocturnal visions to life through the power of machines. Including three tracks of borderless Hi Tech Soul music, on this third 12" in the series he widens his sonic scope via elements of Jazz and African rhythms next to his own distinctive take on the original sounds of Detroit.

It's another musical offering that comes from deep within mind, body and soul. Side a sounds like a warm fusion of loose rhythms and glowing synths determined by machines, whereas the b-side is more explicitly human-made with flute recorded live by Amsterdam Jazz man Han Litz, bringing a lightness of touch that imbues the music with hope and optimism. Beneath that, a battery of drums is set free calling up acoustic sounds driving from deep inside in a dense forest.

This third translation of thoughts, sensations and sounds is another emotive coming together of man and machine that will find yourself invited to gaze off into an infinite sonic cosmos."

For the fifth iteration of the eight-part Astra Spectra series, Science Cult presents iconic German producer Liebknecht with 4 dance floor ready tracks. Included is a deep and futuristic remix by label co-founder Syrte.

Pressed on a limited run of green vinyl, the colour and name of the EP correspond to Iron on the Fraunhofer Absorption Spectrum of our sun.

Stefan Weise aka Syrte envisioned the “Astra Spectra” series as a celebration of mankind’s vision for space exploration, past and future, while also expressing a love for space science, science fiction and the spirit of discovery. Each release in the series is representative of a color frequency in our sun’s absorption spectrum and the element which is represented by that, hence the name, which means “Solar Spectrum”

Electro Break and Downtempo 2xLP by Daniel Anselmi. 10th label’s release.From the label SEQUALOG run by TC80.

The first offering on Australian label Lunatic Music comes from Jamie Blanco of Ess O Ess. Unit of Measure takes the listener on an acid-laced journey, while Sample Bases shows us Blanco’s range and stays true to the title. To complement the release, both cuts have been flipped and remixed. The A-side getting dubbed out by the don Conrad McDonnell of the Idjut Boys, While the B-side cops treatment by local lunatics Dexter Gregg & Mick Harney of Oak Park.

Wayout Records head honcho, Manchester DJ and producer James Kumo aka K.Mo, takes the reins for their next release ‘Space Funk EP’, featuring man of the moment Byron The Aquarius.

The deep house groove of title track ‘Space Funk’ has Byron on keys, laying down his trademark synth and bassline stabs courtesy of his Prophet 6. The warm and soulful vibes sit alongside driving drum patterns and additional live percussion by Mauskovic Dance Band member Chris Bruining.

The B side opens with ‘Moon Light Shuffle’, delivering a captivating bass line with synth lead melodies accenting the organic solo to die for from the super talented Tim Jules.

Close ‘Inner Soul’ is full of sparkle with heady pads, luscious piano chords again from Tim Jules, elevating this very credible record to a whole other level.

Repress
This repress comes on black vinyl.



A long-awaited vinyl-only sampler showcases some of the most seminal and vanguard recordings from one of the finest minds behind the American electro and Miami bass scene. The four tracks listed here are all original recordings from 1984-85 fully licensed by the author himself James McCauley and accurately remastered via Omaggio Records. Thirty-five years later, its still the case to say: "Welcome to the Future".

Hailing from the Netherlands, Roberto Auser has been a mainstay of the underground electronic scene for over a decade. With a passion for vintage synthesizers and a knack for crafting irresistible beats, he has released a string of critically acclaimed albums and EPs that have won him a dedicated following around the world.

His new release for Ferry Lane sees Roberto on a synthwave tip, and it is a testament to his skill and creativity as a producer. Flush, with its infectious beats and hypnotic synth lines, is a prime example of Roberto's ability to create music that is both danceable and emotionally resonant. On the flip, Spy Satellite showcases his versatility and range with its haunting melodies and atmospheric textures.

Limited to 200 copies, hand-stamped labels.

RIYL Martial Canterel, Wierd, June

From Bristol to NYC – Zobol makes his debut on Melodize with two vibrantly coloured electro jams complemented and enhanced by two powerful remixes from Carl Finlow and Plant43.

‘Meridian’ draws the line straight down the dancefloor between electro and techno. Light in foot but heavy in trunk, there’s an alluring spring in the breaks and subtle sense of hope and euphoria as Zobol eases us into a positive mindset. Sheffield stalwart Carl Finlow flips the coin for a more sober perspective. A much more classically informed slice of electro, swollen with poignancy, it’s the dark side of ‘Meridian’ bright moon.

‘YCKL’ turns up the contrast once again. Warm, bright splashes ooze in chord-form over a lava-like bassline that gently pushes up the drama and theatre as the track progresses. Once again, there’s a sense of triumph running throughout as Zobol edges us higher and higher. Remix-wise, Bleep43 founder Plant43 keeps that brightness but adds his own sense of spring and wily funk, bringing an unpredictable attack and utilising the euphoric keys of the original much earlier on in the arrangement.

Two beautiful originals, two precision remixes; one important reminder that electro can be one of the funkiest, most uplifting styles in the electronic cannon when crafted in the right hands. Melodize have created some exceptional alchemy right here.

Wer kennt sie nicht~ CAPPELLA, die in den 90ern Geschichte im Dance schrieben mit zahllosen Hits wie dem Vorliegenden U GOT 2 LET THE MUSIC, U GOT 2 KNOW, etc etc..

Dear Reptilian Santa, we're sorry...

192 rec is taking the music industry by surprise with a 3rd EP right in time for end-of-year celebrations instead of a Best Of Christmas Songs. Kizoku is dropping with Waited Too long EP a pure nostalgic shot of raw tech-house straight out of the Stud, with naughty basslines, haunting melodies and funky rhythms. Already an after classics.

Recut & Repressed !

Komponente and Kurilo packed in their first solo EP a lot of new, evocative house-trance electronics, written on instruments dating back to the nineties. The concept of For A Brave EP is to record a different, not boring, sometimes listenable and at the same time danceable sound. I hope we have coped with this task. Designed by Dima Phase. Welcome to Trance Pandemic.
Strong limited vinyl only 200 copies.

Comet Records presents Afro Rhythms Vol. 2, the first repress of Comet’s singles and Remixes from 2009 – 2017 with floor filler tracks from Tony Allen Afrobeat pioneer 'African Man" remix by Ricardo Villalobos & Max Loderbauer along with the afro deep house reedit of "Cotton’s Field" by French producer Jeff Sharel, the "Awakening" remix from Krazy Baldhead, former artist of Ed Banger and producer of electro malian band Donso and finally Africaine 808 to end this Afro Rhythms comp with their stunning remix of Afrobeat classic tune "Afrodiscobeat". A proper trawl through the vaults of Comet Records.

All Killer no Filler Vol. 1 is the first release of the Köln based label Mephis. On this first delivery we are handed a 4 piece compilation from young uruguayan producers, all with their particular sort of spiciness and playful mischief.

Alfalfa’s Vectorial Dings opens the EP with rusty acidic tones, eerie pads, warped drum samples and an overall restlessness that creeps through your spine inviting you into the dancefloor. Techno met Acid, flirted with Breaks and slapped Electro’s butt. An acidic variety of spiciness.

Techno Trax follows, where diCarlo manages to create a playful atmosphere, with creative ever changing drum patterns, filter sweeping goodness, arpeggiated synth lines and deep hypnotic vocal samples. A sexy kind of spiciness.

Elias Sternin’s track is a real banger, taking all the classic ingredients for a steaming hot dancefloor stew. A cup of techno, a teaspoon of trance reminiscence, a pinch of progressive condiment, all served on a bed of arpeggiated goodness and rolling bass.
A familiar yet refreshing take on spicy sauce.

Closing the EP comes Lo-Lo with Brittany Stryker. Cold cutting synths, saturated and juicy bass, chonky percussions and a restraint propper of a spice connoisseur. Every element compliments the other, creating an odylic and tightly packed electro gem.
A spicy; gazpacho looking, cold and sharp soup.

Over the course of the year, the label has assembled four different compositions reflecting each artist's devotion and fascination for synthesizers and drum machines. Melancholic arpeggiators, funk-driven techno grooves, and sharp-filtered vocoded sequences written by Edward Norton. Joyful minor-key bass lines carved into electro-wave atmospheres over Roland Tr-606, 808

Closer residents pay tribute to the Lesnoy Prichal – the famous outdoor stage – of their home club in Kyiv. Pahatam picks up the phone and dials O. Forty Four. Answer quick or you’ll miss them, those Amanita Gems.

The four tracks here - repressed by dint of public demand and on sumptuous blue vinyl this time round - will delight house and techno heads alike, with the latter probably gravitating to the grittier off killer shuffle of 'Weed or Majik', while the A-side boasts the smoother, more soulful 'Moveable', the kind of slower house gear that Weatherall championed at his 'Love From Outer Space' night. A calming vocal sample and tooting saxes join the string-swaddled, crunchily floorfilling groove of 'In Ya Mind' meanwhile, and 'Turquoise Wave' clocks in as stripped down and serene. Gorgeous stuff all round.

the new legato sampler with 4 hot anthems !!

Warehouse find !

Following the release of 'All My Dreams / Innocence' last month, today Róisín Murphy unveils the second pair of tracks in her series of four scintillating 12'singles produced by Maurice Fulton and shared across consecutive months this summer through The Vinyl Factory. Having taken control of all aspects of her work in recent years, Murphy delivers yet another amazing vision with a series of films to go along side her new music. Filmed over a two day residency in London's The Store X, the 'Plaything' video follows 'All My Dreams' From Moloko onwards, Murphy has always gravitated towards a deep groove. But here, with Baltimore maverick musician/producer/DJ Maurice Fulton, she's gone and made some of the most hip-twitching, pleasure-centre-stimulating music of her life. And it's being released in the only correct way for sounds so intimately connected to the dancefloor: on a series of 12' singles, with stunning graphics from Portuguese New Yorker Bráulio Amado.

'Ultimately its about dancing,' says Murphy. 'My kind of dancing: all low and funky, allowing itself to be a little out of control. It's all very simple in a way but Maurice has spent a lifetime immersed in music for dancing. His experience and depth of knowledge is undeniable. I did as I was told!'

Across all eight original songs, her lyrics are intense, exploratory, probing into dark parts of her own and the listener's psyche - all the while working on the immediate, endorphin-stimulating dancefloor level too - and her voice is finer, richer, more expressive than ever. The tracks are full of the unadulterated, but deeply warped funk which Maurice has honed over his decades of dancefloor experience. This is as vivid and urgent as Murphy has ever sounded, and it bodes more than well for whatever comes next in her absurdly exciting on going voyage of discovery. 'I've got more projects on the go,' she says; 'I've got some new and exciting collaborators on board and I'm hoping an interesting patchwork of ideas and formats will emerge in due time. But for now I'm just gonna dance it out!!!'

Markus Popp is endlessly curious and his music as Oval is delightfully inventive. Since pioneering albums in the 90s systemisch and 94diskont., Oval has continually excavated new spaces in electronic music, leaving an indelible mark on the landscape. New album Romantiq finds Popp delivering his most light and delicate tones to date. Like the plucking of harp strings, Popp"s organic and playful approach to sound is warm and bright. Oval continually, confounds with his ability to conjure such lithe, evocative sonics from software. Romantiq evolved from an audio-visual collaboration with digital artist Robert Seidel for the grand opening of the German Romantic Museum, where a huge outdoor projection covered the museum building. Popp sought a more expansive definition of the romantic, conjuring flickering images that glitch, evolve and collapse in on one another - opulent neo-chamber music lit by the paradoxically heartwarming screen glow of social media flirtations. Popp crafted dozens of short vignettes that each sought to evoke a specific mood or emotion. Processed period instruments trace luxuriant spaces that shift from low-lit chambers to glistening palatial grandeur, glitching through past, present and future. Swelling atmospheres emerge like perfume, rich scents flooding the senses before evaporating on the breeze. Romantiq"s musical oxytocin is made from ancient instruments processed and edited by a modern electronic master with the utmost deftness and delicacy.

UR introduces Mano De Fuego!! This spiritual shamanistic electronic music will take your spirit forward up and over whatever is in your way. Dance with relatives from the past, the present & the future, learn who UR.

Berlin-based producer Mor Elian returns to Fever AM - the label she co-runs alongside Rhyw - for the first time in three years. Following the release of two albums as her Alloy Sea project and taking a break to experiment and develop her sound, Mor is back with a four-track EP, ‘Diva Test’, where she leans into a more colourful, playful side of her productions. The EP also includes her first collaborative release with Rhyw, ‘Liquid Silver’.

This year, Fever AM celebrates its fifth anniversary with a compilation release ‘It's Not a Bug, It's a Feature’ featuring tracks from the likes of Pariah, Ayesha, Peder Mannerfelt, Son of Philip, MSJY and more. The label will also be hosting their first Fever AM club showcases across different cities with current confirmed dates including London, Copenhagen, Amsterdam and Dublin.

"Diamonds In the Night" is back with its second volume featuring Lerosa from Ireland, Vyvyan from the UK, Eliott Litrowski from Denmark/France and Iamnotarobot from Spain… Let’s Daance!

Cabaret Recordings 23nd release by Innershades.

Pachinko Round 2 ..

Second release en route from the Pachinko boys :::: wether it's an open air festival, sweaty basement, afters at a gaff or at your nans for breakfast the second Pachinko release is bound to stay in your bag for ages as these 4 dancefloor burners will provide the energy the dancefloor needs to keep it going from noon til night/dusk till dawn

With this joint venture between Wrong Era and Italo Moderni, label boss Adrian Marth brings it on with a five track EP including two killer remixes from Fabrizio Mammarella and Geneva Jacuzzi.

Expect nothing but harsh basslines and filthy drums from the Barcelona based producer. His love for the classic sounds of italo, space, and cosmic disco of the 80’s comes perfectly together on this release.

Geneva gives ‘’Hypnotic Eyes’’ a synth driven vocal pop rework that will hypnotize you from the start. Fabrizio instead, gives Adrian’s track ‘’Disorder’’ a peak time heavy edged remix, that will not disappoint you.

Mastered by Alden Tyrell.

Hiatus has finished, new wax is molded and Vakum spits out their celebratory tenth release. Warped Reality EP revisites galactic and spacious backbone sounds from not so long ago infused with fresh production spices. In this case, Cosmic G & Laars, the duo which grows from the new Serbian batch. Take a listen to this five-tracker riddled with space blasters and hypnotic segments.

A1. Flowing through interstellar space, B Star revisites some well known and loved sounds from early hypnotic era of electronic music. Upon arriving to the quazzar crossroads it also dives into breakbeat moments just to be reformed into acid sphere once again. A touch of trance goes a long way.

A2. Sometimes you hear a track that resmebles multiple tracks combined. This is just the case in Terestrial Dreams. Filled with dreamy and galactic delays it pushes itself into endless progressive spiral of heavy bassline, smooth perc shots and otherworldly segments.

B1. All about the cosmic ride in a night train between two planets. Along the way it pasess through multiple sound stations and realms inviting even more passengers for this sparkling night out. Pure delicacy!

B2. Broken beats, scrapping vocals and intermitting bassline. Babble is inhaling acid hits from

the sorroundings and projects them onto punchy snares and raw rhytmics to be carried further into old school babble beats. Perfect B side.

B3. The outcast. The villan. The bad guy. Slow and ominous pace bundled with serious bassline sequence that goes into offence during the vocal break. This burner really stomps heavy hits onto you and smashes every sonic valve while pouring acid. "Oh, well, allow me to retort."

Akasha System – Midnight Tide

Philip Sherburne once described the Oregon’s producer as follows: the closer you peer, the more Akasha System’s seemingly uncomplicated music turns out to be something like an interdependent system, a dynamic landscape of give and take. This sense of interdependence is deep and alive. Still relevant today of Thompson’s sound signature. Blooming interconnected soundscascapes that channel house, IDM, ambient and timeless dreamy synths.

Tape Hiss – Scirocco

A soft wind blows from sea to sea, carrying with it siren songs of gentle piano and hope for a brighter future.
Emotional dance music from the Brooklyn producer.

Manuel Darquart – Low Tide

Going back to what makes us happiest. ‘Low Tide’ is the sister track to our Italo-inspired ‘High Tide’ tune from our Infinite Pleasure EP. 606 Hats, 808 snares, and of course the Lately Bass punching through some wavy Juno pads. Name us a better combo, we’ll wait.

Cosmic Cherry – Malibu

After making it through yet another lengthy and grey Berlin winter, DJ and producer Cosmic Cherry put together “Malibu” to have you dream of warmer, friendlier places. A summery, mellow house track with airy vocals and a punchy bass line that takes you to your favorite destinations. Using her own voice in German, she longs for those times where you can smell the saltwater in the air and dance through mild summer nights.

Nicodemo – Esmeralda

Nicodemo gets back to his own imprint with his italo touch, balearic infused; a hypnotic and effective track that jacks your body with plenty of hands-in-the-air synths, a pumping bassline, and rhythmic elements rising to a harmonic crescendo.