House News

Emotional Rescue presents the music ensemble Man Jumping, with a reissue of their experimental, post-minimalist meets pop debut album Jumpcut, to be followed by 2 special remix EPs featuring Khidja, Bullion, Reckonrong and more. Formed in 1983 out of the disbanded The Lost Jockey (Les Disques Du Crepuscule), Man Jumping's aim was to move on from the unwieldy nature of that collective to combine the 'systems music' of Steve Reich, Terry Riley, LaMonte Young etc with rock, funk, dance and world music and create a new cross over. Consisting of studied musicians and created from theory as well as technique, the liberation from formal restrictions took shape over four years that spawned 2 albums and one 12". Released on Bill Nelson's 'Cocteau' label in 1985, Jumpcut's was critically praised but destined for more discerning ears. The 7 songs - including here a 12" mix of Aerotropics - developed from 16 stave manuscript into live recordings straight to tape, with no sequencing to keep their live feel intact.
Carefully planned but made in the moment, members Charlie Seaward, Glyn Perrin, John Lunn, Orlando Gough and Shaung Tozer's legacy is demonstrably durable, a testament to their originality of thought to an idea of what might be rather than an imitation of what has been.

“Sex Miami”. Let those words melt into your soul like creamy, creamy pink ice cream in on your tongue. This album by Deux Control is a smooth genre crossover paradise of 808s, Yamaha keyboards and deep mesmerizing vocals side by side with more hardcore synth elements found in bands like DAF or Nitzer Ebb.

Deux control’s sound is a mix your favourite soundtracks of electronic music with a large portion of body synth. It is sexy, cool, and a bit frightening. The music on “Sex Miami” is familiar and goes out to all listeners of all ages but especially to those in the French/Italian disco fandom out there. This is the kind of music an eighties international business traveller would listen when kicking back and clubbing after landing a fat new contract.

Deux control is the act that got bumped from the Miami Vice soundtrack last minute because being a bit to edgy for mainstream USA. They are the group that Gorigio Moroder tried to copy when he wanted to update his sound. Deux Control are the new rulers of psychedelic electric body-disco!

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The prolific Lord Of The Isles (aka Scotland's Neil McDonald) has had a string of stunning 12's over the past few years on labels such as Permanent Vacation, Unthank, Shevchenko, Mule and of course his four track 'Year Of The City EP' on Phonica, which was widely acclaimed upon its release in 2012.

This time LOTI presents two long-form tracks, each a mini-masterpiece in itself. The 10 minute plus 'Greane' bursts into life after an intro of kicks and white noise hi-hats. It continues to slowly build, with pitch-bent synth lines and a pulsing bass-line making way for a melacholic shift in mood. Truly original stuff!

On the flip, a swirl of synthetic strings introduces 'Gigha', in a manner that brings to mind Rhythm
Is Rhythm's legendary 'Kao-Tic Harmony', before the drums and infectious acid-line join in. Over the 8 minutes they continue to interweave and play off each other to dazzling effect.

Artwork by Jack Featherstone, the designer of a number of sleeves for Border Community (including the highly praised campaign behind James Holden's 'The Inheritors', its singles and live visuals), Electric Minds, Warm and of course, Phonica.

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Phonica Records welcome the latest addition to their ever-growing stable of talent, Pick A Piper! The brainchild of one Brad Weber, usually found behind the drum-kit at Caribou's live shows, Angus Fraser and Dan Roberts, Pick A Piper Combines dance-music structures, polyrhythmic percussion, atmospheric sound design, loopy melodies and a focus on electronics and production technique to create a sound poised between the organic and the synthetic and Phonica White have been blessed with two killer remixes to release on a limited stamped and numbered 12'.

On the A-side one half of Junior Boys and increasingly prolific producer in his own right, Jeremy Greenspan delivers his first ever solo remix! His reworking of 'Lucid In Fjords' is one of the most epic tracks we've heard in a while - clocking in high on the BPM scale, Jeremy pulls out all the stops with an acid-tinged and dubby remix complete with covert pan flute sample.

On the flip Phonica fave Dan Snaith, dons his Caribou alias for an uncharacteristically abstract remix of 'Once Were Leaves'. Moody and bass-heavy, it builds around two other-worldly vocal samples; one pitched down, one ethereal, working in tandem to create an atmospheric backdrop for Caribou's downbeat drum programming. This is Caribou showing off a different side to his productions, one we personally would like to hear more of!

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Following on from last years exceptional 'Obsession EP' from Art Crime is a budding young talent by the name of Will Lister.
Originally from Lyme Regis, Will moved up to London to attend Goldsmiths University and in his spare time he helps us out behind the counter here at the shop. When he's not here at the shop you can also hear him playing records on his Balamii Radio Show or his monthly club night, 'The Aten'. 'The Phantom EP' is his production debut and we're extremely happy to be putting it out on our main imprint.
The title track opens up the EP with heavily reverbed pads, echoed claps, crunchy percussion and repetitive synth stabs that all work together to create spaced-out atmosphere that's full of twist and turns. Flipping over to the B-side, 'After The Light' picks up the pace with a driving high-hat rhythm and full-bodied kicks that underpin warm piano keys and smooth synth lines. 'Agency' closes proceedings by turning up the intensity to full with a masterclass in building tension.

Radio play confirmed on Radio 6 Music, RTE Ireland, NTS

Support from:
Hot Chip/LCD Soundsystem’s Al Doyle - “This record but a big old smile on my face and kept it there.”
Cian Ó Cíobháin - “Onward Forward is like a bittersweet ‘
Fantastic Man. It’s such lovely LP’”

Automatic Tasty departs slightly from his pastoral acid sound and picks up the microphone for a collection of melancholic pop songs entitled 'A Farewell To Reason'.

From the side-eyed sarcasm of 'A Happy Town' to the reflective urgency of 'Wake Up Dead', the album traverses landscapes of sorrow and good humour - representing a stoic acceptance of the problems of modern life and a yearning for something different.

'Something special happened with these songs - I've never had a desire to sing or anything, but the words and melodies all kind of fell out of the cosmos fully formed'. While some pieces such as 'Ballad For A Modern Man' convey a certain urban sense of loneliness and isolation, others like 'Onward Forward' are more optimistic. 'These songs are my own attempt at navigating a certain melancholy which was hanging around me at the time I think. They're very dear to me'.

Floating Points returns with the official release of his somewhat infamous, jazzy, electric, house 110 bpm bumper 'Marilyn'. This tune was made for soundsystems! Backed with the sumptous string arrangements and earth shattering bassline of "Farukx" this is a 2 tracker custom built for the approaching sunny weather

At the end of the summer, Ke // er will present you the new EP "Verbrennungsmotor" of the Berlin based producer Acud and the first own vinyl release on September 7th. Peppered with spicy basses, ckeeky beats and a nice dose of funk, the record takes off for a ride in the depths of DeepSpaceDisco and features old friends and colleagues in the title song with the Beatmörtelz.
Gentle and still rough, Acud seduces us with his voice into an emotional dream world between wit and poetry.

No Bad Days is back with the weird and wonderful sounds of the Korean tropics for Closet Yi’s debut release ‘Tam Tam Land’. Opening with ‘Honeymoon Junction’ we are greeted by the signature floaty yet punchy sound that often comes with a No Bad Days record but then around the halfway mark, an almost abrupt eeriness ambience washes over the track, letting us know: this isn’t going to be quite what you expected. ‘Circle Dance’ is next on the A side which is more of a functional club track in its structure to it’s predecessor. Birds tweet and a female Korean voice creeps in and out of the mix, luring us deeper into the depths of the island.

Hopping over to the B side we arrive at the climax of ‘Tam Tam Land’ with the thumping ‘Basalt (玄武岩)’. Closet Yi flexes her skills in producing a peak time acid-tropische-prog-banger and doesn’t disappoint.

Quantum Collage is the latest pseudonym of Olaf Gutbrod aka Ohm-G. Having built a reputation around his long list of chill out tracks produced while resident in Ibiza, this release on Martin Gretschmann (Acid Pauli, Console) and Nico Stojan's Ouïe sees him dive into some more electronic textures. 'Lucid Dreaming' is a chugging, groovy trip built around a shuffling beat and dubbed out percussion and horns, tapping into Gutbrod's talent for amplifying the vibe. 'Afrika im Weltraum' adds a little more tempo - a swirling, driving drum loop provides the basis for layers of extra percussion and spacey synths and various chants and radio broadcasts. 'Her Beauty' certainly draws on some the mastery Gutbrod showed in his releases on Café del Mar and Hotel Costes CDs - a chilled out groover with the sunset / sunrise seemingly in mind.

For fans of Four Tet / Kaitlyn Aurelia Smith / Floating Points /Orlando Weeks.

A beautifully composed and masterfully produced album spanning deep alternative electronica, modern classical and concrète ambiance. An essential debut release from the collaborative duo featuring  contemporary instrumentation and a guest vocal performance from Orlando Weeks. Packaged in unique artwork by Diana Gradinaru.

Sami El-Enany & Dampé - Opix 
Sami and Joe (Dampé (Rinse FM) have been friends since college and collaborated on music and sound projects growing up. For the past few years they have drifted in and out of touch in London, catching glimpses of the other's work from afar. It took worldwide lockdown for the idea of the Opix LP to form. 
The sharing of a nostalgic photograph led to the idea of a new multiplayer online RPG campaign to pass the time and distract from cycles of bleak headlines, Instagram and jobs boards. That quickly transformed into remote music making and collaboration, bouncing material and reactions back and forth across the internet.  Early lockdown for them will be defined by these songs. Celebratory and escapist, a way of protecting themselves from the panic of the moment.
Sami’s focus has always been composition, working closely with directors, writers and artists to create bespoke scores and sound for film, TV, games radio, theatre and installations. Joe works in dance music, running venues, presenting a monthly show on Rinse FM and has released a series of club-focused Dampé records on Berlin’s Dirt Crew and London’s WotNot Recordings. You can hear the two contexts collide across the record to make a dreamy electronica with influences from the concert hall to the club via gaming and film. 
The music was made in two home studios with skyped-in recording sessions with incredible instrumentalists including jazz drummer Luca Caruso, Double Bassist Nina Harries, trumpeter Wilfred Petherbridge and songwriter and vocalist Orlando Weeks.
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Sami El-Enany is a British Egyptian composer and producer whose work negotiates the fringes of modern classical, electronica and field recording. Alongside his own productions, he works closely with directors, writers and artists to create bespoke scores and sound for film, TV, games, radio, theatre and installations. Recent works include Tongue Tied, produced for BBC Radio 4, Deadly Structures, a sound-only first-person exploration game produced by the ICA and the BBC and to be released on Mac and PC this year, and the film score for Walking With Shadows, the first LGBTQ+ Nollywood feature film ever made, also to have a worldwide release this year.
Dampé is a studio project from South East London. On moving to the city he has been intimately involved in its club culture from running warehouse spaces and booking venues to hosting a monthly show on Rinse FM plus DJing and performing in groups across the city and Europe. Currently based out the Rhythm Section Studio and a home (boat) studio he’s working on a series of records following 2019’s debuts drops on Berlin’s Dirt Crew and London’s WotNot recordings.

SHARE A VIEW” EP with Turnstile 12" edition out now.

Damon " D_m-Funk" Riddick is the epitome of funk. Ever since
debuting on Stones Throw in 2008, D_m-Funk has become one of the genre's most passionate proselytisers. In 2013, he released a celebrated album in partnership with hip-hop's Snoop Dogg, 7 Days of Funk. Fresh for '15, D_m returns with a solo project nearly six years in the making: Invite the Light. D_m's partnership with Stones Throw includes everything from his 2009 LP Toeachizown and Adolescent Funk, a 2010 anthology of early productions, to 2013's 7 Days of Funk. As always, D_m flexes his multi-instrumentalist talents by handling all the production but still makes time for guests including rapper Q-Tip, the father-son duo of Leon Sylvers III & IV, and funk giant Junie Morrison of the Ohio Players, who opens and closes the album with dire warnings of what could happen in a world without funk. Rest assured, D_m is here to make sure that never comes to pass. As he puts it, "funk is the underdog, the black sheep of black music," and if that's true, D_m-Funk is its shepherd.

Legowelt has been a key figure in the Dutch electronic music scene since the early nineties, steadily relea­sing timeless music that merges the pioneering sounds of Detroit and Chicago with idiosyncratic sci-fi fascinations. "Unconditional Contours" captures Legowelt's stint at the Swiss Museum for Electronic Music Instruments (SMEM), after he was invited to be the first artist in residence at the institution's "Playroom" project.

Legowelt visited SMEM in Fribourg, Switzerland, in early 2019 to explore the collection and record music. Possessing an extensive collection of synthesizers himself, he used hand-picked synthesizers from the museum's archive: the rare Farfisa Synthorchestra, the EVS-1 Evolution, the "shittiest rompler ever made", amongst many others. The 10-track album "Unconditional Contours" is both a probe into the vast collection of SMEM, and a display of Legowelt's well established composi­tional qualities. Leaving ample space for new sounds to unfold, Legowelt invokes gentle trips, brooding excursions, bleep heavy soundscapes, and reimagined elements of dance music classicism.

SMEM and -OUS are launching the "smem+ous" series to document the "Playroom" residencies. A limited edition of this album was already sent out to early supporters of the "Playroom". Founded in 2016 and based on a collection of more than 5000 synthesizers, organs, drum machines and effects that had been collected over a 35 year period by Klemens Niklaus Trenkle, SMEM offers residencies, studio sessions, talks and workshops.

The different seeds that have been planted throughout the life of Croatian Amor come to bloom on 'All In The Same Breath,' affirming an equilibrium that's all its own. Spiralling through the half-light electronics are gentle bumps and breaks that are layered into moments of elevation. A coarse edge remains just an arm's length away, but there is an unmistakable element of celebration throughout the album's 10 tracks. As the syncopated terrains ring out, their perpetual rhythmic motions call a medley of human voices that speak in security. They sing to everyone just as they sing to themselves. In the years since the seminal Croatian Amor album 'Love Means Taking Action' Loke Rahbek has strode a twofold path. There are the delicate, meditative compositions that he has made with Frederik Valentin; setting acoustic instrumentation against affecting digital treatments, each of their collaborative albums are an exercise in the magnificence of subtle restraint. And with the sharpest of turns you'll find Rahbek's parallel universe of rave-shocked rhythms and kinetic helixes that eddy through genre and tempo with few constraints. Collaborations with Varg²™ have yielded the wildest of this, and remain ongoing, yet the traces were already apparent across much of the previous Croatian Amor album 'Isa' with its treated vocalizations and cascading rhythmic mechanics. 'All In The Same Breath,' arrives as a steady handed synthesis of these divergent instincts. Elaborating the distinct techniques and themes that form the wistful essence of the project, the album's quiet composure is a sign that these familiarities have been set adrift to settle into their own private ecosystem.Small vessels travel in a perfect array. Light following shadows, following light. Every movement a signal, every second is camouflage. 'All In The Same Breath' is perhaps more than anything an invitation to be open to wonder.

Calling on who's who of modern electronic’s greats, RÜFÜS DU SOL harness the unquestionable expertise of this all-star cast to adapt their dark, emotive and gargantuan single 'Innerbloom'.

The result is an array of dancefloor-destined destruction from the legendary UK superstar Sasha, melodic deep house wizard Lane 8, and Germany's very own H.O.S.H.

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.”

Much like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer's legion of fans. To accomplish such a feat, the Com camp tapped the Internet's foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley's musical output since his earliest Komputer Cast (Haley's podcast mix series) days. Polychora's vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley's singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation. Following the smeared introductory tones of "Zeta," the album locks into its first robotic groove on "Compress_ Fuse," a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright "False Ascendancy," which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into "Constant Fracture." The track pushes to the point of stress, reaching the album's apex with a punishing series of blows before fading to relief, where the beatless and contemplative "Trajectory" awaits. In 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what's still yet to come.

Much like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer's legion of fans. To accomplish such a feat, the Com camp tapped the Internet's foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley's musical output since his earliest Komputer Cast (Haley's podcast mix series) days. Polychora's vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley's singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation. Following the smeared introductory tones of "Zeta," the album locks into its first robotic groove on "Compress_ Fuse," a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright "False Ascendancy," which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into "Constant Fracture." The track pushes to the point of stress, reaching the album's apex with a punishing series of blows before fading to relief, where the beatless and contemplative "Trajectory" awaits. In 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what's still yet to come.

Daft Punk's 'ALIVE 2007' set, which won 2 Grammy Awards in 2009 (Best Electronic Album and Best Electronic Single categories) and was previously only available on CD and digital, will be released for the first time as a double vinyl with a triple gatefold sleeve.

Derived from their live performance at Bercy on 14 June 2007, this album was originally published the same year on November 19th. Through this amazing live experience, Daft Punk manipulated and reworked their established material, transposing and deconstructing the structures of their studio tracks.

A limited edition of 'ALIVE 2007' will be released at the same time, in a special box including the album on 2 solid white vinyls, plus a vinyl bonus (Side A: the show's encore (human after all / together / one more time (reprise) / music sounds better with you) /Side B : 'ALIVE 2007' pyramid logo etched), a 52 pages book (pictures taken during the shows), a slipmat and a download card.

'ALIVE 1997' is also being reissued separately. Recorded in 1997 in Birmingham during their first European tour, a few months after the release of 'Homework', this first live testimony was released in 2001. 45 minutes of non-stop live mixing, featuring the band's first standard tracks (Da Funk, Rollin' & Scratchin'...) along with those techno-electronic explosions unique to Daft Punk!

When it comes to underground dance music collaborations, it doesn't get much bigger than this as 2 of the World's leading artists go head to head. Technasia & Green Velvet lock horns for a very special and unique Toolroom debut in 'Suga', which has already proven to be a massive summer anthem of 2015.
When we learn that those funky guitar licks were all played and recorded by Technasia himself, and the quirky, unmistakable blues styled vocals were written and recorded by Green Velvet, it becomes apparent that this is much more than just another dance track.With instant support and a World exclusive Radio One play from legend Pete Tong and club support from every major player in the scene including Hot Since 82, Joris Voorn & Nic Fanciulli, Toolroom are proud to present Suga.

Sipping on sweet cocktails underneath palm trees. Banging beats and good times with your best friends. Once you enter Ante's Perrydise, you'll want to stay for the ride. The DJ and producer masterfully blends deep electro sounds with hip-hop grooves and fresh house melodies. The record often defies categorization - the songs are a genre-bending mix that'll make you want to rave and dance at one moment and will have you relaxing and dreaming the next. No matter what - in his world the Katermukke artist let's love rule! Among the album's featured artists are names like Dirty Doering, Chasing Kurt, Younotus and Tobitob (Fünf Sterne Deluxe); artists that perfectly complement Ante's style to create a paradisiacal soundscape.

The project began as an experiment. Haley switched digital audio workstations, rebuilt his palette of sounds, and tasked himself with simply trying it out. The exercise freed him of expectations and permitted a process that echoed the tones of more immediate external environments. A gravity had seeped in; resulting material shifts between bleakness and sublime suspense, awe at the expanse of existing, in looking back and letting go. “It’s a sort of sad smile and a wave goodbye but at the same time hello, a 'welcome to your life’ moment,” Haley says. Take the storm pattern sequence from “Gaussian” to “Ultrafiche of You”: a queasy, contemplative vignette rests on a single soft-synth cloud before the latter’s percussion ripples across the sky. With trademark stutters and swells, the composition conjures the sensation of searching in the afterglow. “It’s a love song, and I don’t write many of those.”

2020 marks the tenth of collaboration for Red Axes, the Tel Aviv-based duo of Dori Sadovnik and Niv Arzi. Informed by post-punk, new wave, and a plethora of club sounds old and new, they have cleaved a singular path with their hefty discography. To celebrate their anniversary, they reunite with Dark Entries for an eponymous 11 track LP brimming with jagged guitars, spacy arpeggios, and hypnotic vocals.

Although Sadovnik and Arzi have previously released LPs on I’m A Cliche and Garzen Records, Red Axes is their first effort written and conceived of as an album-length listening experience. This work flows effortlessly through a variety of stylistic detours, highlighting their ears as both keen listeners and skilled DJs. Opener ‘They Game’ is a grooving number that unifies the psychedelia of cosmic disco with the early 90s ‘baggy’ sound. The energy mounts further with “Shelera”, a guitar-driven acidic banger, and “Sticks and Stones”, a certifiable club hit fueled by sassy vocals courtesy of Adi Bronicki. Launching Side B is “Break the Limit”, an EBM-laced number that wouldn’t sound out of place on a Razormaid compilation. The following tracks wax moodier, with “Brotherhood (Of the Misunderstanding)” touching on darkwave territory. “Udibaby” and “Arpman” close out the album with their respectively dense and sparse takes on kosmische lysergia.

Red Axes was mixed by Steve Dub and mastered by George Horn at Fantasy Studios. The album’s artwork starkly depicts the project’s name in blood-red smear. Also included is a postcard with full credits and album art. It’s rare one finds an album that so casually challenges classification while still being firmly rooted on the dancefloor.

Following 'Slow Fade for Hard Sync' (2009) and Location Momentum (2010), Living Space is Eleh's third physical release for Touch. Seven years in the making, this new release consolidates the artist's parallel narrative between a series of Vinyl & CD releases for Important Records, where the emphasis is on a minimalist aesthetic, to a visual counterpoint that hints at the cinematic and painterly qualities of the music.

- NOW AVAILABLE ON VINYL -

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In this limbo between the despair of 2020, and daring to hope for 2021, a herald comes into view.
The record you need, if you don't already have it, and if you do, get it for a valued friend.
"Finis Africæ (or Finis Africae)". Words redolent of mystery and myth, of Europe looking out to new lands, new worlds, new times. And so it is with "A Last Discovery", the work of Spaniard Juan Alberto Arteche Guel and his musical co-adventurers, recorded between 1984 and 2001. After fifteen years of musical success in Spain with his band Nuestro Pequeño Mundo, Arteche was ready to experiment with new ideas, and with the purchase of a four-track reel-to-reel recorder he did so, exploring imaginary global music-worlds with a core of like-minded explorers.

The group, dubbed "Finis Africæ" by JAA after reading Umberto Eco's "The Name of the Rose", where the term refers to forbidden books and hidden knowledge, released seven recordings over an eighteen-year period, the best of which are compiled here.

Finis Afriae was part of the "new wave" of Spanish music which gradually emerged after the end of the Francoist regime. Using modern electric instruments and traditional acoustic instruments from many cultures blended together via studio alchemy,
a magic which grew even stronger with the acquisition of a sixteen-track recorder after their second release, Finis Africæ created an outward-looking musical multiverse, an unclassifiable amalgam encompassing elements of folk traditions from all over the world, skillfully and lovingly shaped into an inclusive pan-global whole. Deeply influenced by African music, the group's reverberant, organic minimal funk will appeal to DJs as well as all who yearn for the loving warmth that comes with the embrace of global possibilities.

With liner notes in Spanish, English and Japanese by JAA, "A Last Discovery" is available on CD and double vinyl (with two bonus tracks). This is the first release by Finis Africae outside of their native Spain. Come take a retrospective journey of discovery. New worlds await.

A living room somewhere in southern Germany. Embroidery graces the walls, a veneer side table with little chrome feet stands in front of a beige velour sofa, a minibar awaits. Pride of place goes to the electric organ which majestically occupies the centre of the room, flanked by two oversized loudspeakers. Welcome to the world of OTTO. The two-man band are set to release their long-awaited debut album in 2019 on Bureau B. The eight tracks contain familiar OTTO ingredients, from organ sounds and rhythm presets to disco strings and the monophonic waves of a 1970s synthesizer. Arpeggio andHohner notes add extra sharpness to the proceedings. Classics from their live repertoire sit alongside brand new numbers, invariably strange synthesizer compositions.

The Italian Stallion comes through with 4 killer cuts designed to destroy your ear holes.
All jams made straight to tape, no fluffy ish. Coming sooner than later!

* Debut vinyl record from Chino Amobi
* Soundtrack to Ligia Lewis' perfomance 'minor matter'
* Part of the VF X CTM Festival vinyl series
* Artwork by Martha Glenn
NON Worldwide co-founder Chino Amobi makes his vinyl debut with the soundtrack to choreographer Ligia Lewis' minor matter, a performance piece that deftly articulates an argument for minoritarian politics.
Most of the material is newly commissioned but one of the tracks, 'Locus of Control', is lifted from Amobi's provocative Airport Music For Queer Black and Brown Folk album, in which he follows Brian Eno in inducing the atmosphere of an airport terminal. But through the eyes of a black man and with 2016 realism, it's a different story; where Eno invites lullaby, Chino unshackles nightmare.
Founded by Chino Amobi, Nkisi, and Angel-Ho, the NON collective, whose multifaceted, holistic campaign of critique has quickly achieved widespread recognition over its two years of existence, groups together artists and producers from Africa and the international African diaspora into an independent digital nation state.
It de- and re-territorialises club music as vessels through which to confront head-on colonial heritages and the ensuing "visible and invisible structures that create binaries in society and... distribute power.'. In addition to the music it distributes, NON spreads its directed political mission via a battalion of art forms - graphic design, video, visuals, fashion - that facilitate an immediate, unambiguous process of identification and help to create a alternative public space that is as specific as it is large-scale.
As a group of people sharing a common struggle with the daily aftermath of colonialism and the pervasive reach of marginalisation, the project of NON is a call to arms, and as such, its propaganda is urgent, aggressive, even militaristic in concept. Yet for its members, this attitude is only a part of what is ultimately a process of restoration and reinvigoration.

Hexagon Cloud RMXD celebrates the diverse influences of Erika's solo release Hexagon Cloud on Interdimensional Transmissions Marcellus Pittman remixed the hypnotic Tow Ride from Erika's debut Solo album with a stated goal of making it darker and "more evil". Canadian electronic music duo Orphx, remixed Hexagon Cloud, resulting in an immense, impeccable production. BMG, Erika's mate in Ectomorph, also shares his vision of her track, A Cellular Meltdown.

Repress

Identified Patient debuts on Pinkman with a brimming 12" with claustrophobia and paranoia. Acrid acid lines have been boiled down and smeared across cranking percussion. Sired in a soup of static, a blackened groove stalks the entire EP. Dusty beats are rinsed in smelting liquor, a smouldering EBM undercurrent surfacing as the noose tightens to a close.

JAMES FREUD is not the deceased singer of the Australian New Wave band 'The Models". JAMES FREUD is not a young art-school dropout with an affinity for electronic music. JAMES FREUD does not live in Berlin - He seems to come out of the blue and it is hard to say whether his production is analogue or digital, whether it is sampled material or sound-design. Because of the strange maturity of his work the tracks seem to come from both the past and the future. Thanks to the digging-qualities of DJ GOOD NEWS (who runs the Hamburg POEM-label) a selection of JAMES FREUD's oeuvre is now brought to light through the 12 '5-Track Extended Play' - To cut a long story short: Mental futurism is wise optimism.

If you don't have time to really listen, please do not buy this record. If your mind is not ready to unwind, please do not buy this record. If you are looking for the next big track to play at your cool party, if you are worried about keeping "real" or staying "raw" or about your image as a purist and regurgitating the essence of eras past, please do not buy this record. However... if you find yourself taking for granted all the natural beauty that surrounds you, caught up in trivial occurrences that interfere with your daily happiness, letting social constructs shape your mood... then please do buy this record, sit down, focus on what is right there in your hands, turn to your loved one, breathe deeply, enjoy the light in the room, savor your food perhaps, and simply appreciate all that is happening in this particular moment... levitate in awe as you enter the Land of Light, a new work by Jonny Nash and Kyle Martin.

Native Cruise’s new release is just in time for the summer, bringing a relaxed take on house that laps at your ears like a warm sea. We’re happy to have got some of his time - he’s been releasing on No Bad Tapes, Fruit Merchant and YAM Records. He pitches the release as “a mixture between house, tribal and balearic not sure what else”,so it’ll be hard to file neatly, but we are glad he’s made this lovely EP.

Awake at an undefined hour. Floating between the realm of dreams and open awareness. Accept it — you're a headspace passenger. Talking to a machine is a thrill for a moment or two. You want to go out, need to get lost. It's still yet all under the surface ... but you know it's going to happen, eventually. What you need to do is: return to the same old place. What you think is:

I hope the roof flies off, and I get sucked up into space.

This is the debut album by Berlin-based musician and futurist Andre´ Uhl. Crackling noise, moody arpeggios, and haunting melodies tell tales of the hazy past, moving into the twilight of the future. Each of the 13 songs is a dark and cinematic piece on it's own - altogether combined a compelling story, here for the listener to explore.

The album is available digitally and on vinyl in a limited edition of 300 copies, including a booklet of 13 short stories by different writers like the Czech visual artist and poet Katarina Hruskova, Berlin-based subcultural magickian Daniel Jones, and the British novelist Chris Brownsword - each story inspired by one of the 13 songs. I hope the roof flies off, and I get sucked up into space is the first trueness presented by Neofakt, a new label for audio, text and visual art.

DJ SONIKKU, based in the UK, who has been gaining popularity for his releases from labels such as Distant Hawaii and Lobster Theremin, and his hit re-edits of Donna Summer's "Bad Girls" from his own label Dilemma, will be releasing his highly anticipated new 12" EP "Supinboru" with some new songs inspired from his recent tour in Japan. His brand new EP will feature the video game music inspired title track Supinboru,' the rainbow-colored Electronic/Pop track Damage /Sonsho,' as well as a remix from the popular Japanese Electronic duo 80KIDZ, who had brought him over to do his debut shows in Japan together.

One half of Canyons, Pink Gin and the Hole in the Sky label, Leo James releases his solo debut You're not a machine on his new imprint Body Language. Record comes with printed sleeve.

You're not a machine is the first solo release from Leo James (one half of Canyons, Pink Gin and the Hole in the Sky label). Part 1 builds around a hypnotic, programmed percussion rhythm. White noise swirls at the ceiling, while a single note bassline punctures through from the basement to the first floor. Part 2 shovels an industrial-funk-feeling through a train tunnel with its raw 606 beat, crushed cymbals and dubbed out bassline. The synthesizer at the end really takes you there.

Bologna's increasing influence on dancefloors across the world continues as hotly tipped lo-fi house duo Nas1 drop their first release on their home town label, SorryForThis records and is sure to be a big moment for their burgeoning reputations.

It's an eclectic, multi-layered 4 track EP that pushes the boundaries of what is possible with such minimalist kit to the extreme and includes a remix from Sound Signature legend Marcellus Pittman.

Vino Cheenese, as the title suggests, is a leftfield rumbler that, once finished, leaves you unsure how you got there - but sure you enjoyed the journey. Oriental synths flutter over a pounding bassline, taking you from gloriously lo-fi, serene moments to being inundated with beats provided by a Simmons SDS8 and Akai MPC1000 that puncture the surreal atmosphere.

The Pittman remix removes any pretence of serenity and has more of an eye on the dark end of the dancefloor. The bassline is rendered more ominous and the beats more relentless and distorted, while keeping the leftfield vibes in tact.

AG Pini brings in a lower tempo, with punching industrial yet melodic synths coming in and out of sparse rumbling beats it feels like a Kraftwerk track if they had grown up in Detroit.

The Springer is the hardest tune on the E.P - with layers upon layers of crunching beats surrounded by howling, swirling high end synths, looping in and out of each other, putting almost an entire history of dance music in one brutal track.