House News

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.

collecting orders for repress..!

Vinyl only. Carpet/Patterns matures with this debut from French producer Saudade, whose reduced house jams evokes smoky live jazz vibes and bumping tobias.-esque rhythms to create crafty
dancefloor killers.

Three years in the making only to be held up nearly another whole year due to COVID, this dark brooding monster of an EP by Brussels based Strapontin, aka multi-disciplinary artist Patrick Belmont, is finally seeing the light of day.

Clocking in at over 35-minutes the record is almost album length and spans a multitude of depths and moods with elements of techno, new wave, rock 'n' roll, house and tribal…...all glued together with a sleazy atmosphere reminiscent of the electronic body music pioneered by Strapontin’s Belgian forefathers Front 242 and their German peers DAF.

Add to this a heads-down-no-nonsense darkroom beast of a remix by techno maestro Sascha Funke and the package is complete.

Strapontin provides us with some insight:

“It started with a desire to move away a bit from my 'dancefloor' side and go into more undefined fields, I wanted to work with blurry sensations that I can't understand. I like mixed feelings. Dramatex 300 is made of that ambivalent mood. The voice is saying 'I'm feeling empty' and 'I'm feeling healthy' at the same time. I like that paradox. Eunuque is a song but is also a character I will develop in a short movie (which will act as the 'music video' of the song). The Eunuque is a character full of anger yet he doesn't want to fight nor has he a target to aim at. A restrained aggressivity is boiling inside him/it that has no opportunity to escape from the body and gain release. The song is the fever he feels from these inner battles. I think Le Bain d'Huile and Anti-sceptical have the same slow and angry feeling. I'm proud of these tracks because they are a bit mysterious to me and it feels like they controlled me more than I controlled them.”

Getting plays from Monika Seta & Alexis Le-Tan

"Ramas", branches in Spanish, is El Búho's third album of original material and stands for a celebration of the art of collaboration. Feat. 19 collaborations with artists from 12 countries, the album was born organically out of collaborations, mutual appreciation or a desire to experiment and try something new.

Some of the tracks were started in person, such as "Sky City", born out of a spaghetti-western jam in Thornato's Queens studio or "Gaviota" inspired by the the seagulls of Brighton following a shared show with Rumbo Tumba in the city. Meanwhile others such as "Elefta" with Hungarian producer Stas or "Kuuma" a track made with Finnish multi-instrumentalist QOSQI were created over long-distance with the producers never actually meeting face to face. The album also contains tracks from long-term friends and collaborators like Chancha Via Circuito, Barda and Wonderwheel head-honcho Nickodemus.

Musically the album references the blend of Latin American traditional music with original electronic music on tracks such as "Resiliencia" with legendary Chilean producer DJ Raff, an homage to the recent protest movement in Chile, or "Absolut," a track sculpted from an unfinished melodic idea by Argentine electro-folk trio Tremor. Meanwhile songs like "Nevar" and "Kif Kif Kuf Kuf" with Didacte and Kraut, both part of the Shika Shika collective, take El Búho's sound in a new direction, embracing a more melodic or impactful and rhythmic electronica.

At it's heart of "Ramas" was Perkins' desire to challenge himself creatively, forcing him to see his own ideas and production style from a different angle or see ideas started in one direction come back completely transformed by the collaborator. The result is at once surprising and diverse but El Búho's signature sound and aesthetic is the thread that runs through all of the tracks, the trunk to each branch.

Carrying on the spirit of collaboration, El Búho made an open call for collaborations with dancers & choreographers in his community. Overwhelmed by the response, the album is accompanied by 18 original choreographies by dancers and dance groups from 12 different countries, from Mexico to Taiwan, South Africa or the Galapagos Islands. Each chose the track that most inspired them and shot a video of their dance in a unique and beautiful natural location, in doing so creating yet more ramas or branches for the project.

If you want a snapshot of where techno stands in any given year, and a preview of where it’s headed, look no further than Drumcode’s A-Sides compilation. Since 2012 it has marked the label debuts of countless vital Drumcode artists and affiliates, from Layton Giordani, Wehbba and Boxia, to Amelie Lens and ANNA, no less.

Every year, new names are unearthed, tried and true techno contributors serve up their best, and icons of the industry land their debut on Adam Beyer’s storied label. The 2020 edition hits with 13 tracks, eight coming from label debutants.

First up for part two, Victor Ruiz & Thomas Schumacher link and the result is ‘Intuit’, a sleek futuristic roller that hits you square between the eyes. Anfisa Letyago, a DC first-timer, then shows why she’s one of the scene’s most highly touted new artists with the brooding beast ‘Are You In’.

Rounding things off Loco & Jam power through with a brooding cut filled with sustained synths and cascading percussion.

Hinter King Midas Sound verbergen sich The Bug, Roger Robinson and Kiki Hitomi! Nach ihrem gefeierten Album "Waiting For You" (2009) auf Hyperdub veröffentlichen sie nun auf Ninja Tune den ersten Teil ihrer Kollaborationen Serie! "Edition 1" entstand in Zusammenarbeit mit dem öster-reichischen Klangkünstler Fennesz!

Mit ihrem Debüt-Album "Waiting For You" (2009) kreierten King Midas Sound ein phänomenales Werk, das irgendwo zwischen elektronisch beeinflusstem Rock, Dub und der langsamsten Spielart von HipHop changierte. Live ergänzen sie das Ganze seit jeher um quasi-apokalyptische, FX-getränkte Shoegaze-Klagegesänge und -klänge. Ob live oder auf Platte - King Midas Sound gelten als brodelnde Klanggewalt. Seit sie 2013 zum Label Ninja Tune wechselten und die hochgelobte Single "Aroo" und insbesondere deren B-Seite "Funny Love" veröffentlichten, konnten sie sich klanglich noch mehr entfalten. "Funny Love" war schließlich auch der Stein des Anstoßes und quasi-Katalysator für die Idee zu einer Reihe von Kollaborations-Projekten mit anderen Musikern. Insgesamt vier sind derzeit in Planung, das erste davon trägt den Titel "Edition 1" und ist aus der Zusammenarbeit mit dem österreichischen Klangkünstler Fennesz entstanden. Christian Fennesz, wie er mit vollem Namen heißt, gehört "zu einer Generation, zu einem Umfeld, das man mittlerweile endlich als die Dritte Wiener Schule bezeichnen könnte" (spex.de), einer Reihe von Künstlern, die hauptsächlich aus dem Dunstkreis des Labels Mego stammen und Free Jazz und Impro, die Lehren von Techno, Glitch und Electronica weiterentwickelten. Diese Mischung rief auch Kevin Martin und Roger Robinson auf den Plan und brachte die beiden auf die Idee, Fennesz für ihr Projekt an Board zu holen. Mit improvisierten Gitarrenstücken, Samples und unveröffentlichtem Material von Fennesz nahm "Edition 1" schließlich unter dem Namen King Midas Sound langsam Gestalt an. Haltet Augen und Ohren auf, denn diese beiden musikalischen Schwergewichte, King Midas Sound und Fennesz, werden ihre kompromisslose Performance in Kürze live auf diversen Bühnen Europas präsentieren.

The Broken Glass is a work conceived and produced between Austria and Spain and represents the eleventh reference of the catalogue of Sto¨rung Label. In this collaboration field recordings and synthesis processed by Asfe´rico create cyclical and hypnotic structures, which Mia Zabelka furnishes with her violin and voice.
The LP version consists of two versions of the piece, the first more minimalist and conceptual and the second more rhythmical and synthesizer based.
Through a display of distorted and isolated sounds, we are driven in the first version into an deep listening, as if sounds where placed under a microscope or we were contemplating them through a telescope. This approach lets us perceive the bare physicality of sounds in a way which enables us to grasp subtleties and aspects of sound which we are not used to.

The second version continues where the first version left us, but in this piece, we are eventually flooded by hypnotic loops, white noise and synthesis and the experience has a different flavor. Now what we have acquired through the first version, the enhancement of our listening and appreciation of subtleties of sounds, is inserted into a rhythmical structure which acts as a strong current, pulling us inside an ocean full of astonishing sounds.

The fourth release from the Underground Soul label brings to light a collaboration of Frank Spirit and Keys Of Lynx. Classic house vibes and West London influences combined with incredible Jazz skills.
The A side contains ‚Virtue‘, a journey along a mesmerising piano solo and ‚Higher Spirit‘, a broken beat praise to music featuring the soulful voice of MISS C-LINE. The B side focuses on remixes. Legendary Chicago producer Glenn Underground, laying down his signature drums on ‚Virtue‘. Label head honcho Azul Loose Ties provides a stripped down version of it. Championed by Gilles Peterson (Brownswood Basement Worldwide Fm show) and Jeremy Underground (MCDE Worldwide Fm show).

Kerala Dust announce the release of their debut album ‘Light, West’,

out on Denature Records in November 2020. After six releases and three years of extensive touring around Europe and the Americas, the Berlin-based live trio around producer and songwriter Edmund Kenny finds itself taking an ambitious, sprawling turn with Light, West. A groove-laden soundtrack for a movie never made, this record feels like the most comprehensive review of Kerala Dust’s varying influences and inspirations, merged into something wholly unique. Starting with guitar-driven blues-house on ‘Night, Bell (Arizona)’ and moving firmly into the club on ‘Evening Redness’, the record then rides through a heady collage of bolero (Amsterdam), techno (Reflected) and 60s funk-balladry (Phoebe). The result of a year and a half’s work, the record’s most surprising aspect could well be that these varying musical tones all manage to feel part of a large, inter-connected musical narrative.

'Banoffee Pies Records' drop their 12th release in the original series with a solo EP from New York based Tristan Arp. With a string of intricate music on the likes of Human Pitch and a recent LP entitled "Suggested Forms", which offers a wider exploration into his work, Tristan's passion for sound design echoes in this record.

All four tracks offer an environment somewhere between a feeling &
a dancefloor with obscure influences in polyrhythmic drum patterns and a clear combination of digital and analogue processing. "Swept Thru" opens proceedings with a spiral of rhythms and heavy percussion leaping in energy throughout, before the spooked out Vox takes control on "Oblique House" with deeper movements in a haunted club tune. The B side opens with the title track "Slip" in a powerful whirlwind arrangement of sub bending sounds before the final colour is added to the palette in "Circling Music'' with emotive jingles in a more retained and patient mood.

You can hear Tristan's other work within the Asa Tone project - a trio group well worth the trip, offering a deep variety of works exploring field recordings taken and formulated in Indonesia beneath a tree canopy deep in the jungle. This same energy and mood spills into this release. Music for feeling. Much love BP x

Mastered: Optimum, Pressed: MPO & Distributed by KUDOS.

LTD Repress !

Lord Of The Isles, a.k.a. Neil McDonald, has spent the better part of a decade steadily producing and releasing beautiful music.The ESP Institute has always wholeheartedly believed in Neil's work ethic and his journey as an artist who constantly refines his vision, and when we inevitably approached in hopes of working together, we were enamoured by the sheer breadth and depth of work he had 'in progress'.There are two types of artists. One internalises their process, endlessly perfecting their work while finding the endpoint a massive hurdle, in turn they produce immaculate yet very little art.The other is continuously inspired, so full of ideas they can barely work fast enough to articulate them all.The art becomes by-product of their larger trajectory and not just a collection of endpoints. Lord Of The Isles seems to be both, always in an evolving state of process where the work is constantly shed to make way for the new layer growing beneath, yet he holds his cards closely, cherry picking when and with whom he releases his art into the world.Neil is simply prolific. He shared with us a vast catalog of unheard beauty, which over a long span of time was collaboratively shaped into his debut album 'In Waves'.The title speaks to Neil's process both intimately and from afar, it speaks to the emotional ebb and flow of the music itself, and ultimately it speaks to the listener.This album will gift you with something new upon every listen, a concept that is
also gracefully interpreted into the album's artwork by New York City artist, Hassan Rahim.The visceral aesthetic Neil portrays throughout these 15 songs is most certainly a landscape, an assemblage of intimate stories that, as a whole, give us this wider view of his intense drive, his multi-faceted quiver of skill, and his ultimate obsession... beauty.

2020 marked the five-year anniversary of Vivrant. To commemorate this special occasion, the Stockholm-based label introduced a new vinyl compilation series comprised of its favourite tracks from the years passed.

Entitled Annum, the 2x black and white LP features some of the label’s most memorable releases from 2015 to present time, including Jeremy Olander's 'Taiga, Khen's 'Dreamcatcher', Marino Canal's remix of 'Caravelle' and more.

Throughout 2020 Eglo Records released a set of vinyl only EP's from unknown electronic artist Destiny71z. The tracks featured were dark, jazzy, acidic experiments in house, techno, garage and electro, created using a stacked rig of drum machines and modular instruments, most notably the Buchla Music Easel. Alongside some new, previously unreleased material those three EP's have now been consolidated into an album, titled 'Six'. The project is the alter-ego of multi instrumentalist, painter, producer and Floating Points Live band member Mathew Kirkis. Across the albums 14 tracks the producer trips through the outer realms of dance music, taking a deep fried, hi-tech, cosmic approach.

10 Years Boxset

In the spring of 2007, musician and producer Paul 'Mudd'
Murphy decided to launch his own label. Named after the house
he grew up in, Claremont 56 would release beautiful music by
friends, associates, collaborators and like-minded musicians.
In the 10 years that have passed since, Claremont 56 has more
than surpassed Murphy's modest expectations. It has built up
a cult following around the world, with listeners responding
positively to the label's combination of magical music, beautiful
artwork, and impeccable packaging.
To mark the label's frst decade, Murphy has put together
a sumptuous vinyl box set of previously unheard material,
produced and presented with the same attention to detail that
listeners have come to expect.
Each copy of Claremont 56: 10 Years contains fve weighty slabs
of wax and a bespoke info sheet, housed in a specially designed,
hand-numbered box with debossed logos on the front and rear.
However impressive the packaging, it's the music that makes
Claremont 56: 10 Years stand out. Featuring a mixture of
unreleased tracks and brand new remixes of vintage label
releases, the highlights come thick and fast.
As you'd expect, some of the most impressive contributions
come from those artists you could describe as legendary',
including Chicago deep house originators Larry Heard and Ron
Trent. Can legend Holger Czukay kindly contributes one of the
standout moments, the eccentric 'Music To Be Murdered By',
from his own unreleased catalogue, while Afro-cosmic pioneer
Daniele Baldelli joins forces with Marco Dionigi to deliver a
typically spacey remix of Bison's 'Familiar Stranger'. There's also
an epic, Afro-tinged dub disco remix of Smith & Mudd's 'Nether'
by Norwegian scene founder Bjorn Torske.
Elsewhere, Good Timin' man Jex Opolis turns an overlooked
track by Paraiso into a samba-boogie killer, Sean P dubs out
Zee Erf's beautiful cover of 'Southern Freeez', and Phil Mison
turns FreshRo's laidback electrofunk cut 'Pacifc State' into a
breezy, Balearic gem. Look out too, for the emotion-rich beauty
of Statues' 'River Darkness' - a track arguably worth the cost
of the box set on its own - and the deep space explorations of
Almunia's Leo Ceccanti.
We could go on, but we're running out of space. Sufce to say,
Claremont 56: 10 Years is a lovingly compiled, curated and
presented celebration of the label's frst decade.

Limited first pressing on yellow vinyl. 'Lichen' is a selection of rarities from Dijf Sanders' hard drive. Dijf reworked and compiled six songs that didn't make it to the previous albums, but now form a new collection in their own right.Lichen mostly comprises reworked creations he did for dance and performance, nostalgic compositions that fuse organic electronics with classical music.

Limited first pressing on yellow vinyl. 'Lichen' is a selection of rarities from Dijf Sanders' hard drive. Dijf reworked and compiled six songs that didn't make it to the previous albums, but now form a new collection in their own right.Lichen mostly comprises reworked creations he did for dance and performance, nostalgic compositions that fuse organic electronics with classical music.

The fourth record in the Exit Planet Earth series features four more exclusive cuts designed for space travel.A

Exit Planet Earth - Hydrogen opens with no-nonsense electro from a master of the trade Sync 24 from Cultivated Electronics. 'The Rising' is an expertly produced bass heavy heater that is crying out to be played on a big rig. Representing Athe Melbourne chapter of the Lizard Tech Militia Reptant teams up with Dashiell for a mutant hybrid electro funk cut - 'Gortexia'.A

On the flip Moroccan heavy hitter Kosh returns to 20/20 Vision following his debut EPl 'Vicious Love'. Kosh offers up an intoxicating blend of deep melodic electro called 'Chaos in the City'. Wrapping the release up is James Shinra returning after his killer 'On & On' EP. Shinra rounds up this edition with an outstanding, unique composition 'Launch' that balances trademark melodies with a truly devastating distorted kick heavy reminiscent of classic Aphex Twin.

Vinyl includes Download-code for the whole 10 track album - redeem via bandcamp ! Brussels Pony Club presents Membership, a debut LP for the Band and Amselcom as well. Each track reflects a fragment of what makes up the
human experience throughout its lifetime. Some of them offer questions on being, others a set of answers.The title 'Membership' implies that there exists an unwritten standard for one to belong. In reality, you can belong to the Brussels Pony Club just by being yourself. We appreciate simply the fact that you have been born, please come in and join us.You are invited to open your mind and let go of judgements. Inside the club, there is a circle of all members' subjectivity. The result is in various styles reminiscent of the past, built on contemporary technology of the electronic music scene. Brussels Pony Club hopes to transcend the listener from the past, into the present, through the future. Please feel comfortable and inspired to fill the blank spaces with your own experiences and impressions. Always remember the rules are simple, be yourself and we will be there for you. Chad Gordon illustrates the cult of Membership with a price
worshipping crowd. However membership is free with Brussels Pony Club and your presence is much appreciated.

After releasing exclusively for Touch Music UK, Sohrab delivers this long awaited EP on Shahr Farang.

Substance, the second album by producer Moisture, sets out to deliver an immersive tech-noir fantasy of emotional and physical deconstruction. Inspired in part by William S. Burroughs 1959 novel Naked Lunch, the conceptual narrative of the album follows a humanoid subject through an urban landscape and the exploration of its depravations.

Sampling and filtering sounds from other music, movies and own field recordings, the tapestry of Substance is a three-dimensional world of hard industrial spaces and fluid organic matter. While it's conception is rooted equally in literature and film as well as music, one can draw comparisons in particular to Barry Adamsons 1989 album Moss Side Story, in that it also works as a chronological narrative; the tracks aligning to make a world of its own.

And while Adamson was aiming to create an imaginary soundscape of his native Manchester, the geography of Substance is based on the city of Malmö. Using field recordings from it's city streets, the album paints a rain soaked, neon-clad portrait of the city's hedonistic nightlife.

On the opening "The Marketplace" we are teleported to Bergsgatan at night (the track title a subtle nod towards Eden Ahbez 1960 song of the same name).

This introduction is similar in line with the experience Burroughs once had in 1957 upon entering Malmö for the first and only time, which he details briefly in Naked Lunch: "averted eyes and the cemetery in the middle of town (every town in Sweden seems to be built around a cemetery), and nothing to do in the afternoon (...)"

This image of Malmö portrayed with dread and loathing holds a longstanding narrative tradition over the cultural geography of the town. Yet it is often paired with an image of great promise and bohemian splendor, seemingly a paradox but often perversely intertwined. This duality has always been a vital mindset in the underground music scene of the town and its illegal after hours clubs. Substance is a work steeped in the grayscale prism of techno and its post-industrial fetischism. Yet in picking it apart, one can find elements of everything from post-punk, drum & bass, trip hop and new age.

The theme of depravation that soaks through Burroughs Naked Lunch seems oddly befitting to this side of Malmö (one wonders what the author would have made of it had he stayed longer) Through rhythmic excursions and the exploration of repetition, the tracks of Substance are arranged to convey this self-destructive longing for depravity. Michel Foucault's ideas on limit experiences serves as context for this peculiar form of endeavour, as he puts it: "the point of life which lies as close as possible to the impossibility of living, which lies at the limit or the extreme."

First 10" from the special series made for the U Know Me Records 10th Birthday.

Made only in 100 copies - hand numbered and stamped.

It's a vinyl version of Zura EP UKM 054 which was digitally (only) released on 31.01.17.

You can find extended version of the intro & Zura's remix of SONAR as a bonus track.

Zura aka DJ Papa Zura is a member of Soul Service Crew.

Sometimes a record comes along that is a wonderful anomaly that really is all about the music. Silver Leaf recently appeared on the radar via obscuro diggers on both sides of the Atlantic and landed with a Hey!
What is known about Silver Leaf, beyond that it was a short-lived mid-80s project out of Cincinnati, Ohio, is that it features ex-Zephyr keyboardist John Faris, working alongside the mysterious vocalist Silvia Leaf.
The difference between the blues and occasional psychedelic rock of early 70s Boulder, Colorado's Zephyr and the lo-fi recordings of Silver Leaf are striking, but in Hey! and Can We Rebuild Our City?, the power of the ballad and strong playing of John, is wrapped in mid-80s, mid-States lo fi heaven.
Whether a non-de-plume, Ms Leaf's searing, innocent vocals fly above John's keys and programming. Hey!'s repetitive exhalations act like a mantra to a party, while tom's chime in accompaniment. Here it comes!
Can We Rebuild Our City? starts with Faris' forlorn intro before crashing percussion heads to some kind of wonderful, as Leaf questions a calls to hearts.
Releasing just 3 singles, Silver Leaf's music is unique and essential, an experience and a delight to present.

Celebrating Osiris' 50th release in two parts, label head Simon Shreeve unveils 'Deep Summer' as the first: a downtempo, vocal-led track with a pace and laid-back vibe not usually associated with his Mønic alias. On the B side, a remix from none other than Burial offers a distinctly smokier take on the track, full of percussive melodies that weave into surprisingly major-chord territory towards the end of the song's ten minutes. This is a release that sees both artists pushing their respective music's preconceptions.

Hold The Sun is a talented electronic music act based in Sweden. New to the scene and making quite an impact, while the artist wants to stay as anonymous as possible, her otherworldly electro and colorful appearance on stage are creating a stir that's got people talking.

For her debut longplayer, Hold The Sun has put together a mixture of deep electro beats, thick analogue basslines and a rich retro feel to the production and synthwork. Wrapped in the hypnotizing format of melodic minimalism over a variety of tempos and vibes. This stylistic edge is combined with a flair for deep storytelling in some tracks, John Carpenter-esque melancholic synth work and even a meditative ambience on occasion. It is this breadth of sound which truly showcases her talent.

An LP that feels like a ceremony of hypnotic sounds and retro-tropical electro beats. Begin the spiritual journey - Join the dance!

Cowboy Rhythmbox return for a short, sweet and typically unusual transmission, as cult house journeyman, Detroit producer and DJ Sharif Laffrey provides one of the most memorable and original releases in Phantasy’s history, followed by a simmering take from the duo themselves.

Chugging with schizophrenic glee for nearly fifteen minutes, Laffrey masterfully combines his own flavour for obscurities and offbeat samples with no less than three tracks from the Cowboy Rhythmbox archive. Mixing element upon element into a somewhat absurdist masterpiece, this uncategorizable rework injects waves of weirdo energy and a little menace into the small hours.

In response, Cowboy Rhythmbox consciously scramble the formula even further. They were so impressed by Laffrey’s interpretation, they choose to deliver a remix upon remix with their ‘Deviation Variation’.

Retaining the full measure of their skittish psychedelia that has blessed and freaked-out dancefloors over the years, the original pair rework the vampish synths at the heart of previous head spinner‘Vodonik’, escalating guttural acid and a heads down bassline that perhaps dials down the fury, but keeps the filth.

Welsh producer Odeko first appeared on Mr. Mitch's forward-looking Gobstopper imprint with the A.I. influenced EP "A History With Samus" in 2016 immediately snagging a "producer to watch" tag from Fact magazine and a premiere at SPIN. In early 2017, his second EP "Digital Botanics / Construct Conduct" arrived confirming his sound and setting the stage for him to start working on this - his debut album "Rose Tinted Vision Implant" that is set in a post-Ballard, post-Gibson, post-Miéville, alternate reality. "Rose Tinted Vision Implant" sees the Bath-based producer creating a cutting edge sonic world inspired by "speculative fiction, time/reality shifting stories and dystopian shit." The entire record is structured around, and expands upon his passion for the "future," underpinning the music via a underlining narrative. "Rose Tinted Vision Implant" starts with "The User" (aka the listener/ protagonist depending on your perspective) of the 'Optic.Rose' going through the process of getting an implant is made by a mega corporation, (think "whatever Elon Musk's legacy will be 200 years from now" says Odeko "not necessarily evil or good, just a world owning superpower."). And then we follow "The User" who has unfortunately received a bad egg through stages of that devices degradation. Sonically we're there to observe. We open ("Anomaly Detection") with a precursory scan and move onto installation ("OpticRose_0_1_Installation")
through to a battery change and a recalibration. From this point, the 'presence' begins to take over the implant and the tracks verge into a more cerebral range. Odeko notes "its a bit of a satire on corporate brands pushing these great products that everyone is obsessed but that are detrimental to both the world, and how we perceive reality. Our relationship with social media and tech could go down a dangerous path if we loose sight of things. I'm going quite far here for the sake of the concept, but things like VR, AR, the want for body tech, mixed with our desire to be connected, emotionally, digitally, physically, wirelessly could lead us to a world where everyone has implants, or some kind of tech built into them." Sonically its a record that explores a post-IDM, post-Grime, post-Ambient, post-Glitch, post-Retro-House, post-Instrumental Grime, take on electronic music, like Gobstopper's Mr. Mitch himself and his label mates Orlando, Lloyd SB, Tarquin, Clu, rAHHH and Loom, Odeko is making a kind of post-genre music. Yes it's a cerebral concept under the music but as popular shows like Black Mirror have shown - critiquing our new future can be fun, unusual and highly rewarding. Welcome to the world of Odeko.

"Propersound" adds to it's impressive legacy with a stunning new Vinyl, Alex Martin - Asimov EP.

4 tracks of dreamy and soulful Electro grooves that truly intertwine music for the clubs and the mind. Ltd. White Coloured Label. Essential, don't miss this...

The Cinematic Orchestra kündigen eine limitierte Vinyl-Reissue ihres erstmal 2003 veröffentlichten Klassikers 'Man With A Movie Camera’ an. Im Rahmen der Filmfestspiele zur Europäischen Kulturstadt Porto im Jahr 2001 wurde Jason Swinscoe vom Cinematic Orchestra beauftragt, einen Soundtrack zu einem Stummfilm zu komponieren, der einmalig aufgeführt werden sollte. Bei dem Film handelte es sich um Dziga Vertovs Experimentalwerk „Der Mann mit der Kamera“, einen frühen Dokumentarfilm aus der Ukraine von 1929, den viele, darunter das British Film Institute, fast 100 Jahre nach seiner Entstehung als einen der besten Filme aller Zeiten bezeichnen. Die Aufführung fand im historischen Coliseu do Porto statt und endete mit stehenden Ovationen von 3.500 Menschen. The Cinematic Orchestra hat die Show im Laufe der Jahre auf internationalen Tourneen aufgeführt, unter anderem im Barbican in London, im Winter Garden des World Trade Centers in New York und im Sydney Opera House.

Repress

Die vielgefeierte Kompakt-Größe THE FIELD kehrt mit dem neuen Album THE FOLLOWER ins Rampenlicht zurück. Der schwedische Soundtüftler Axel Willner ist für seine Meisterschaft in Sachen vielschichtiger Loops bekannt, doch es war sein letztes Album "Cupid's Head" auf welchem eine neugewonnene, nahezu drängende Zackigkeit die weichen Farben seines ambienten Technos aufrauhte, von dunklerer Stimmung und stärkerer Beinarbeit getragen als zuvor. Eine feine Balance von stoischer Motorik und düsteren Drones war hier der Schlüssel - genau wie für THE FOLLOWER, wo die Grenzen zwischen konkretem Experiment, Körpereinsatz und präzisem Arrangement noch mehr verwischt werden. Das Ergebnis ist in Rhythmus und Textur eines der fesselndsten Hörerlebnisse in Willner's Katalog.

Das neue Album von der vielgefeierten
Kompakt-Größe THE FIELD
Als sein bislang tanzflurtauglichstes Werk
setzt THE FOLLOWER Willners typisch
reichhaltigen Klangkosmos fort
180g Vinyl-Version beinhaltet einen
Downloadcode für das gesamte Album

Touched Revolutions call on Keiss for their next release, incredible rich soundscapes, warm crunchy beats, stretched acid, and plenty of attention to detail.
Boards Of Canada fans CHECK THIS!

Soulful dance music on top quality vinyl for DJ's who know the deal. Limited to 200 copies. Vinyl only. No mp3. No promo. No marketing. All vibe. Support by DJ Sneak and Nicky Siano a.o.

Copenhagen-based trio Silent Riders recently wowed us with their immersive neo-gothic full length album debut on Music For Dreams. Now they are back with a remixed package aimed directly for the darkest of dancefloors. Together with some top notch remixers, they are re-visiting their stand out track "I See You" as well as "Shadows", another cut off their self-titled album. 
First off legendary producer Dennis Bovell lends some of his charms and works "I See You" into a wacky dubbed out groover, skillfully edited down by Mancunian Andi Hanley. No stranger to the flavours of new wave, having produced bands like Saada Bonaire, The Slits and Orange Juice, Bovell brilliantly fuses his dub science with the raw mood of the Riders. 
Upping the tempo considerably, NYC duo Bryan Mette and Justin Strauss (yes, THAT Justin Strauss!) don their Whatever/Whatever mantle to flesh out the original into a much more hungry club creature, agile and warmer yet with that air of New York cool that really hits you on all levels. 
Label boss Kenneth Bager himself sits down with the trio to rework the material into a dark brooding extended mix that could easily fit the soundtrack of a John Carpenter flick. 
Fresh on the scene is HLLW (pronounced 'hollow') who churns out an organic drum'n'bass banger with eerie layers of odd vocal echoes and a gurgling bass rumble. 
Last up Fellow countryman Kasper Bjørke offers a more leftfield and mechanical approach to the track. Chugging along at 97 BPM, this epic rhythmic excursion unveils slowly and with hints towards the cosmic-minded Germany of the 1980s. 
Also features a new jam version of 'Shadows' - the band themselves take another turn at the track in the studio and deliver a healthy dose of old school electro á la Egyptian Lover and some powerful cold wave chords to underpin the loose vocal performance of singer Lu. 




E C1 | I See You (Kenneth Bager Vs Silent Riders Extended Mix)

Krijn Moons aka Alchi emerges as a new voice in instrumental electronic music with his debut 'Full of It' released with Mylja.
Inspired by artists such as Nicolás Jaar, Boards of Canada, Sigur Rós and James Holden, Alchi produces and performs music that is rooted in experiment rather than a single genre, flowing between and weaving through alternative dance, instrumental electronic postrock and neoclassical influences. Playing with imperfections and disarray, Alchi’s work honours emotional ambiguity, cultivating a sound that can be equally euphoric as it can be melancholic, a feeling that words cannot - and do not have to - articulate.
This is also the approach to composition and production for ‘Full of It’, Alchi explains. “More than the sum of its parts, the sound of a song creates a space that it starts to exist in, an intangible context shaped by the details that come from zoomed-in sound design and
production or even working with old or broken instruments. At a certain point, in this space that feels somewhat unknown and familiar at the same time, everything comes to life.”
Within this ambiguity, Alchi finds a place to liberate himself from instrumental boundaries, creating landscapes that value coincidence, playful sound choices and a little bit of chaos.
'Full of It' portrays an uncommon kind of music that, in its abstraction, layers and linear structures, will balance both the familiar and the surreal.

Sofie Letitre releases her new EP 'Uncanny Valley' on DIVISION. On 'Uncanny Valley' Sofie Letitre delivers a dark mysterious sound that reminds of acts like FKA Twigs and Bjork. Like the evil sister of Massive Attack with the intensity of James Blake.

Uncanny Valley is a concept-album based on the Uncanny Valley principal, the point where there is aversion for a humanoid robot as he becomes more human. You will be drawn in themes like vulnerability versus invulnerability and perfection versus imperfection.

The EP is produced by Ferdy van der Singel and Thijs de Vlieger (NOISIA), and the vinyl contains the mp3 codes to download as well.