House News

Back in 2018, Four Flies Records unearthed the previously unheard 'Africa Oscura', considered by many as the "dark side" of 'Zoo Folle' – Giuliano Sorgini's masterpiece (reissued by Four Flies Records in 2016) – and partly recorded during the same session in 1974.
The original work portrays a fictional and mysterious continent, providing a soundtrack tinged with dark
moods and cosmic shades. 'Africa Oscura' was entirely recorded by the composer, who played all instruments in his studio in Rome. This resulted in a formal spareness, a minimalism that gives it a
modern quality, something which makes it stand the test of time, or at least resonate with contemporary taste.
Since its release, 'Africa Oscura' has become a classic – a pivotal release not only within Sorgini's discography, but also one that made his name more known and accessible to a new generation of music professionals, DJs and fans of electronic music.
Four Flies have thus decided to celebrate its modernity with a double 12" featuring 7 reworks by six of Italy's most visionary DJs/producers: Jolly Mare, L.U.C.A. (aka Francisco), pAd, Painé, and Quiroga & Dario Bass.
The original tracks have been reworked with different approaches, sometimes into full reinterpretations, and with demanding dance floors in mind. The result is a stunning collection of electronic, cosmic, downtempo and Balearic reworks that preserve the spirit of the original versions while projecting them into the future.

South Street delve into the The Sound Of Detroit from one of its unsung heroes, reissuing Amp Fiddler's 'Motor City Booty' LP on suitably swanky purple and pink vinyl respectively. Coming straight off the D Funk assembly line, it's a full on dance floor affair from Motown to P-Funk, Techno and Neo Soul.

This 12 track album produced by Amp Fiddler & Yam Who? includes the massive 'Soul Fly' sounding like a Mark Ronson production had he been hanging out with George Clinton's Parlet followed by the bonafide P-Funk anthem 'Steppin' both featuring the stunning vocals by the Dames Brown girls.




Amp Fiddler is credited for taking both a young J Dilla and also Q-Tip under his wing teaching them his Akai MPC techniques, setting the path for some of Hip Hop's finest recordings which have defined the shape of things to come.

His musical collaborations & current duties include: Moodymann's musical maestro, keyboard wizard for Theo Parrish's live band, a longstanding Funkadelic member, co-writer for Sly & Robbie, Prince, Maxwell, Jamiroquai & Seal to name a few.

Foureal Records Vinly series in the past release Japanese Artist only release 2nd Release is Naohito .His base Hokkaido Sapporo city He played In the few years Horsehead ebulaHis originality sound Emotional and funk This track as a symbol for a Label. Breaks soundsPurple Valeand Floating sounds House GrooveMenzel.all track is unified an atmosphere 3tracks

Occasionally prodigal, but ever-prodigious, Elliot Thomas AKA Etbonz weaves an 80-s/early 90's sci-fi cinema sound into a total recall of scattered memories.
Childhood play with starcom and Gobots. Soaking in cult classics like Robocop, Predator, and Big Trouble in Little China on VHS. DJing in spacey laser-lit rooms draped with sound-dampening curtains.

Side A leads with 'Blue Drink,' which is carried perfectly on melodic motifs designed for trance inducing, with a steadily crescendoing & irresistible rhythmic mantra.

Following this, 'Curtainbox Space World' flips the 'Jerry Garcia finds a 303' switch and accidentally opens a portal to some deep shamanic release.

This is the second Super Hexagon release. It's got three tracks from Alma at a total running time of 15 minutes and 32 seconds. Superb electronica for fans of AFX & Squarepusher.

Following up from Carmen Villain's brilliant second album 'Infinite Avenue'. Two remixes from Klara Lewis and Biosphere.

Trevor Jacksons second release on his unreleased archive recordings label Pre- is a heady collection of subterranean minimalist synth jams, blissful technicolour textures, somber distorted drones and expansive cosmic soundscapes.
Recorded during 2010-2014 with a limited analog vintage hardware set up - Elka Sythex, Roland Jupiter 6, Roland 808, Roland Chorus Echo, Bel BD80 delay & Tape, these solo recordings were created at unearthly hours as lengthy improvised compositions and cathartic personal experiments. Heavily manipulated using classic effects units, harmonic layers slowly evolve, arpeggiated melodies mutate, discordant drum machines and fractured voices merge elegantly into noise. Design your Dreams is Jackson at his best, uncompromising and considered, progressive and unique.

Im Klanggarten is the very first release on Frank Wiedemann's newly established Bigamo label by the musician, video artist, author and DJ Rainer Buchmüller aka "Fred und Luna" from Karlsruhe/Germany.
It began as an homage to German electronic music of the 70s and 80s known as 'Kraut'.
However, Rainer gives his style its own name: "Elektrokraut" or "Krautelektro", in which he blends Kraut elements, such as repetitive rhythms, with beautiful melodies and modern electronic sounds. This LP comes as a double vinyl in a gatefold cover!

Cogitate single is a tribute to John C. Lilly, famous for his research on ketamine and interspecies communication. It's also an exercise in perception through repetition. Mostly known for their 90bpm acid dj sets and live performances, the belgo-italian duet formed by Hugosan and DJ Athome tends to explore the limits of techno going deep and slow. Feel the contact.

Spanish artist How to levitate presents his first ambient release entitled ‘’Oceans’’. Greatly influenced by drone, ambient, field recording and synthesizer music scenes, How To Levitate utilises aspects of all such styles to paint a day by the ocean in which the listener can follow the development of such day via movements and intermixtures of recorded nature flowing into synthesizer universe and through to the slowly bubbling rhythms of techno as to reflect the nature of ocean’s own defiant movement and changes throughout a day.

Summer might be fading away, but the good time grooves keep on coming courtesy of Hell Yeah’s next album project: Cats Do Not Care About Glasses is the latest from all round musical talent Juan Moretti, who fuses together jazz, hip hop, electronics, soundtracks, musical experimentation and much more into a freeform album of intoxicating sonic journeys.

Moretti is a bassist, drummer, composer, arranger, visual artist, DJ, hard clubber and good food lover who has been plotting his own route since the early nineties. He is co-founder of the 3IO jazz band and Things Happen nu disco duo who has been involved with theatre shows, short soundtracks, visual installations, festivals, DJ sets, experimental art and more. Drawing on all that and heading off into the unknown, out of his comfort zone and into brave new sound worlds, he goes where the compositional process takes him without a view to any specific genre or style.

That plays out across the seven suburb tracks, with opener ‘Flare’ managing to be a worldly ambient piece as well as a slow motion acid track, a blissful balearic trip but also a majestic melodic masterpiece. ‘Fahrenheit’ fuses cosmic Sun Ra jazz with glistening electronics that drown you in warm sunshine, and ‘Insane’ has a tropical feeling and gentle bossa rhythm, but intensely freeform synths that tie you up in knots.

The midpoint sinks you into the breezy wind instruments, afro vocals and gently lilting guitar licks of ‘Fortaleza’ before ‘Claustrophonic’ is another celestial electronic jazz epic with withering sci-fi synths and live drums that constantly evolves. A swaggering dub beat and drifting sax line make ‘Moroboshi’ a low key beach club classic in the making, and finally ‘Backdoor (Mad The Cat)’ is a lush hip hop vibe awash with breezy licks and steamy chords.

This is a brilliantly inventive album that brings together jazz, electronics and hip hop in truly magical new ways.

Forthcoming Director’s Cut of Kito Jempere’s Sea Monster album on Hell Yeah is filled with gems, and two of them are now getting pressed up on a limited edition run of only 100 7”s.

It will be a special package mastered and cut by Andreas at Schnitstelle, hand written and hand numbered by Andrea Amaducci and including a double sticker in a high quality plastic sleeve.

Russian master Kito Jempere dazzles again with “Uohha!”, which swaggers on lazy drums with expressive vocals conveying a sense of carefree emotion.

“To Marvin” is then a jazzed up number, with keys and trumpets, twisted synths and loose drums all getting you up on your toes.

This is a sure-fire secret weapon that you need in your collection.

KNIGHTSTOWN is the solo vocal/electronic project of composer and songwriter Michael Aston. He was signed to FatCat in 2016, after submitting 'Disparity' in 2014, a demo which quickly became one of the label's most listened to tracks on the FatCat Demo site.
Working closely with his cousin and producer, Thomas Aston, KNIGHTSTOWN honed the project over the course of a year. KNIGHTSTOWN's material would sit happily among the likes of Sampha and Jamie Woon. Emotive, falsetto vocals shine through these electronic compositions, and the music searches for the 'sweet-spot between showing emotion and self-restraint'. Hypnotic vocal melodies soar above warm synths, sparse drum beats, and stunning string arrangements. KNIGHTSTOWN maintains a coherent vision throughout the record, keeping one foot in a familiar reality and the other in a future that doesn't seem wholly distant.
Having worked for several years as a freelance composer/songwriter and performer, Aston's extensive experience ranges from composing an Orchestral Overture for the Glasgow 2014 Commonwealth Games to playing keyboards for FatCat's very own C Duncan.

KRAMP is the solo project of Stijn Wybouw, a young artist involved in numerous visual and musical projects that often overlap and which share an unflinchingly honest approach, as well as penchant for crimson hues. As KRAMP, Wybouw assumes a red-faced identity to unleash raw machinations that take on ceremonial underpinnings through coarse compositions, murky drones, and warped vocalizations, all churned through the marshy fuzz of various tape recorders. After a slew of self-releases, KRAMP’s first wax outing
remains bound to a DIY ethos reminiscent of early 2000s noise and freakfolk undercurrents. On Nervous Rattles, the core is shaped by the original tapes themselves, their materiality evident through the process of flipping, tampering, layering and collaging, resulting in muddled interweaving textures that form a deranged tapestry of a near-ritualistic order. Chanting, breathing, moaning, howling and other bodily elements enter into a free-form dialogue with an indiscriminate array of instruments to create an open-ended, hypnotically shifting structure. A return to primordial zones, hearkening to the ungraspable eeriness of something both
familiar and mystifying.

Les Graciés is a collaboration in the truest sense between Paris-based sound artist Gaël Segalen and Deepblak co-founder Afrikan Sciences. Segalen's experiments in electroacoustic sound met the wider world this year via a debut LP for Erratum, an arresting work that showcases her ability to merge hypnotic murk ala Angus MacLise with the hard concréte of Parmegiani & Reibel. Segalen's IHearU imprint / organisation is a platform for her various doings, including psychogeographical audio works and multi-media collaborations, as well as servicing as a reference point for other contemporary female artists working across various mediums. Eric Douglas Porter aka African Sciences has been deconstructing and re-building forms of contemporary Black music since the mid-2000's, through releases on Deepblak (the label he co-runs with Aybee) and PAN. His musical universe is one of warping cadences and celestial melody, referencing the bold work of percussionists like Milford Graves & Art Jenkins, the dissonant chords of Motor City Techno and stripped back essence of early Chicago House matched with broken Hard Bop sentiments: all tied together with an aesthetic that sits somewhere between Sun Ra's omniverse, Jean Giraud Mœbius and Dogon cosmology. Together as Le Graciés, Segalen and Porter make a wholly unclassifiable strain of music that, while containing recognisable elements of each individual's work, also creates a third entity in the process, which can be heard to stunning effect on their forthcoming debut LP 'Low Doses' for Firecracker Recordings.

"Emotional Response continues the second SchleiBen series with a pan-ocean exploration of meditative spiritualism meets psychedelic ambience. The 2nd of the 4 part series expands with the inclusive offerings from LA's Matthewdavid and London's HOLOVR for a cyclical journey of altered consciousness against lush 303-tinged harmonics. First, Matthewdavid provides a 20-minute live recording to showcase his "meditation with music". Beat maker, producer, label owner, radio host and now new age explorer, Matthew David McQueen has been a fixture of the City Of Angles music scene for over a decade. However, it was his association with Tropical Hi-Fi (SchleiBen 3) that first attracted the label's attention to dig deeper in to his developing sound.
As Leaving Records founder he has a prominent role is shaping the cities sound that has seen him work with Sun Araw, Laraaji and a myriad of the label's roster. Here performing in most his recent incarnation, Matthewdavid's Mindflight - having just released the wonderful Trust The Guide And Glide double album opus - is Sonos. Recorded live at Dublab Radio's "Tonalism" event at Sonos Studios, the piece utilises Critter & Guitari Pocket Piano, Hulusi Flute and Ableton Live to create movement, fade and sequence. A looping realisation, music inside music, thresholds expanded, connecting the centre, a place, origin, a soul that allows a devout expression to exude and find mediation in sound. This is music to get lost and at the same, get found in.
Set against these endless arp-loops, is HOLOVR, raising a more focused consciousness that is a perfect counterpoint. Having already appeared on the label via his recent, deep, eloquent remix of Sad City, as well as releasing with label favourites Opal Tapes, Further Records and Firecracker, the desire to work with another uniquely individual producer has been in place for several years. Recorded using only hardware; 303 lines, soft pads, arpeggio synths and Roland percussion capture a snapshot of time in a natural, in-the-moment negotiation of these different elements, giving trademark, open, drifting loops that let the listener within, while texture and tone engage, activating harmonic resonances almost as a drone. This progressive disintegration, tuning in and dropping out of musical spheres envelops while hinting at aphex influences and (artificial) intelligence. SchleiBen shifts, expanding, growing, pulsating. Keep the faith and (un)listen.

Meatbingo returns after a lengthy gap following his 2013 Skam album 'Trendy Robots' with a brand-new LP of his trademark precise micro-edited cutup-funk on Fonolith. 'The Error of My WAVs' contains eight fresh tracks of tightly-wound, laser-focused disco chaos. Like a dizzying hit of a future dancefloor drug administered digitally into your avatar's holographic brain. Augmenting his intensive sample-mashing approach with bass guitar playing and scrambled up elements of his own back catalogue, 'WAVs' sees producer Neil Scrivin further evolving and expanding the limits of the Meatbingo sound.

UK artists Reset Robot, Jon Gurd and Tom Powell collaborate again on their free-form
hybrid electronica project- 'Mister Woo'.
Following a series of under-the-radar EPs, 'Beyond Light' is the trio's debut album and most experimental and eclectic work so far.
Mister Woo recorded 'Beyond Light' in their Portsmouth studio over three weeks in 2016, setting themselves to writing and recording tracks on-the fly and building an album around one-take, improvised performances. Free to take its own form and direction from the outset, the result is a varied, unpredictable, high-energy record that pushes Mister Woo's distinct brand of
electronica into new and unexplored places.

"Rendezvous is an EP comprised of tracks that are a departure from what I normally do," says Postepski. "The tracks didn't quite work on the album (Progress) but I felt they shared a weird Krauty EDM vibe. The artwork was done by Faye and Gina in Paris. I love the concept they tied in with the single, Rendezvous: a meeting with someone that is arranged for a particular time and place and that is often secret."

Another brilliant set of pop-meets-pop rodgerings by De Murcia of no mercy, this time riding East for inspiration, following his notable Wasted House EP from last year. Five sharp and discombobulating detournements: funny, flatulent, sexual, knockabout, unpretentious and danceable. Ace.

2015, Russell returns in exemplary form to the label for this beautifully and brutally positioned EP of pulsating techno, modular synth acid flex and modern electro warp all conducted from his table of hardware. The A side's tracks 'Without Fear' and 'The Chill' see the sun up and glowing with their bucolic charm and rolling bounce, the depth of modular processing forming a kaleidoscopic centre one can stare into. The B side is a much colder affair, the sun drops and mutated 101-esque squelch oozes out into the dark dance floor. Hard acidic burns carry the track out into closer 'Privilege', it's formant synthesis swallowed and stomached sickly, the track is Butler at his best, marrying evolving percussive patterns and trademark Detroit-ish sulking pad's with a joyous sense of release in the lead acid line. Walking a thin line between light and shade this track introduces us to an artist reaching forwards with their machines.

For Lionoil's 4th outing, formerly supine Edinburgh top cat Thinktank takes us on a dive around his subaquatic crib, drifting between it's many chambers - each one stranger and more manic than the next. Within this flooded house are cupboards of digi-dub hysteria, boxes of ginger-snap crunchy electro and an attic full of flailing blippy techno that Thinktank has offered to dancefloors outside and above. Three tracks cut at 45 for the club, built for enhancing maritime mindfulness and amphibian serenity. First up, 'Salve' protects our skin and soothes our egos. Flip it over and deadly digi-dub rain-dance ceremony 'Computers Need More Africa' does exactly what it says on the tin. Finally, 'Underwater Allies' is Thinktank's entrance theme/warrior's dance/getting out of the shower groove.
Hold your breath and embrace the chill - we'll supply the goggles.

Words that capture this resultant outcome. A spectral haze of subconscious, living rhythms. A meeting of mind-tribes. Close; Kudo; Ruscha; Tripp. Hear, the discovery of Tkil.
Such collaboration can bring powerful interests, mixing diversity with vivid psychedelic motions. Soundscapes of improvised beats, jamming intersections float and pierce the sonic sphere. Aural poetics illuminated across satellite optics, NYC-LA-NYC-LA.
The quartet creates in a non-linear, multiple level, liquid sequence. Four individuals, their subtle personality's reiterating sonic textures to form cascading minimalist atmospheres, chimes and percussion - diffused harmonics of ethnic vortices descending endlessly. Acting as coordinates that search for their source, a purity of multiplicity is presented.
Together these are focused experiments, raga-like meditations of precious expression from artistic connotation. Visionary; subtle; mysterious. Their essence an eclectic blend of composition, a natural but technical expression of cosmic minimalism and world music influence. The outcome is a magical encounter of artists finding a creative affinity, sweeping downstream on a rolling rhythmic magic muse, beyond a bizarre excursion to capture the thrill of modernism, moments that reach the soul of alienation and togetherness in equal, savant, infinity.

Todd Rundgren, Emil Nikolaisen, Hans-Peter Lindstrøm remixed by Stereolab, High Llamas, Erol Alkan and EYE (Boredoms)

Todd Rundgren/Emil Nikolaisen/Hans-Peter Lindstrøm's 'Runddans" was launched to wide acclaim in May this year. As a compendium of a release to the album, we invited some of our favourite artists to interpret the Runddans material, making their own versions of our piece.

As Todd was doing vocal takes during our very first and initial studio sessions for "Runddans", he claimed he would "try to do "ba-ba's", meaning vocal harmonies, like Stereolab'. It became obvious that both Todd, Emil, Hans-Peter and the label all had a soft spot for Stereolab's gleeful eccentricities. In remix- response, Stereolab joined their friends The High Llamas, resulting in five minutes of classic lounge bossa bliss!

Erol Alkan is a big fan of Todd. We thought it could be interesting to hear how he would take this a mastodon piece to the dancefloors. Erol delivered the goods and came up with a 10- minute disco epic. In the words of Mixmag: 'It's a joy to hear classic Lindstrom synths manipulated in such fine fashion putting this rerub up with Erol's best"

For all of us involved, EYE from Boredoms is the master of cosmic/psychedelic. This remix is very special to us. EYE's take on our music is pure magic!

Unslaved's 'Punjab' is a journey through three unconventional club tracks, hear genres entwined, sounds broken down and set free in the most spell-binding way. First track 'Punjab' is an eight minute creeper built from insane drum patterns and layered with an eerie, yet blissful melody. With an almost ambient quality, Punjab is an off- kilter yet perfect. On the ip, B1 'Apogee' is a dark masterpiece with the rawest, yet most striking of characters. A track that wouldn't have been out of place in early dubstep or grime circles with a spine-tingling bass line, 'Apogee' has that sparse, stripped-back feel where listeners discover hidden elements on each listen. Exploring the murkiest corners of electronica, 'Apogee' is an intense mover that sets a high standard for the release.

'TTA' or 'Tom Tom's Advanced' makes up the nal number on the 'Punjab' EP's trio. Just as dark as 'Apogee' and just as eerie as 'Punjab', 'TTA' casually switches from genre to genre and could easily be the soundtrack to a video-game (on acid.) Mind- bending build-ups, mystery samples and wavy breakdowns make 'TTA' a twisting and turning journey through the underworld of dance.

This fairy tale tells the story of four domestic animals, who after a lifetime of hard work are neglected and mistreated by their former masters. They decide to go to Hoot, known for its freedom, to live without owners and become musicians. Contrary to popular belief, they would never make it to their destination. However along the way they succeed in tricking and scaring off a band of robbers, capturing their spoils, and moving into their house at the sea. This is where the first chapter of our band of brothers begins.

Aer recent reflections on kosmische sonics and so focus synthesis, Origin Peoples' latest release is an in-depth exploration of our universal dance floor grammar from Italian producer Whodamanny. A key member of Naples' cosmic funk contemporaries, Raaele has put his psychedelic stamp on Periodica and Gravi Grati, both in solo mode and as a member of the notorious Mystic Jungle Tribe.

His debut solo LP, (and first outing on Origin Peoples) 'T.C.P.' travels a retro-futurist timeline between the esoteric electronics of Italy's rich library heritage and a chrome-clad brand of robotic body music perfect for the o-planetary resorts of the near future. Coastal, cosmic, funky and far out, this is the perfect distillation of the Neapolitan sound that's been turning heads and moving bodies in recent years.

In its fleeting half-life, the fragmentary 'Eurasia Aborigine' serves as both introduction and adjustment period, exposing us to a swell of electromagnetic pulses and establishing the synthetic flavours to follow. Launch protocol complete, 'Centum-Satem' employs maximum thrust, hurtling through proto techno sequences, breathless snares and a bubbling bassline while solar flares provide flashes of extreme ASMR stimulus. 'Hypothesis And Contradictions' brings things back down to cruising pace, the metallic chime of a hypnogogic percussion grid underpinning the freeform bleeps of Manny's radiophonic workout. Growing in amplitude, these electronic abstractions bleed into the opening bars of 'Electronic Sheets', building anticipation before the track flickers into the maximal sound of high grade synth funk. As the snapping electro rhythm and Laswellian bass lick take possession of our primary motor cortex, the Neapolitan producer explores hi-tech jazz tones and wild solos, translating Zawinul's "Dialects" into a fresh lingua franca for the future club kids. Body language predates speech and Manny's keen to remind us that movement matters.

Opening the other side with whooshing white noise, tender jazz tones and glistening glitches, 'Kurgan Cot' could easily be Capri by the Sea of Tranquilli, while the techno-tribalism of 'Kunda Nemunas' fuses shoulder rolling polyrhythms, thick slabs of square bass and exotic mallets into the greatest groove the Cosmic club never heard. From there we take a moment of reflection via the mystical bells and hazy interference of 'Blitzkreig Mith' before 'e Light Of TCP' lis us into an extended out-of-body experience. With Whodamanny as our guide we spend ten blissful minutes gliding through crystalline melodies, intricate solos and entheogenic tonali with only the subtle percussion and precise bass sequence keeping us tethered to our space-time continuum.

Yair Elazar Glotman & Mats Erlandsson - ‘Emanate’ Both prolific composers working within the field of modern composition/ new electronic music, Yair Elazar Glotman and Mats Erlandsson’s second collaborative album, ‘Emanate’ is a powerful and stunningly executed work that uses a fantastic ensemble cast (inc. Lucy Railton, Maria W
Horn, Viktor Orri Arnarson, Sara Fors, Liam Byrne) to explore their idea of a “displaced sound, combining electronic and acoustic sources to create a rich and ambiguous composite music that sounds neither clearly electronic nor acoustic, existing instead in some inbetween space”.

 Berlin-based Glotman worked closely with late Icelandic composer Jóhann Jóhannsson, writing additional film music for ‘Mandy’ and co-composing the score of ‘Last and First Men’ (just released on Deutsche Gramophon). He also contributed to scores by Hildur Guðnadóttir (inc. her Oscar-winning ‘Joker’ soundtrack), Geoff Barrow and Ben Salisbury, Ben Frost, Dustin O’Halloran and Hauschka. An assistant at the world-renowned EMS studio, Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, including the likes of Kali Malone, Maria W Horn and Ellen Arkbro, and has released on XKatedral, Posh Isolation and Portals Editions.

 ‘Emanate’ is a bold, deep work that dilates time and exists in a blurred interzone between classical and experimental electronic music music worlds. Allow yourself the time and space to be immersed in its currents and depths and ‘Emanate’ will amply reward your attention.

 RIYL: Jóhann Jóhannsson, Hildur Guðnadóttir, Valgier Sigurdsson, Ben Frost, William Basinski, Tim Hecker, Ellen Arkbro, The Caretaker, Kali Malone, György Ligeti, Abul Mogard, Caterina Barbieri, Pauline Oliveros, Stars Of The Lid.

Croydon's Yearning Kru uses digital technology and specifically sampling to make a unique lo-fi psychedelic environment. There is a large visual element with all his artwork self-made and live performances accompanied by his own distinctive visual montages. His work is inspired by the world-building aspect of various literary fantasy environments, especially Gormenghast and Dune, and the music is a psychedelic representation of landscapes rather than narratives of characters (as more song-based music might represent). The tracks function as viewpoints into a world for a brief period of time, and the world represented is one of small workshops toiling and churning in the shadow of great hives of technology. The title "Copper Vale" is meant to hint at something both pastoral and bucolic, a valley or secluded glade, but also recognising the industry and electricity that drives our world, something that is often set at odds against nature; also the genres of fantasy and sci-fi, that show ideas of past and future through these archetypal cultural ideas. His previous albums were the two-part cassette "Cracked Lacquer/Vanadium" on Patten's Kaleidoscope records (and it's remixes), his own self-released "Red Ice" and "Forways" on Quantum Natives as well as various self-released EPs. Much of "Copper Vale" was created in South Korea and Taiwan where he is now based.

Following 12"s from Ricardo Tobar and MANASYt, the third release on Tel Aviv's MUSAR welcomes rising UK star and Super Hexagon label boss, J.Wiltshire. The Laghan Pux EP finds Wiltshire sharing his psychedelic electronic side and brings his versatile skills together, serving up four completely different soundtracks. The gleaming sci-fi gem 'DESklep' opens the EP as a pure melodic IDM track loaded with Cornwall style while the bass-heavy title track 'Laghan Pux' is pumping as a dark & sharp peak-time trippy beast. On the B side, the mysterious Roy of The Ravers, gives you an interpretation of what proper acid sounds like, whereas 'Chained Releases' takes you on a deep and hypnotic adventure into space, full of warm guitar melodies and trancey synths.'Summon Them' closes the EP, an ambient magic piece for a hazy, orange morning where the birds just woke up and the trees singing for the first time to break the day.Early support from: Josh Wink, Danny Daze, Cinnaman, Marcel Dettmann, AME, I:Cube, The Hacker and more...

It's a welcome change to see the dance music industry shift from a sausage fest to a decidedly more diverse scene of artists and DJs, one where challenging and marginalized voices can be heard.

MISS REPRESENTED has such a voice, raw and fearless, an educated woman of experience, who has lived her life on the dark side of Scotland's acid house scene, where she has found plenty of food for thought.

Co-produced by Thomas Von Party of Multi Culti, who enlisted the talents of Kris Baha and Matt Karmil to mix, and brought in the elusive UK-underground legend Johnny Aux to rough up the already rugged Crack That Habit into an extended house banger.

If there's one thing dance music is guilty of, it's escapism. A refusal to confront reality. None of that here. Calling out a culture of lies, empowering female sexuality, facing the perils of addiction, and speaking of the resilience of the human mind, this is heady stuff for the rawest of parties.

“Billy Boy”, the title track of Modern Romance’s debut on LuLúxpo’s "Paradise Children Records" imprint is an atypical opener for a dance record. Its lackadaisical guitar work feels more like music made for a smokey dive bar in Tennessee or like it accidentally fell off the soundtrack of a lost Tarantino cut.

But it’s a stunner nevertheless, the ideal companion to a lazy, hazy sunday. LuLúxpo’s remix is its club-ready counterpart.
The label bosses dial down the rockabilly feel and add their iristinct slow and sensuous touch. Choice guitar licks are repurposed over a deep, rolling beat, while angelic oohs take a welcome front seat in the song’s second half.

Already supported by Massimiliano Pagliara, Sasha, Acid Pauli, Gene Farris, Joris Voorn, Jerry Bouthier, Elif, Landikhan, Speaking Minds, Upercent, Mira, Nandu, The Disco Boys, and many others …

The record label 'Gladio Operations' launches it's second release onto the market after the recognition of it's debut EP 'Flight to Anywhere', released in June. 'War To The Future' gives its name to the first series of V/A from the label, which includes four electro cuts, exclusively orientated for the dance floor.

The EP opens with a producer from Barcelona Univac, who after releasing Chernobyl tracks on the Dutch label Moustache Records, gifts us with Station Cero, a powerful, devastating track resonating with industrial sounds.

The second track titled Poison, bears the signature of the Ukrainian artist Lectromagnetique, a track loaded with excellent dark and enigmatic sounds. The owners of the Gladio Operations label, UHF, open side B with Unexplained Situation, a vertiginous journey wrapped in rich and deep psychedelic textures.

With releases on well renowned labels such as Bass Agenda and Bunker Records, the Serbian producer Alavux closes the EP with Sunset, a fantastic track with an aggressive bass line and significant and repetitive sequences.

Dukwa is back with the second chapter of his own personal output with a new killer four tracker EP: first cut on A side is the stunning motor city anthem Akira, an epic soulful winner which reminds some of the best Inner City’s moments thanks to its catchy vocal parts and twisted up grooves. If you are more a fan of instrumental club tracks on the second cut instead you will find Akira’s dub version where drum parts , strings, its original wicked bass line and the romantic piano solo totally stand out!

We stuck in the Detroit with the raw jam of Violet opening the flip-side, a wonky lost brother of Strings of Life that through its original arrangement and a clever broken beat will be able to amaze any dance floor. Dukwa’s pinnacle of poetic and compositional intensity happens with the poignant combination of dramatic strings together with beautiful piano notes and acid tinged bass within the closing track Water. Timeless stuff and absolute burners to enrich your record collection.

The eighteenth release on Second Circle is the label's second exploration into an artists archival works; this time presenting a selection of four early tracks by theatre, film and music producer Can Oral under his Khan alias.

Can moved to Williamsburg, New York in the early 90's along with good friend and fellow musician Jimi Tenor. Born in Germany of Turkish-Finnish parents, he would frantically start buying equipment (such as a TR808, TB303 and Korg Polysix) from junk shops across New York, becoming greatly prolific in his recordings which he would work on throughout the night. During the daytime though, Can set up and ran the now defunct Temple Records, a seminal Soho record store, and later label, largely importing Techno and Acid from Europe. Though a small store, Temple Records would count musicians and DJs such as Björk, Tricky, Dee-Lite, Josh Wink and Joey Beltram among its regular customers. Also he would host many such guests to play live or DJ at his weekly Techno party “Killer” which was held at Save The Robots in New York’s East Village.

Can Oral's nightly studio sessions eventually led to an almost inexhaustible discography with over a dozen monikers each representing a different aspect of his productions. SC018 focuses then on his early electronic works as Khan.

Named after the color painted studio where the EP was produced between 1993-1996, 'Blue Box Sessions' is a collection of four analogue machine driven cuts, covering different tempos and ethos within electronic music. Initially live recorded to an old DAT recorder, and without any overdubs, SC018 is a lost and found artefact to Khan's unquestioned raw talent and timeless relevance.

Auf „Tread“ steigert Ross From Friends die komplexen und gefühlsbetonten Qualitäten seines Produktionsstils, die Mixmag bereits dazu veranlassten, seine „eigenwillige Fingerfertigkeit“ zu loben, die „nicht nur dein Herz schmerzen lässt, sondern auch direkt aus deiner Brust tanzt“. „Tread“ ist eine Platte, die gleichzeitig glatt und melodisch, aber auch hervorragend tanzbar, nostalgisch und doch brillant modern ist, mit Anspielungen auf Sounds und Stile, die nicht so sehr reflektiert, sondern durch Weatheralls Linse gebrochen und neu kontextualisiert werden. Genauso einzigartig wie die Musik auf „Tread“ ist die Art und Weise, wie sie entstanden ist. Frustriert von den Arbeitsabläufen im kreativen Prozess, die bei der Aufnahme von Hardware und Instrumenten über einen Computer entstehen - die ständige Notwendigkeit, die Aufnahme zu starten und zu stoppen, alles zu speichern und zu katalogisieren - beschloss Weatherall, seine eigene Software zu schreiben und zu entwickeln. Das daraus resultierende Plugin mit dem Namen „Thresho“, das über Abletons Max For Live-Plattform erhältlich ist, startet die Aufnahme, sobald das Audiomaterial einen benutzerdefinierten Schwellenwert erreicht, und stoppt sie, sobald dieser Schwellenwert unterschritten wird, wobei die resultierenden Clips automatisch mit Zeitstempeln gespeichert und indiziert werden.