House News

Breakbeat Paradise Recordings has teamed up with The Chosen Few Records to proudly presents the latest escapade of TURNTILL & MERLIN: "BREAK A DAY". This tune is dedicated to all the b-boys and other funkateers worldwide that love the drumsound and the funk. The MCs on the song are DOPPIA ERRE from Apulia, Italy and SKY 189 from Capetown, South Africa.

Both are true Hip Hop heads that love the art of breaking! In the hook you hear the sweet, catchy voices of Stella Baraldo and Dominique Bouvier. A real powerful b-boy anthem and club joint alike, which is interpreted in five additional versions on a six track 12" vinyl release.

Guests on the A-Side are DJ KID STRETCH (Greece), FUNKY BOOGIE BROTHERS (Belarus) who is giving the tune a new flow in the oldskool b-boy direction. On the flip side we have invited some of the very best from the Ghetto-Funk scene to give the tunes an injection of electro vibes and big basslines. For this job we called upon the dream team DUBRA X ARTEO (Latvia) and ghetto funk superstar B-SIDE (United Kingdom) who are always armed to the teeth with big beats and electro basslines. Last but not least we sent for a true veteran and pioneer in the Nu Funk scene QUINCY JOINTZ (Germany) to do his thing on the electro side of this vinyl release.

The funky beats and breaks has once again brought people together from all over the world to collaborate on this big release that not only tips the hat to the b-boy community but also pushes the limit to the new eras of funk music. Something we share the vision for and feel strongly about on both Breakbeat Paradise Recordings and at The Chosen Few Records.

Ltd white label 7" (150 copies), stamped by artist. Title track of Compact Disk Dummies' 2nd album 'Neon Fever Dream' gets a spaced-out treatment by Eskimo Recordings' Transistorcake. Instrumental on the B-side.

Soulful house legend Timmy Regisford brings his trademark sound to DJ Spen & Thommy Davis' Quantize Recordings.

'Falling In Love' is a sumptuously sizzling heater, marrying Regisford's classic soul-laden production with Tiger Wilson's sensuous vocals. It's a combination that will ease any pains, calm any worries and bring a smile to the face, bottling up that sunshine feeling for those darker days when a little lift is needed.

Timmy then offers up three mixes to bring a real versatility to the e.p. First up, the 'Instrumental Mix' that lets Regisford's bumping bass, jazzed up piano, swelling strings and spiritual keys do the talking. Secondly, the 'Alternative Vocal Mix' switches the percussion of the original opting for more congas, shakers and bongos whilst leaving the claps at bay to give a deeper interpretation of the original. The final mix then drops the vocals of this alternate version completing what is a standout e.p. from Timmy Regisford that captures the essence of 2018's summer of love.

KosmoramaDisco Vol. 2 is the second of a series of compilations that KosmoramaDisco label begun to release in 2018. This is a follow up of what the label it's been trying to show in the last 2 years. For this we have a new bunch of artists which music styles fit again with the philosophy and taste of the label: from Italo to Dark Disco and Slow Mo all wrapped, as usual, in club dancing format.

Krystal Klear presents Cyclia two! Informed by Jim Henson’s psychedelic and cinematic nightclub fantasy of the late 1960’s, which was supposed to be the entertainment of the future and the theatre of the year 2000, the man who brought you „Neutron Dance“ also dives deeper into his own universe. Even though Henson’s vision never became a reality, Cyclia Two would probably make him happy. And if not, we can still dance, if we want to.

Gorgon City are renowned British production duo Kye Gibbon and Matt Robson-Scott.
· They are set to release their highly anticipated third album ‘Olympia’ on 25th June.
· Olympia is made up of 18 massive house tracks, a collection of Gorgon’s work over the past couple of years being on tour and in lockdown, and is brimming with big club sounds.
· A transatlantic creative process, this is the first album where Matt and Kye have written the tracks completely separately due to being in different countries – Matt being in London and Kye now based in the birthplace of house, Chicago.
· With a nod to Greek mythology creative roots of the Gorgon City project, Olympia also carries on Matt & Kye’s tradition of collaborating with rising artists and showcases their strength in discovering and developing vocal talents.
· ‘Olympia’ is an album of pure escapism – an album designed to inspire people to get back out there again and enjoy life.
· Whilst Gorgon City have been no strangers to chart success, their sound is deeply rooted in club culture and live shows are a key part of Gorgon City’s appeal. 2019 saw amazing sets around the world including Coachella and EDC Vegas, Israel’s Get Lost Festival as well as sold out UK shows at Printworks, Warehouse Project, Tobacco Dock and sold out dates around Europe and the US.
· A massive new run of UK and US dates is set to be announced later this month.
· Gorgon City are currently enjoying success with their latest single ‘You’ve Done Enough’ with Chicago soul-dance duo DRAMA – the single so far peaking at #70 in the UK chart.
· Across their career to date Gorgon City have sold over 10 million singles and clocked up over 1.5billion streams
· They also sold 10k tickets last month for their ‘Back To Love’ Co headline London (Finsbury park) shows with Sonny Fodera in August, the first sold out in just 30 mins and a second date was swiftly added.
· The announcement of the album continues what is already shaping up to be huge year for Gorgon City.

Take from WE WE WE, a compilation raising money for “Help Refugees”, Man Power's 'I Are Dada' get remixed by ENE boss Chida.

"Like Robert Palmer on Es" - Piccadilly Records

"Hotly tipped British hustlers" - DJ Mag

"Radiophonic borderline funk that makes a mutha smile!" - Bootsy Collins

It's a third trip out on vinyl for us here at Sprechen and steering us through the surf is Manchester 6 piece 'See Thru Hands' who drop seriously sanguine vibes on their lazer guided single 'Connectivity'.
A self-produced alt-pop banger from the collective which fully delivers on all things 'disco-not-disco-synth-funk-dancefloor heater' vibes, which brings to mind peak 80's Chaka Khan partying with LCD Soundsystem & A Certain Ratio at Paisley Park.

Remixes for every occasion on this one with Skream cranking up the Italo disco-o-meter to 14 on his bass driven peak time banger for large room raving while Jorja Chalmers takes the party back to a smokey shebeen on her mix that sounds like Tricky sharing a blunt with Aphex Twin whilst King Tubby twiddles the dials!

Our very own Massey finishes off the package with a mucky tops-off style gutter pumper which belongs in those basements you'll often find him and many like-minded souls dwelling within.

In 2018, approximately at the same glorious time of the year we’re about to reach (the early days of Summer, what else?), River Yarra released the age-of-content-friendly #Lucky #Boy, his debut EP on Antinote. Since then, the record has been living a happy life of its own, as a collection of four ace dance melodies unfolding at different BPM’s, being played in various environments – from quality warm-up sets for small-scale dancefloors to indie podcast series. Twelve months (punctuated by short but witty mails) later, River Yarra offers an update for his music, with a second set of four ace dance melodies unfolding at different BPM’s (from 88 to 140).

After focusing mainly on human conditions of living in a post post-modernist cultural mayhem, River very logically turns his back to rotting humanity and pays tribute to our next of kin, frogs (unless humans decimate their whole population before their own extinction). Here we are with Frog Mania, here we are. “All hail Yarra, thou shalt be frogking hereafter”. The opening song, Toad Charmer, is a seductive sarabande to bewitch frogs in which the pied piper of Hamelin is Priscilla Queen of the Desert and there’re acid sparkles in the pond. Now that we know what kind of track we’re on, River Yarra makes his program for SS 2019 clear with AMFYBYONZZ: it’s going to be all about tranc-e synths, orchestral hits and amphibian gimmicks – and like Toad Charmer, the lyrics on AMFYBYONZZ are not cluttered up with superfluous phrases: “amphibian” is (the only) word.

On the flip side, the BPM keeps on accelerating, reaching whopping 140 BPM with the soberly named closing song, Prog Frog. But there’s still one tune to go through before reaching Frogmania’s climax… Did I mention how infectious all of these songs are? And Frogz Ov Gondwana is no exception to the rule, channeling the particles of MDMA you may have absorbed into the right corner of your brain with its wild arpeggiators and synthetic howling. Finally, it’s time for Frogmania’s anthem, Prog Frog, an up-tempo ballad through time and space, from frogs’ ancestors from the Devonian to their future incarnation; in other words, a song that ensures Frogmania to become an essential record for any batrachian lover.

Martín Buscaglia's Chuza gets all shook up by Guedra Guedra and turned into an implacable, bassline-fueled trailblazer, with echoes of the Berber dance music and shadows of the Uruguayan Pampa. It's a fascinating trip from Montevideo to Casablanca via Chicago.

If Buscaglia's original was a tad trippy, Abdellah M Hassak takes it to the next level. One for the open-minded global explorers.

All pressed on a (very) limited red translucent 45.

Short while after Anushka's debut album "Halfie", that has won her "Tsinandali Prize" and has been nominated for "The Album Of The Year 2020" Impala awards, 23 years old Anushka Chkheidze is back with her second album "Move 20-21". Created during 2020 pandemics, spent mostly in lockdown. In Anushkas own words "Move 20 – 21" is a mind journey through space and time without any physical movement.

Digitally released earlier 2021, "Move 20-21" cout the attention of Music Moves Europe Talent Awards; has been nemed as "Band of the day" by Europavox; has been choosen as track of the day by KEXP; has been broadcasted by United We Stream for FEMMELY AFFAIR in the light of International Women's Day 2021.

Coming to the table with a fresh mutant sound, Darker Than Wax is proud to welcome Leeds-based artist Captain Over to our sonic universe with his Deep Blue EP. A solo project from one of the minds behind the band Paper Tiger, Captain Over represents a firm focus on dancefloor experimentation, blending the sounds of grime, broken beat, house, and LA beat music to create an entirely new beast. Much like the chess-playing supercomputer of the same name, ‘Deep Blue’ occupies a space between electronic weight and the human touch, fusing together icy digital synths borrowed from grime with off- kilter grooves and jazzy motifs.

Following a string of releases led by vocal tracks with grime MCs, ‘Deep Blue’ is the first fully instrumental offering from Captain Over, lending the artist a platform to make a strong statement about his creative vision and technical prowess. From the expansive arrangement of ‘4D’ to the duelling sci-fi synths on ‘Mind’s Eye’, the Deep Blue EP is a deeply creative yet functional record, signalling a bright future for the Captain Over project.

Enter a world of post-IDM, ambient and reggaeton, with a progression of deep synths, reverb, and percussion whose rhythms are born from the southern hemisphere. This is the world of DJ Python, a.k.a. New York based producer Brian Piñeyro, who also sometimes goes by Dj Wey, Deejay Xanax, and Luis. Making his Dekmantel debut with an extended EP of contemporary electronica, fashioned in his cult unique style, Python brings his deep-reggaeton style to the Dutch imprint.

With his first LP Dulce Compañia released in 2017, Python extended his cult status in the electronic music sphere with motives of ambient, and tropicale, all the time keeping his music deeply rooted in classic underground dance music. Along with a Breaking Through feature on Resident Advisor, an almost legendary appearance on Boiler Room — in which he ignited the room in Santiago with bellowing reverbs —, extensive touring, and a residency at New York’s Nowadays (healthy programmed by the team behind Mister Saturday Night), Python has dutifully snaked his way in today’s cult artist category. Making his next step with this six-tracker on Dekmantel, Python aggrandises his prestigious drum sequencing, merging the world’s of drone-driven electronica, cerebral synths, and steely out-of-this-dimension-dancehall.

The EP’s pening track 'Lampara' snakes and twists, like a rugged 90s London broken-beat, electronic exploration, evoking nostalgic feelings a la Boards of Canada. The retro aesthetic flows through with second track 'Tímbrame', where the tropical reggaeton percussion floats through wafty, deep synth melodies and chimes, like a vibey, emotive, come-down, get-down, post-party dancefloor filler. 'Cuando' steps up a gear, as the digital percussive rhythms go into overdrive, while 'Espero' goes all Gaussian, by offering a transportive, meditative expression. 'Be Si To' pulses into full Phython territory, chops-and-cuts-and-slices across a sleuth of Warping, proto-drones. The record’s final track 'pq cq' is a singular question mark about darkness, feeling, and trans-dimensional thinking, as the track shifts in-between kicks that feel one and the same between past, present, and the dub.

'Peace is where the real chaos begins…..we've been "normalised" for so long' (SY)

An entanglement of sound, embodying euphony and noise, control and disorder.

The conventional practice of producing and listening to music often tends to conceal and immobilise the multiplicity, the deviations, and the more unusual aspects of acoustic phenomena, in order to preserve an economical artistic perception.

But what if we were to fuel spontaneity and embrace a pluralistic vision, by accepting the impossibility of absolute creative competency? Perhaps we would produce material that not only confronts the prospect of failure but actively accommodates it, as a viable aesthetic framework.

Scott Young's work is an attempt to unlearn certain 'normalized' approaches to sound, representing a jolt to the system, a wild construction of invention and misdirection, one that reconnects us with the value of disarrangement. The non-hierarchical layering of sound and image on 'Post Peace' defies linearity and rationality. On the collaborative composition 'Tuck', written with Manchester based artist Joe Beedles, the two create music in reverse, inspired by a fictitious review written about the self-same piece. This sense of freeform originality is mirrored by the intimate portraits that Italo-Australian visual artist Rebecca Salvadori has produced for the artwork. A series of autonomous forms that transcend straightforward classification.

Unerringly raw yet mature, Young's music evolves as an organic cycle, encompassing spry, cerebral, dub-inflected dynamics. Full of duality and enterprise, never conclusive.

On 'Post Peace', there's freedom in forgetting what you know.

A SUPER RARE LATIN AMERICAN SQUIRREL TO PUT SOME CHA CHA CHA BACK INTO YOUR LIFE AND SET FIRE TO YOUR DANCE FLOOR.

THE RODENT MASTERS OF UN-CLASSIC, NIGHT TIME GROOVES DIG DEEP TO PRODUCE ONLY THE BEST VIBES AROUND.
CLIMB HIGH EVERYBODY!!! X

In many ways, DJ Black Low's debut album, Uwami, shows the signs of an artist's first offering in any musical genre. Showcasing fluency in a broad range of styles and stuffing a number of ideas to the record's brim is the 20 year-old producer's attempt to both introduce himself to a wide listenership and stamp a recognizable sound in their minds. In other ways, somewhat out of the young South African producer's control, Uwami goes against the grain. The album comes at a time when South African electronic music is being fundamentally disrupted. Amapiano, the electronic music movement which first gained popularity with a small, core group of followers, now dominates the mainstream. Well-known and pervasive, amapiano borrows from a diverse palette of musical styles which are popular in South Africa's largely Black townshipsjazz, kwaito, dibacardi, deep and afro house among them. Instead of pandering to the seemingly insatiable local appetite and growing global penchant for amapiano though, on Uwami DJ Black Low seeks out the limits of the sound du jour and tries to stretch them. On his solo productions, he uses the samples and compositional norms that make amapiano hits the bedrock on which to experiment and improvise. With collaborators, DJ Black Low improvises within the boundaries of listener-friendly grooves. The sound he creates has foundations of what could easily have progressed into captivating amapiano songs on their own. But he uses improvised but structured electronic percussion and distortion sounds to drive the tracks in a particular direction. What remains is something like a deconstructed amapiano. For a young producer living in the townships of the greater Pitori area of South Africa's Gauteng province, there were few avenues available for Radebe to pursue a career in music. His trajectory shows the vulnerability of this pursuit. "I had started producing in 2013 and it so happened that I lost my equipment in 2014. I couldn't afford to buy equipment. In 2017, a friend of mine who had been making music found a job and decided to quit music. He gave me his equipment and I was able to start producing again. That's when I started getting back to it. I tried to pick up where I had left off, with hip hop and commercial house but I found that amapiano was the popular music. I liked it, so I started producing it."

Following on from the release of 'Modern Jazz Dance Classics, Volume One' in 2019, which was popular on the jazz underground, the Staubgold's MJDC sub label returns with another compilation comprising mainly of contemporary artists carefully selected by DJ Jeff The Fish, this time on a Latin trip for 'Sol Vibrations: Latin Dance Movements'.

There are carefully selected tracks from all over the world to make a great set and selection, including three acts based in Catalonia (Tromboranga, The Santiago Acevedo Ensemble and Antoine 'Tato' Garcia), some from the US (Camille, EC3), the UK (Alex Wilson, Born 74), France (Mayomi, Camarao Orkestra), Japan (Jizue), Brazil (Fabio Chagas), Cuba (Jean Pablo Torres) and Uruguay (La Calenda Beat).

For some time now in the continual hunt for new DJ material to play in the jazz scene, the Modern Jazz Dance Classics label (a division of Staubgold) has been coming across great tracks by current artists that are often only available on digital or CD format. The brainchild of French based DJ Jeff The Fish and Markus Detmer at the Staubgold record label in Germany, MJDC aims to provide DJs with this new music on vinyl and inject new sounds into the jazz dance scene.

MISS KITTIN & THE HACKER are the Electro duo of CAROLINE HERVE and MICHEL AMATO from Grenoble, France. The pair met during the early '90s at a rave and soon after bought turntables and began DJing. In 1996, they began writing music heavily influenced by '80s synth and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album First Album was released in 2001. Lost Tracks Vol. 1 contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused '80s European New Wave/Italo Disco with '90s Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love with an alien, sexy nightlife in Berlin, and explicit S&M leather play, all in her cheekily derisive French accent All songs have been transferred from the original DAT tapes by the band and mastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, 'We were naive, innocent, adventurous and we didn't expect anything in return."

Grammy award winning/multi platinum selling artist/producer Calvin Harris releases this 12" under his Love Regenerator alias. The single, with Grammy nominated musician/producer Steve Lacy is the outcome of a long held ambition for Calvin, whose love and respect for the UK house music label goes back over twenty years. The record sees Calvin at his most intuitive with club ready penetrating stabs softened by Steve Lacy’s drawl and plenty of acidic synth. Radio playlists across R1, Capital, Kiss, ILR network. Online/social media activity. A limited (1500) 4 track 12" single pressed on cream vinyl, including remixes from MK, Solardo and Mark Broom.

Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.

Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”

What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as interdimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey. The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”

Brand new album of pure bass and breaks ingenuity from the consistently brilliant Brighton, UK-based producer, who has had previous releases on Sneaker Social Club and is tipped for forthcoming work on Moving Shadow and Planet Mu shortly. Featuring art by RAYS with handstyle track titles on the vinyl edition by REQ TDK.

During a karaoke-fuelled haze in the seedy parts of Oslo, Legs 11 was formed based on a shared love of synth pop, post-punk, new wave and house music. Drawing on these influences, the band has created a diverse musical universe, ranging from dark repetitive guitar driven tracks, via infectious pop gems, to deep yet melodic dancefloor-orientated grooves. After exploring the indie-dance themes on their debut album "Another Wave" (2017), it's now time to dive into the world of (electro) pop!

Legs 11 have drawn on many different influences throughout their 15 year history. Still, at the heart of the band's musical universe, there has always been a deep love for pop-music! On their new ten-track album "The Colour Of My Heart", Legs 11 show us ten shades of their brightly pop-coloured heart.

Die Footwork Legende aus Chicago, DJ RASHAD, beschließt ein erfolgreiches Jahr auf Hyperdub mit seinem ersten Album für das Label und baut damit auf zwei EPs auf, die deutlich demonstriert haben, wie sich der Sound von ihm und seinen mannigfaltigen Teklife Kollaborateuren im Jahr 2013 entwickelt hatte. Benannt nach dem Freizeitcocktail aus Sprite und Kodein treffen auf ,Double Cup" traditionelle 808 Footwork Ausbrüche auf die neuesten Mutationen des Sounds und zeigen so die Vielseitigkeit und Kraft der Chicago Szene im Jahr 2013. Das Album wirft Hip Hop, R&B, Acid, House, Techno und Jungle in seinen Footwork Shredder und spuckt diese auf der anderen Seite als zusammengeklebte Fragmente wieder aus, zusammengehalten durch schnurrende 808 Subtriplets und kantige Polyrhythmen. Das Album wärmt sich langsam mit einem G-Funk Swing auf, der typisch ist für RASHAD und SPINNs Kollaborationen mit TASO aus San Francisco. Diven mit Schluckauf räkeln sich auf den Rhythmen von ,Show U How", ,Only One" und ,Everyday Of My Life" mit Raps von der Crew auf ,Pass That Shit", ,She A Go" und ,Kush, Drank, Barz". Das bereits veröffentlichte "I Don't Give A Fuck" markiert den düsteren Dreh- und Angelpunkt des Albums; das Tempo zieht in der zweiten Hälfte an mit dem treibenden Viervierteltakt des Titeltracks ,Double Cup", dem donnernd gepressten ,Acid Bit" und dem Chicago House von ,Reggie" und ,Leavin. Den Höhepunkt markiert die Breakbeat Wissenschaft von ,Let U No" und ,I'm Too Hi". ,Double Cup" ist vorausschauende Musik für die Tanzfläche und unterstreicht, dass Footwork an der Macht ist.

Karakuchi is a debut 12” self-titled LP and the introductory release to the new London based label, The Florist’s Mum. The ten tracks are unclassifiable, but are best described as a leftfield dance epic with ambient undertones that combine lusciously romantic synthesizers, which bring to mind an amateur Vangelis, mixed with the dreamy chopped & screwed voices, that are all warped within the texture of deteriorating tape loops, and finally set to some surprising structures of bouncy garage kicks and dribbling hi-hats. Karakuchi’s drifting between orchestration and organic crumble are a perfect companion for active electronic music listeners seeking experimentation and new depths of sincerity.

I Am Not A Doctor is the successor of Moloko’s first album Do You Like My Tight Sweater? The duo experimented with their earlier sound and combined it with drum and bass and synthpop. The result of it all is a more entertaining and versatile sound, receiving critical praise all over the world. Although it was not a big seller the single “Sing It Back” experienced chart success after it was remixed by DJ Boris Dlugosch. The song eventually became a worldwide hit and could be heard in almost every nightclub for years. Roisin Murphy and Mark Brydon blended their talents very well and created another noteworthy record.

I Am Not A Doctor is available as a limited edition of 3000 numbered copies on white coloured vinyl.

cello player and electronic artist martina bertoni's new album "music for empty flats" delivers masterfully crafted experimental ambient / drone for fans of hildur guðnadóttir, giulio aldinucci or lawrence english.

martina bertoni is a berlin based cellist and composer. she started playing the cello at a very young age. classically trained, bertoni's career soon developed around experimental and film music where her cello has been featured in numerous records, soundtracks for awarded movies and tv series and collaborations, among others with blixa bargeld and teho teardo with whom she recorded several albums and performed at many prestigious festivals all around the globe.

the core of her solo work is based on deconstructing the relationship with her own instrument by combining acoustic sound, repetition, analog and digital synthesis. after the eps "in a paradise you would be happy" (2018) and "the green ep" (2019) she released her critically acclaimed full length album "all the ghosts are gone" with the reykjavík based label falk in january 2020.

on her new album she continues to explore the sonic possibilities of her instrument which she uses as sound source - sounds which are then processed, adding reverb, feedback and sub-bass frequencies and thus crafting sonic sculptures, rich of atmospheres and frictions.

"the inspiration for the title "music for empty flats" comes from a fraction of time during last winter, while i was visiting iceland. i had the strange opportunity to spend lots of time listening to music, alone in a brand new but unoccupied - therefore completely naked - empty flat in the suburbs of reykjavík. it was christmas, it was constantly dark, outside there was snow, inside there was this strange dystopian empty space in which i could listen to my favourite pieces of music in complete solitude. this is when i started sketching the new record." says bertoni.

the resulting seven new tracks deliver masterfully crafted experimental ambient / drone, dense and intense but fragile and sensitive at the same time. A more than impressive new artistic statement by martina bertoni, recommended not only for fans of hildur guðnadóttir, giulio aldinucci or lawrence english!

Oliver Torr is about to release his first full length solo album. The album features many moods and colours, with Oliver exploring the use of his voice and lyrics as a new form of his expression. Successfully mixing electronic avant-garde/experimental forms with pop-like harmonic structures is the main theme of the record.

The idea of recontextualisation and themes of observation are mainly inspired by the philosophical literature and ideas of John Berger, Marshall McLuhan, and many others was a driving force during the creation of the album. The lyrical and sound design content is mainly inspired by panic attacks and depression, and serves as a therapeutic tool to aid in personal psychological healing.

Tracks make use of creative sound design by utilising field recordings and various experimental instruments and sources of sound, such as the Radical Chip, designed by John Richards (one of Oliver's mentors) and Max Wainwright. Tracks like 'Deià' which create a chaotic sonic palette are the author's representation of his mind under the siege of an intense panic attack, experienced in the seaside town of the same name that is located on the island of Mallorca.

Oliver feels like the album has been writing itself for the past 5 years, and in the past few months it has decided to finally show its form. With the help of Aid Kid, who is mixing the album and providing additional production, Oliver has put together a 14-track rollercoaster record, with the help of some special guests. Guests on vocals include Chrysalism, BCAA's Bilej Kluk, and sci fi RnB newcomer LVCIFER. Other sonic collaborators include Sunnbrella (guitars on two tracks), Bastl Instruments' David Strobach (distorted samples in intro), Peter Kutin, and Radio Laude's DeSteffan and R.A. (distorted samples/vocal on one track).

The record's sonics are a combination of Oliver's conscious influences, including experimental music, classical avant-garde, shoegaze, IDM, EBM, electronica, hints of modern club music, as well as PC music influences.

Oliver Torr is known as a composer, music producer, performer and installation artist. Outside of his solo projects, he has worked with many prominent musicians and creative companies/film makers worldwide. He is the founder of XYZ project, a music label concentrating on electronic music and audiovisual art (xyzproject.bandcamp), and a member of the noise.kitchen crew (a music and synth shop run by Bastl Instruments in Prague). Oliver is also a part of the 2020 SHAPE Platform roster (shapeplatform.eu), and the 2021 Gravity Network roster (gravitynetwork).

Oliver releases the album prior to the release of his 'Trans Europe Postal Express' project (supported and arranged in collaboration with SHAPE Platform) and gallery exhibition at MeetFactory art space Prague, that will take place in March, and will further the sonic palette of the album.

The album's artwork is directed and designed by Kristyna Kulikova and photographed by Lukas Havlena (VICE, National Gallery of Prague).

The album's pre-release sees a teaser trailer shot and directed by Tereza Halamova and Filip Kettner that will be released 1st of February. A short movie music video with the same crew is scheduled a month after the album's digital release.

A remixed version with reworks from established European electronic musicians (including Peter Kutin, Fausto Mercier, Wim Dehaen, Natalie Plevakova, Evil Medved, NobodyListen, David Herzig, Ancestral Vision and Trauma), will be coming in the next few months after the release.

GU are proud to present #GU43 Joris Voorn – Rotterdam. A monumental mix and a groundbreaking journey from one of the most exciting DJs on the planet. Over 100 tracks including more than 20 exclusive originals & remixes from Joris Voorn and featuring music from CJ Bolland, Kölsch, Rone, Speedy J & so many more.

JORIS VOORN SAID:

“Rotterdam is a city close to my heart, it’s where I started my career as a music producer, and gave me the inspiration to make my first tracks. GU43 takes you on a true journey.... One moment you feel you’re in the industrial Rotterdam harbour, next you’re in the vibrant cultural city centre. Sometimes you’re in a dark tunnel under the river that splits North and South before coming up to the tranquillity of a green park. GU43 is an ode to the city that gave me a life in music.”

Epic is a word shamelessly misused in the modern age, so it should be noted this track is not epic; it's beyond epic, post-epic, if you will. Harmonic, yet driving. Melancholic, yet aggressive. Jori Hulkkonen's whole career compressed into one track -minus the hits. The 12" comes packed with remixes that are more than remixes, too. J-7 lifts the spirits with his vocal take on the track, while jazz virtuoso Aki Rissanen shows us why we call him a jazz virtuoso.
The original version was released on digital platforms originally in 2019 on Jori's own Blanco & Tinto imprint, and earned him an Emma (Finnish Grammy) nomination. The track has been getting support from industry heavy-hitters such as Laurent Garnier and Nick Warren.

A new Star-Rose in 2019 and their Name is India Jordan- DJ Mag, “A rising Superstar” - Red Bull Music, - “Thrilling” -Resident Advisor. Fast-rising producer & DJ India Jordan has announced their “largest and most personal” release yet, a six-track EP titled "For You".

Inspired by growing up queer in the North of England, "For You" documents India understanding- and learning about their own identity & being kind to themselves in the process (the “You” in the EP’s title is a reference to India).The EP’s six tracks draw from all aspects of India’s musical make-up, from the raw sample-chopping house & high-emotion techno that they first made their name with, to the fast-paced drum’n’bass- and happy hardcore of their formative early clubbing experiences.

Although India has been a respected underground presence for several years now, holding down residencies and promoting parties across the UK’s North-East, it’s the last 12 months that have really seen them soar. Their debut EP DNT STP MY LV was released last May to great acclaim, with follow-up single ‘WARPER’ cementing India’s status as one of Europe’s most exciting new talents: both releases ended up in Best of 2019 lists by Resident Advisor, FACT, DJ Mag and Mixmag, while DNT STP MY LV highlight ‘DN4’ was picked as one of Resident Advisor’s Top 100 Singles of the Decade a mere 12 months after release.

The Guardian went one better this January gone, listing India as one of 50 Amazing Musicians to Watch for 2020. The cover art and assets for the EP were shot at Dalston Superstore, a legendary queer venue in Dalston that’s close to India’s heart. “I've always been really into toilets, I did a photography project at college writing messages in toilets for people”, they explain. “I'm drawn to the idea that they're public but ultimately isolated and individual, so writing a message was a way to show another human had been there.”

“They're spaces for me to decompress, sort my head out and get some time away. They're also places I've experienced to be queer. When I was growing up, it wasn't necessarily safe for me to show any public displays of affection with people, so toilets were a safe option.”

When Lindstrom and Prins Thomas get together, expect the unexpected. The Norwegian production duo's third album III is also their first outing together in eleven years, since II from 2009 and as ever, Lindstrom and Prins Thomas have crafted their own unique sonic world between the two of them. This is expansive, luscious electronic music rich with texture and intricacy, patiently revealing every eccentricity while constantly pulling the listener in. Getting lost never sounded so good. Since the release of II, Lindstrom and Prins Thomas have remained more than busy with their respective solo careers, but work on III was taking place behind the scenes the whole time - slow and steady by sending files back and forth. "There's a different process with every album," Thomas explains. "With the first two albums, we had a door between separate rooms in the studio, so I could open my door and play him something. We also toured together a lot after the first album, and after that experience we realized that we work better together at a distance. We're doing our best work by not worrying too much about what the other one of us is doing." Eventually, the bulk of III came together over the last year, as Lindstrom and Prins Thomas teamed up to craft a lush and lovely work that recalls the hazy atmospherics of Air, the loose-fit jazz of Lonnie Liston Smith, and the genreresistant electronic music that both artists have made their name on over the course of their impressive careers. "Our partnership is very democratic "we never turn down each other's ideas. And if it goes wrong, we blame it on the other guy," Thomas says with a laugh. "The tracks that Lindstrom sent me this time were almost like standard house tracks. I already had an idea of what I wanted to do, so I forced those tracks into new shoes and dresses." Above all else, III is a testament to the adventurousness of Lindstrom and Prins Thomas when it comes to soundcraft. Both artists have established separate careers on bodies of work that feature infinite twists and turns, thrilling their audiences with the suggestion of where they've been and where they're about to go. Together, they've crafted what might be their most beguiling and inviting work yet, a jeweled box of electronic music ornately crafted but never losing the sense of playfulness that so many have come to love from them.

GEORGIA's new kaleidoscopic hyper-music-entity "State Effect (Accel)" expands the NYC's duo project in a high-dimensional phase space—and does so within their all-kind-of-music frame.

State Effect (Accel) is happening this very moment, it is a positive cry for change—a brilliant plan.

This record is "viscous" — whatever I do, wherever I am, it sort of "sticks" to me.

It is "nonlocal" — its 'accelerated' effects are globally distributed through a huge tract of time. It forces me to experience time in an unusual way.

It is "phased" — I only experience pieces of it at any one time.

It is "inter-objective" — it consists of all kinds of other/multiple entities but it is not reducible to the sum of its parts.

This music reveals the present and its psychic dimension, no titles could have been more relevant.

Justin Tripp and Brian Close's new kaleidoscopic hyper-music-entity expands their GEORGIA project in a high-dimensional phase space. A great work of cognitive music mapping that plots all the states of a system — Lovely bubbly HTML.

The eight tracker long playing make extensive use of the vocal participation of Paris/Berlin-based artist/DJ MARYLOU aka OISEAU DANSEUR and Gabi Asfour of visionary NY fashion collective threeASFOUR.

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory once again with a second limited 45'. This release delves into some modern soul and jazz, flipping some new age cult classics to club friendly future anthem

Serious sound system pressure on this one! Select tracks from Natalie Slade's debut album 'Control' have been completely reimagined and transformed into Jungle, Footwork, Garage, Broken Beat and Hip Hop by some of the most exciting talent around, including Tek-Life affiliate DJ Taye, Azymuth producer Daniel Maunick, Garage young blood Holloway and Chicago's DJ Hank amongst others.

Italian sound artist GIULIO ALDINUCCI returns with his 3rd album on KARL: "Shards Of Distant Times" is again a truly masterfully composed and sound-designed ambient masterpiece and a more than worthy follow-up to the critically acclaimed "Borders And Ruins" (2017) and "Disappearing In A Mirror" (2018) which both made it onto several year's best lists.

Over the course of six solo albums on labels like DRONARIVM plus EPs and collaborative albums (a.o. with IAN HAWGOOD), GIULIO ALDINUCCI successively has been refining his skills as composer and sound designer. His elegant style which blends ambient and field recordings came to full impact on his previous KARL albums "Borders And Ruins" and "Disappearing In A Mirror" which gained the Italian sound artist a lot of critical praise and made it onto several year's best lists, a.o. ALDINUCCI's latest effort is again not only a musical masterpiece of sublime beauty and sacral majesty, it also deals with philosophical concerns. Where "Borders …" was a reflection on the instability of borders and "Disappearing In A Mirror" raised the very personal question of identity, "Shards Of Distant Times explores the liminal areas of the contemporary soundscape that are characterized by the presence of human voice coming from old and timeworn recordings. Like in the auditory pareidolia, the psychological phenomenon in which the mind hears indistinct voices in random noise where none exist, voices and music emerge from the everyday soundscape through the omnipresent internet connected devices, creating glitches between time and space" (ALDINUCCI).

Anna Logue, Discogs: "E-MAN was the first project of Norwegian musician Geir Jenssen (electronics, well-known from being in Bel Canto and especially Biosphere) with guest vocalists Ragnar "Spiss" Larsen and Frank Jensen, and Per Martinsen on additional electronics. They only released one cassette on Likvider in 1984 (LIKV 4025) with tracks recorded in 1983/84. For various reasons one can say that E-MAN was the Norwegian twin-brother of Belgian project Twilight Ritual. First because of the instrumentation: Geir used a Roland TR-808 with sequencers and second, Geir did not restrict himself to (synth)pop structures but added already much soul and atmosphere into the compositions. Already the first track "The Difference" sounds perfectly like the best synthpop moments of Linear Movement. "De Du Da Da Di" has very clear Kraftwerk and Cybotron (Juan Atkins) influences, too. "The Upland" (parts I to IV) or "Hosono" are Twilight Ritual tracks par excellence. Also featured and finally available is the track "Great Nations" which was already well-known in the minimal electronics circles, a masterpiece of simple electropop, and very very similar to Oppenheimer Analysis. And so happy that also now "Jeg Er Moderne" is available on vinyl, one of the best electropop tracks ever ever ever – listen to that sequence and melodies, oh Anna is melting away every time she hears that song. Then equally great and again Linear Movement-like "Nibsy the Newsboy" … Remastered by Geir Jenssen this (re-)release was so over-due! If you like any of the aforementioned bands, then there is no way that you could pass on this. Norway, 12 points from Germany!

Limited to only 300 copies this trio of tracks dangled in classic disco juice is one of Picnic Records finest.

"Disco Ynferno" is not quite a cover of The Tramps hit but borrows the lyrics to stay in theme with the release. A driving deep house groove, 909 drums gets things moving and when the big buzzy bass, smooth breaks and nonchalant vocals drop at the halfway point it just feels right.

Company B's Hi-NRG banger get chuggified. "Phasinated" vocals by Aussie soul diva 'Ofa Fotu shine through this deep and funky 110bpm disco groover. Tropical percussion sits underneath a bouncy electro synth bass. A bit of a Crooked Man vibe going on.


The stand out, "Dubbing Alive", a tropical dubbed out version of arguably the biggest disco track ever. It just settles in and washes you with familiar melodies pushed along by a weirdly amazing honky bass. Perfect for coming up, coming down or a Sunday session down the pub.

As the popularity of Footwork has continued to soar, the range of sounds within the genre has expanded. From the angular, minimal beats of RP Boo to the widely admired sound of sadly departed DJ Rashad, the genre has lovingly seeped into hearts and feet worldwide whilst continuing to innovate. Until now most of the focus has been on the male DJ/Producers, but that is about to change. Gary based producer Jlin, who some of you might remember for her track 'Erotic Heat' (Bangs and Works Vol.2 - Planet Mu 2011), or from her moment in the mainstream light providing music for fashion designer Rick Owens' FW/14 Paris runway show, is stepping further into the light with a stunning eleven track debut album 'Dark Energy' showcasing her unique and bold new sound.

Gary, Indiana, a neighbouring City to Chicago, is one of those towns people overlook or perhaps expect the worst of. It's famous for the Jackson 5 and its Steel Mills, one of which Jlin works long shifts at. She says her sound and 'the themes behind my tracks are all based off what my creativity absorbs, whether it be bad or good', and the music certainly shows that intent. It's forceful, yet ripples with colour; it's an intense, monolithic sound with rugged rhythms that stop and breathe and roll out in unusual staccato patterns. It's a sound unlike any other out there, one that's fiercely unique. Her track titles are as evocative as the music is intense and hint at deeper themes - 'Black Diamond', 'Guantanamo', 'Abnormal Restriction'. She notes 'The titles I chose are based off failing and learning.' Album track 'Expand' also features a vocal from another important female artist - respected experimental West Coast producer Holly Herndon whom Jlin has been quietly collaborating with.Her album 'Dark Energy' is so called because of where it came from and how it came to be; the dark monolith on the cover also perfectly encapsulates it - 'This album took my entire life to make. Every moment in my life lead up to this album. My musical sense of expression comes from sadness, and anger. I can't create from a happy place. It seems pointless in my opinion. I don't make the tracks as much as I feel them. Creating for me is about feeling and impact.'Jlin has been supported by all the key players in the Footwork scene and says she is 'thankful to many.' 2015 feels like the year people are ready for a new voice in Footwork and Jlin is a true original with a hard, yet infectious style and an album that showcases it brilliantly.