House News

“Welcome / to my galaxy / of snare drum samples / full of emotions”

The year is 2019, and Jan Schulte is spelling out his vision in simple terms. Within the first few of Albumsi’s hour-plus runtime, our host lays out the mat, and welcomes us to the ‘Galaxy’, just as he welcomed us to ‘Zum Paradies’ on Instrumentalmusik von der Mitte der World. There, he donned a Wolf Müller mask. Here it is nom de doof, Bufiman. The directive is clear: buckle up, as this trip advisor for countless left-of-the-dial dancers and deep thinkers alike is back in the hot seat.

True to his word, the first thing that hits is the drums. Across the album are samples that Bufiman has been collecting since he was a mere Bufiboy. Recordings culled from market stalls 20+ years ago and song sketches that lay dormant since 2006 get a facelift at the Wolf Müller Flanger Studio and walk into the world as finished articles. A proggy tribute to funk classic ‘Blow Your Head’ takes this updating job most directly, transporting Fred Wesley & The J.B.’s to the fringes of a Frankfurt rave with a decanter of spiked punch, doin’ the worm through a space-time wormhole as they go.

Sometimes those drums jive away steadily, and sometimes they boom and bap right under your nose (and in the middle of the LP, they are barely present at all). Live instrumentation and digitised rat-a-tat link like brothers in arms. What might Mantronix sound like if they were from North Sentinel Island instead of New York City? Albumsi could be the answer.

This is the first record Bufiman has since leaving his day job of 11 years. It is the first made after touring and exploring some of the furthermost pockets of the globe – something that left a naturally great and greatly natural impression on him. A switch was flipped, he says, once he realised he could finally paint these pictures without pressure: “For the first time in my life I suddenly had a studio, a bit of gear and 3-4 days of time every week at once. Before I might have had one or two of these components, but never all at once.”

The resultant Albumsi is the most accurate measure of the ‘man to date. Thick waves of bass lap up at an exotic shoreline of greenery and indistinct birdsong. Tunes swell, ebb, crest and recede over 6, 8, 13 minutes at a time. Are we in Goa or Grafenburg? Rasping synthesisers taking off on ‘Well, Traumhaft’ and SFX like suction cups on ‘Hoolock Rock’ suggest the latter. But then, listen to the ecosystem of competing animal voices on ‘Apo-Calypso’ or the marriage of hand drums and wavering lead on ‘Pantasy’, and it’s impossible to be sure.

As ever, our host does not toil in studio solitude. Master mastering engineer Carsten Dämbkes brings the hi-def best out of the dense thicket of grooves. Close collaborators and friends like Niklas Rehme-Schlüter (Cass.), Lucas Croon, Nikolai Szymanski (Airchina), Alexander Dorn (Credit 00), Gregor Darman & Aki Vierboom (Phaser Boys), Sara Dudzinski Rodriguez and Florian Van Volxem variously add tweaks to the kit and compliments to the overall product.

Truly however, Albumsi begins and ends in the galaxy of Bufiman. With feet in the forests and head in the night sky, one arm pulling samples from the past and another jutting fingers into the future, the album is a rich stew of sounds, mantras and motifs and that have been simmering inside for a long, long time.

In 2016 Baaba Maal, the Senegalese master-musician, released his 11th album 'The Traveller' via Marathon Artists/Palm Recordings. Produced by They Very Best's Johan Hugo Carlsberg the record is a globetrotting portal into what can happen when traditional African rhythms both coexist and expand on dance-leaning sounds.Taking this approach to the next level Baaba Maal recruited dance floor minded producers to remix various tracks off the album. Including veteran Berlin deep house artist Henrik Schwarz, Auntie Flo known for his exploration of lesser-known strands of music & the Barcardi-house sounds of South African producer DJ Spoko.

Echovolt's lost and found 10th release is finally out! A beautiful mosaic of six tracks produced by new and old friends hailing from six different parts of the world.
.
From the no-reason unreleased Terekke's "Sun Salutation" remix, the new Greek producer but old friend of us under the (for the time being) name "Old Man Talkin'", the first hip hop jam ever released on the label by West Coast's "Tlim Shug" to the mysterious one-off alias of Sydney's "Indreamz". However, this compilation could never be more complete without our new loves that are Australia's Hugo Gerani (aka John Tanner) and Shea from overseas both of them to be seen in future solo releases!

2x12" HEAVY BLACK VINYL (350 copies, includes MP3 download card).

Mojo Electric continue their foray into classic electronic music with this legendary 80's B-Boy DJ tool. Synomymous with the first wave of breakdancing, "122bpm" cuts the same rug as "Planet Rock" and is revered amongst DJs and dancers alike. Limited to 300 Copies.

Dance Regular are proud to present FOOTSHOOTER - Libations
& Movement EP, hot off the back of his SAUL project on Rhythm Section, this EP is a perfect blend of Brokenbeat, Jazz, House and spoken word.

The EP takes you on an epic musical journey from start to finish from the skippy broken drums, synth stabs and live trumpet by Wilf Petherbridge in the opening track ‘Catch My Breath’ to the laid back snappy drums, sultry vocals of Jaisal and rap by South Londons Slam The Poet on ‘Head Down’. The final track ‘Slipped Back’ is a beautiful heartfelt song by Izzy Risk that flows effortlessly over Footshooter’s signature drum programming with additional trumpets once again from Wilf Petherbridge.

This release works both on the dance floor and at home on the sofa! Amazingly detailed and produced to the highest standard! An absolute classic and must have for any discerning jazz or broken beat head! Don’t sleep!


DJ Support:

IG Culture, Gilles Peterson Worldwide FM, Tuck Shop Music, Alex Nut (Eglo Records), Don Pascal.

In the phenomenon of the wave, nature, and technology combine with great effect. For Adrian Rodd both are important, he draws the bow from the synthetic sound wave to the natural surf wave. The producer and filmmaker from Lanzarote has created the visual aspect of his debut for Cochlea Music not only in the EP title Waves, the opener Equilibrium was created directly as film music. Surrounded by ambient and trippy synth sounds, the short film about the surfer Andy Criere shows a colourful journey from blue to red, a romantic poem "Man, Sea, Earth, Fire" - churned up and set in motion by urban basses and beats.

Unlike the main track, Night in Gran Via, he follows the DJ, still vibrating from the Techno-Floor, after working all night through the main city street. From there it goes to Verbena and Taboo 3AM on a jump to the Dubstep, Lo-Fi and Trap-Parties. Adrian Rodd's music flirts not only with party goers, but also with people who arrive home late, drawing on his experience as a resident DJ in Madrid's Stardust Club, as well as the sounds and everyday life in the surfing and fishing village directly by the sea.

Between warm waves, Waves mixes local history with a melodic evolution of ambient and urban dance music from Brian Eno to Burial, ending the title track with a film which pays homage to the volcanic landscape of the canary island.

With the likes of: Carl Craig, Radio Slave, John Digweed, Ilario Alicante, Ramon Tapia, Marcos in Dub, Paul Brcic, Kevin de Vries, Gabriel Ferreira, Rob Sperte among others.

Guerilla Toss’s material gets laid out bare for Jay Glass Dubs to work some jittery remix magic on… with sexy results

New imprint Jason, Jared & Brians’ Records delivers it's first offering with a release from Jared Wilson.

This record is dedicated to and influenced by Roland, Dinsync, Social Entropy Engine, and the Pacific Northwest. The three-tracks found on this EP are some of the first to come out of Jared’s new studio in Seattle. Refining and recommitting to a sound that reaches into the past and future with hints of acid, house, and techno while at the same time not being confined by any theme or style.

For their sixth release London based record label and clubnight Snap, Crackle & Pop return with another slice of the post punk and kraut influenced electro/techno sounds that are coming to define the label. The latest release comes from Niv Ast and it serves as a follow up to his appearence on this summers Relish compilation. The EP leads with an ice cold slab of post punk swagger in the form of Quebec / Makolet which gets the remix treatment from previous collaborators Khidja, the Romanian duo strip the percussion back for the dancefloor and tease out the track's darker side with more than a hint of acidic malevolence. For the B-Side Disco Monroe offers a nostalgic slice of pitched down French Electro undoubtedly influence by the Djs recent residencies in Paris. Optimo Music's Mr TC rounds off the EP with his unmistakably left field vision to give the track a dark tropical re-imagining.

7"
Limited to 300 handmade copies!
We only knew Pop's (Steven) singing voice as a whistle. He whistled while he worked, and he worked all the time. But not even a whistle accompanied him on the guitar. A woodworker by day, he brought his craftsmanship home, softly picking his patient melodies. Those few tunes were played over and over again, becoming smooth and refined as a carefully finished armoire.
It wasn't until Christmas 2008 that we really heard him sing. Our mother pulled out an old cassette tape labeled Steve at Marco's, a brief recording session from 1979. The first thing we heard was the song. The only song. Blue. A thick delay over the entire mix told us he was shy even back then. But then came that voice, which, underneath the wash, wasn't shy at all.
Blue, and the stream of short instrumentals following, seemed a rare capture at the heart of our origin with music. And as we shared these recordings with friends, we soon realized it wasn't just us who found them so warm and beautiful.
A proper closet musician, Pop would never share this music on his own accord, so we've taken the liberty of doing it for him. - Heather & Peter Broderick, August 2011

This Spring, Life And Death hits a half century of releases with a suitably standout album from leftfield innovator Autarkic. Terms and Conditions is a 10 track window into the Tel Aviv artist's rich, wildly-infused electronica.

Critical acclaim has followed Nadav Spiegel's every move since he debuted in 2015. He is impossibly hard to pin down, and brings real songwriting ability to club tracks that colour far outside the usual lines. Weird dub, psychedelic rock, all forms of wave, sideways pop, swampy techno, Middle Eastern subtleties and plenty experimental in-between sounds all inform his work. It defies convention in ways many cannot, and has come on labels like Disco Halal and Turbo, as well as Life And Death with the Heavy Dreamer EP in 2018.

2016 and 2017 brought his first two albums, Can You Pass The Knife? and I Love You, So Go Away, both on Disco Halal. Both were full of intensely emotional wave, synth and lo-fi sounds that fizzed with innovation. Says the artist of its follow up, "Terms and Conditions was created to celebrate the moment in time that is now. The moment we became peasants in a new digital-feudal world, happily giving away our privacy for the privilege of owning a smart phone."

Terms and Conditions is a unique melting pot, a reimagining of familiar sounds in unfamiliar ways, and is another standalone record from Autarkic.

The latest project by belgo-moroccan producer Reda Senhaji, alias Cheb Runner, focuses on breeding a new style of music between electronics and Gnawa. Taking inspiration from New Beat to Techno, Acid House and Gabber, the grooves are relentless, stiff and club oriented, relying heavily on analog synths and drum-machines. The sound is darker, more experimental and mature than his previous Gan Gah project.

Cheb Runner digs into the acoustic sounds of his youth, for an organic feeling of warmth and celebration. The syncopation of the classic Gnawa percussions, the “Tagnawit”, its groove is undeniable. Featuring two traditional Gnawa singers based in Brussels, Mâalem Driss and Mâalem Hicham, the EP is a reunion for the belgian Gnawa scene, keeping the vibe alive.

In a world of dematerialized culture, we tend to forget where we come from : by putting Gnawa music at the center of his production, Cheb Runner creates a bridge with the past. The young producer is a son of Gnawa himself, this is the music he grew up with and played as a kid.
Now he brings it to the club scene; Cheb Runner’s first EP is experimental, brutal, innovative. Getting past definitions and genres, it opens new horizons for North-African producers, showing them how to use their roots to make new beats. It encourages both tradition and modernity in Music. In 2019, Gnawa music, dance and culture was added to the UNESCO Intangible Cultural
Heritage list, demonstrating both the relevance of the genre and the necessity to preserve it.
of the genre and the necessity to preserve it.

Cheb, the Arabic word for “young boy”, is traditionally used to describe the young generation of Raï singers – like Cheb Hasni, Cheb Mami or Cheb Khaled. It means the new generation is here, to create something new with something old. The reference to the Ridley Scott movie Blade Runner is just that: while the Cheb comes from the bled, a moroccan village in the Agadir region, the beats come from the club scene of an industrial city, like Berlin, Detroit or Molenbeek/Brussels.

Cheb Runner takes you on a trip through space and time, as well as to pass on ancient rhythms to inspire the next generations.

Leif presents the third instalment of his 10" vinyl series exploring off-kilter, shimmering rhythmic and melodic abstractions

The Hong Kong based Homesick team are back with their yearly release of quality reworks that has made the label sought after since their first release back in 2014. For the 7th opus they've worked with Indonesian artist Jonathan Kusuma (Previously on Cocktail D'Amore and I'm a Cliche) for two reworks that have been thoroughly tried on Asia's dance floors for the past two years.

This time last year, The Forgotten Man launched the Noctu Recordings imprint via a superb single-sided salvo. It portrayed a producer in tune not only with dancefloors, but also the fundamentally far-sighted, intergalactic vision of Motor City techno. The good news is that this belated follow-up is arguably even better. Epic A-side "Pulsar" is a superb example of his craft; a deep and melodious voyage through shimmering pads, B12 style sci-fi melodies and crunchy machine beats. His ability to wrest every last ounce of soul from his machines is confirmed by delicious B-sides "Sky Birds of Ki" and "Beyond Sector 9", both of which fix dreamy chords and melodies to punchy electro grooves.

First release from a new electronic label based in Warsaw. Funded by Rafal Grobel - DJ and promoter behind S1 Warsaw records and a host of Boiler Room events in Poland. Grobel encouraged legendary Polish hip-hop label and urban wear brand Prosto to join forces to promote local artists worldwide with their combined experience and taste. In direct translation "most" means "bridge" in Polish but also stands for Music Of Stories Told.

The Beginning compilation brings together artists from various genres. Album includes solo tracks from recognizable Polish producers like Eltron John, SLG, The Phantom aka ex-Ptaki, Klaves, Hatti Vatti and Matat Professionals among others. The tracks on this album sampler 12" are spontanious collabos between Eltron John & SLG as Seltron 400 and The Phantom & Newborn Jr. aka Matat Professionals. The first duo has three EPs scheduled under the alias and the second just released an EP on Rhythm Section as Earth Trax & Newborn Jr.

The artists were invited for a session in a house in the woods which has been transformed into a temporary studio to share common vibe in music for the album. Prolific photo material from the event was included in the cover. Album comes out on vinyl as 12" sampler and 2LP gatefold, on CD in regular and limited packaging and in digital format.

Pender Street Steppers Productions (PSSP) proudly presents a sweet new double single. One side describing a relationship in its infancy and the other side its end. Not letting the truth stand in the way of a good story. Dubs included at no extra charge. Please enjoy and thanks for everything.

12''+MP3+Art Print

Allan Shotters zweite EP auf 2DIY4 erzählt eine sehr persönliche Geschichte auf eine quälende Frage, auf ein erschütterndes Gefühl, das ihn nach dem Verlust seiner Mutter plagte. In diesen tragischen Monaten war das Produzieren von Musik sein Zufluchtsort, um mit den vielfältigen Emotionen klarzukommen. Die Diversität an Gefühlen hört man auf "Das Gift" heraus. Überwältigt sein. Sich kraftlos fühlen. In Verunsicherung ertrinken. Wut. Traurigkeit. Warten zu müssen. Hoffnung. Hoffnungslosigkeit. Vier Tracks von brutaler Ehrlichkeit. "Wofür würdest du sterben?" "Für die Chance zurückzugehen."

Meeka Kates has been steadily making a name for himself in the online world in the last couple of years and since joining Kraak & Smaak's Boogie Angst imprint. His debut Wildfire EP introduced his cool and soulful blend of indie electronica and he continues to build his sound further with another EP - Fault Line.

His trademark slick soul melodies and personal lyricism are still present on this collection but this outing is a more lounge and chillout focused affair which absolutely suits Meeka's understated mellow style down to the ground.
Remixes on the package come from Ambassadeurs & Les Loups.

This is the first single taken from Remute's new album 'Play The Game' and you can sing a long to it in the shower. Get Lucky meets Bubblegum Crisis meets YMO meets 16bit videogames meets.........
Specials: Includes Remute-Sticker and signed autograph collector card!

Ancient rites of witchcraft and wisdom are the theme for Red Laser's 2nd release of 2020, with chief sound sorcerer Kid Machine consulting the eight schools of magic to create a spellbound opus of Manctalo mystery.

Across the 8 defined classes: Divination, Abjuration, Enchantment, Necromancy, Illusion, Conjuration, Evocation & Transmutation; Kid Machine renders these archaic energies into reactive musical matter. Much like mages and hierophants have kept centuries-old traditions and processes; the studio wizardry of Kid Machine reflects the various epochs of electronic music preceding it: the wistful yearning of vintage Italo coalescing with the charged energy of Northern English dance music and crafted via a meticulously sourced array of esoteric sound tools.

Side A's 'Magico', schooled in Divination, opens the LP.
A rugged rhythmic synth line nicely tweaked and with tasty clavs it's further expanded with glassy keys and a vocal refrain reminding us of its future-predicting powers.
'Make Me Feel Alright', protecting us with Abjuration, employs both squelchy and staccato synthesizer functions to construct its impenetrable gilded fortress. Banishing its foes to far-away lands with classico leads and a chord progression steeped in Italian nostalgia.
Snappy freestyle beats, galloping arps and searing melodies enchant 'S.D.M', an alchemical hybrid of electro-disco and pulsating EBM that would surely convince plenty, previous, non-compliers to frequent the poppers-drenched dark rooms of Europe's nocturnal underbelly.

Meanwhile, channelling dark necromancy, 'You're Love' closes off disc one with some of the most authentic, Italo-inspired keyboard interchanges and spirit-raising sequences available on the album.
Next come the winds & tides of Illusion and Conjuration. 'NGAFFS's' anthemic licks emanate off the wax. Broken down to 'not giving a flying fuck', it's Kid Machine's most spine-tinglingly epic track to date; uniting all under its Tesla-like harnessing of zero-point energy. Add coital thrust and you find us physically trying to grab the holographic, multi-dimensional synth fractals from the air in front of us upon first listen!

'Muszic' continues with another grandiose Manctalo coup de grace, full of sentiment and yearning.

Inviting Evocation through smokes & strobes, 'Modera' sees amyl nitrates recklessly thrown into the cauldron, tantalizing arpeggios stroking our most erogenous zones with abandon.
Finally, 'The White Hotel', assigned: Transmutation - is a tribute to the infamous nightspot contained within Red Laser's immediate territory, and home for the crew's many spectacular parties.
It's a fitting homage as galloping analogue sequences march over sensual strings and moody chord progressions; evoking that irreplaceable feeling of being surrounded by your favourite homo sapiens in one of the most hedonistic locations on planet Earth.

"Those who don't believe in magic, may never find it...".

Following the Stardancer EP and his remix for All I Need To Get High by Damian Lazarus & The Ancient Moons, Ae:ther unveils his most accomplished and daring work yet on the highly anticipated debut album Me released on Crosstown Rebels. Blazing a trail with his natural aptitude for crafting emotive, captivating compositions that have landed him releases on Crosstown Rebels Afterlife and Fabric, Ae:ther presents his debut LP. The album is a painstakingly produced collection of haunting melodies and narcotic rhythms that display his love and inspiration for ambient electronica, deep underground music and introspective atmospheres, culminating in dreamlike soundscapes programmed with taut percussion. The album begins on Stardancer, setting the tone with gentle keys and space influenced licks that portray a cosmonaut ascending into the stratosphere. This moves into the glistening, atmospheric Finferli, where synths depict aliens conversing in a distant, just-discovered world. Sub-aquatic ambient fills We’ll be Together, boosts of energy and intricate melodies weave in and out of the vocal, locked to the dubby groove. Ice cold subtlety and the otherworldly electronics of Costes drip slowly like water down a pane of glass. A mood of relaxation and weightlessness continues on Tina, a tender beat combined with pattering echoed chimes. N.62, a special ethereal piece, features warm chords and reduced percussion, gradually developing like the morning sun rising. Mysterious, playful charm unfurls on Elf, progressive harmony teases towards a crescendo before dropping back into the hypnotic beat. Clark is light and airy, funky melody constructing an interplanetary anthem. Stimulating a brooding mood, fuzzy clicks and glitches dance on the deep bass of Spektre II, conveying dust spraying off the surface of a moon landing. The shimmering ripples of electronica on title track Me fuse with delicate human vocals creating a heart-warming, personal account of Ae:ther’s relationship with his instruments. Trademark bleeps and blips wash over natural broken beats in one last final call to his utopia in the album outro.

For its 6th release, Bjarki and Johnny Chrome Silver's bbbbbb Records welcome new signing EOD (aka Stian Gjevik) to their unholy alliance with his 'Swurlk EP'. The Norwegian born, strictly analog producer takes the label off-roading with four outstanding productions channeling ambient, electro and hard bloody techno.
Having released on imprints including Rephlex and WeMe Records, it was actually on Soundcloud that Bjarki discovered EOD's music. After getting in touch, the scale of his work emerged as gigabytes of unheard music dating back to 2002 were exchanged, all of which was made without the use of a PC - an approach which speaks for itself through his instinctive, playful melodies.
'Swurlk EP' boasts an impeccable sense of arrangement, more like that of a composer, and even more impressive considering the absence of any computer. The title track opens with a velvety smooth synth melody building with bass textures. 'Evenhark' uses a broken beat framework to carry floating harmonies. 'Swarm' uses layer upon layer of stuttered percussion to build into a relentless techno cut. 'ELCASET_TESTGROOVE' pairs catchy, interacting melodies with pensive harmonies.
'Swurlk EP' is a must listen for fans of melodic electro and an exciting move from a label that continues to challenge all our fucking expectations

Stunning new album from Chicago's finest electronic futurist Hieroglyphic Being, aka Jamal Moss, newly released on Soul Jazz Records. This is his third album for the label, following on from "The Acid Documents" in 2015, and African With Mainframes (w/ Noleian Reusse) "K.M.T." in 2016.

Born and based in Chicago, Moss's music embodies two of the cultural foundation blocks of the city's musical lineage, that of Chicago's original Acid House sound (c. 1986) - Frankie Knuckles, Phuture, Marshall Jefferson et al, alongside a rigorous experimental sound searching that taps into the cosmic musical lineage of pioneering artist Sun Ra whose Arkestra landed and was based in the city from 1946-61, and the equally pioneering work of 'The Art Ensemble' of Chicago in the 1960's and 70's.

The association with Sun Ra is by no means hypothetical, Moss recorded with the Arkestra leader Marshall Allen and a host of free jazz players for the album Hieroglyphic Being & JITU Ahn-Sahm-Buhl's 'We Are Not The First.' in 2015. Similarly, his relationship to Chicago's original acid house pioneers of the late 1980's is no hyperbole. Originally mentored by artist/producers Adonis and Steve Pointdexter, Moss also runs his own Mathematics label, releasing a constant stream of new music by foundation acid house pioneers Lil' Louis, Adonis and many others.

What clearly defines Moss's music is that while sometimes pushing the limits of sound to an ear-splitting dimension of experimentation and DIY-electronics - the music is always clearly a progression of the lineage of black music. In the words of fellow Chicagoans, 'The Art Ensemble' of Chicago, it is simply 'Great Black Music.'

And yet in this uniquely defined sound, Moss somehow manages to draw into this world elements of industrial music, German electronic music (Cluster, Harmonia etc), Detroit's sci-fi techno artists (Atkins, Saunderson, Craig) and more.
'Outsider House' 'Afro-Futurist' 'Rhythmic Cubism', Moss's near indescribable sound plays testament to the notion that he is perhaps the last of the line of producers directly influenced by Ron Hardy at the Music Box, uniquely qualified to write a new chapter of Chicago's rich musical history.

Red Notes is the prolific artists new revelatory and unique project - in his own words 'A homage to the Blue Note Jazz sound of Thelonious Monk, John Coltrane, Herbie Hancock' fused together with the classic Chicago House and Acid sensibilities of Larry Heard, Armando, Adonis et al, into a newly imagined futuristic and barrier-less musical landscape. Featuring organic and synthetic electronic instrument., Hieroglyphic Being here fuses real-time live instrumentation and over-dubbed technologies to dramatic effect, as analog and electronic worlds collide.

At bleedin' last, The Boats' gorgeous debut album Songs By The Sea (2004) turns up on vinyl! Along with first-ever vinyl issues of We Made It For You (2005) and Tomorrow Time (2006), plus a very special side of unreleased, unheard outtakes, Static Clings (2017) - which are all collected in the The Boats Archive boxset, you should snap these limited runs while you can as they're unlikely to appear on wax again.

Scrolling thru the mists of time to 2004, a very different world indeed, and The Boats formed as an outlet for Kraftwerk-addicted composer Andrew Hargreaves and his pal, Craig Tattersall, fresh from a decade spent with cult post-rock group Hood and as half of The Remote Viewer, to pursue the ideas of post-rock, modern classical and lo-fi electronica along more intimate, personalised ginnels of folk and ambient music, with the cherry on their home-baked treats provided by vocals from another close friend, Elaine Reynolds.

Songs By The Sea was their wistful and charmingly humble introduction to the world; ten tracks balancing exquisitely pop-wise songwriting with gently pulsing, elusive electronics and a patina of crackle that became a real signature of their sound long before everyone else cottoned on and starting putting out pale imitations.

At the time, it received heavy rotation in our record shop, Pelicanneck, and was something of a shared secret between fans from Manchester to Japan via their home-town of Burnley, and still owns a certain section of our memory banks to this day that's often triggered by the smell of coffee, waffles and toasted rye bread in the morning just as much as smudged Hulme sunsets in summertime.

We don't want to gush about it too much but, listening to it now, and on a format the album always quietly yearned for, it's just chokingly nostalgic in its own, low-key and endearing style and leaves little doubt in our minds that Songs By The Sea is one of the finest ambient-pop records to emerge from this region.

Limited edition 2 x LP Translucent Blue vinyl to celebrate the 6 Year Anniversary of the release of Rüfüs Du Sol's groundbreaking debut album 'Atlas'.

Featuring the much loved singles Take Me and Desert Night , ATLAS debut at #1 was a testament to the bands passion, work ethic and DIY approach to music. A labour of love, the album was written, produced and recorded by the band between two studios they built themselves - one in a remote farmhouse on the NSW south coast, the second in a hollowed out water tank under one of their parents houses.

“Their sound cannot be likened to any other act " - acidstag

Since their BBC Maida Vale session for Steve Lamacq in 2012, Soccer96 have been wowing rock, jazz, electronic and all kinds of audiences with their frenetic yet devastatingly tight live sets.

Flight Formation recalls the most jazz informed reaches of Detroit techno, so much so that house maestro Glenn Astro couldn't help but offer up an extended DJ-friendly edit. Also included on this release is an exclusive edit by the king of NYC disco Danny Krivit..

The Melbourne based experimental producer Danvers add his touches to Step Overs all in all making this an essential release for serious collectors that know quality......

Blue Vinyl

A previously unreleased set of ’87-’93 bleep techno, trance, ambient, noise and breakbeats by synf boffin Dave Burraston’s cult NYZ project - recommended for followers of early AFX, Autechre/Lego Feet, FSOL/Humanoid, Mappa Mundi - newly minted on The Death Of Rave.

Following his mind-bending ’SHFTR FRQ’ LP for The Death of Rave in 2018, the award-winning, UK-born and Aussie-based artist/scientist excavates his HD from a golden era when synf and computer music boffins were building the future in bedroom studios, using then early versions of Cubase and Amiga software to establish the templates for decades of rave and electronic dance music to come. However, like a rare, mutant dinosaur skeleton that doesn’t fit historic models, NYZ’s unarchiving of ‘OLD TRX 87-93’ offers a complex and unusually chaotic range of ideas for this era - from meditation tape-sampling downbeats to nutty proto-speed garage and animated noise - that plays out like a comic book or pulpy sci-fi narrative and smartly showcases the breadth of Dave’s prized imagination and technical nous.

In 11 parts arranged for a properly immersive listen, ‘OLD TRX 87-93’ wends from squashed ‘80s cyberpunk sci-fi in ‘damage’ to the hypnagogic swag of ‘self_hypnotic_tapez’ via a spectrum of mutant dance floor and avant oddities alongside a bezerker breakbeat razz in ‘patheticsocialmisfits’ and what sounds like proto-speed garage in the warped bass of ‘flatline’. But he never uses the same drum pattern twice, and thanks to the inclusion of wildcards such as the scorching noise piece ‘JP4_PhonosonicsRM_DRN’ and the sleazy proto-trance of ‘CEZbulgan’, the sequencing ideally lends itself to jacked-in headphone mooches as much as domestic and raving use.

The results are surely comparable to the haunting early rave and ambient sound of AFX’s ‘SAW 85-92’ as much as the freaky ideas found on Brian Dougans’ proto-FSOL project, Humanoid ‘Sessions 84-88’, or the hardcore breakbeat ruggedness of Autechre’s Legofeet, yet all done with a trippy sound design and time-out-of-joint feel that’s singular to this remarkable record, and speaks to the artist’s wealth of experience; from his role as a BT trouble-shooter in the ‘70s, to his work on landscape-sized sound art installations, and his legendary ’SYROBONKERS’ interview with Richard D. James. It’s an immensely enjoyable and enigmatic album sure to spark ravenous interest with old and yung skool ravers and electronic music fiends.

Words from Ransom Note...
Undivided, unified, the overwhelming sense of oneness. Feeling and experiencing this was her strongest desire since the departure, a deep longing. Walking back to base, she knew this had been obtained, it was clear and ran through her like water. Though she did not feel complete, she did not feel intergrated or a part of the whole, as it were. The collective 'one' disected, distributed and proliferated without her. Did she feel spaciousness or emptiness?

Hodge is a man of truly Well Rounded talents - creating infectious melody laden deep house with Outboxx, across to his own weighty bruk-techno movers for the likes of Deadplate Records, to his recent truly forward-thinking collaboration with the ever inspirational Pev.

Here however we wanted to showcase some of the more unconventional ideas he incorporates into that original yet essentially house & techno related direction of his. After discussion we discovered this was somewhat inspired by science fiction novels. And why not

'Holographic Prose' opens proceeding, skittering about in an anti-gravity atmosphere the bass literally 'comes up' in this. Fluttering melodies and wooshing chords over a piston-driven rhythm builds the tension until all electronic heaven breaks loose on deserving dancefloors.

Oonops is known for his "Oonops Drops" - radioshow on Brooklyn Radio and his compilation series on Agogo Records. now its about time to start with his very own Resense edition by using his friendly connections to producers and djs from all over the world.

His first volume includes Lordfunk and Moar from France who created a boogietastic and bouncing track with classic Jurassic 5-vocals on top and some familiar samples. On the flip you'll find a dancefloor banger with hard hitting drums around Big Daddy Kane and MJ produced by a mysterious producer from Germany.

Where does electronic music lead you? To the inside, to a calm and warm place where sound resonates with your body in quiet bliss, or to the outside where the rhythm wants you dance, even without moving? „WTMCT“ gives an answer to these questions that is complex yet extremely easy to understand in an immediate sentient and emotive way.

Menelaos music is unusual and unlikely both with respect to the structure and arrangement of tracks, and the materiality and spatiality of the sound. And yet these sounds convey an immediate sensation of familiarity and ease, of beauty and relaxation. Menelaos utilizes loudness and extreme dynamics in a thoughtful and intriguing way to accentuate strange runaway sounds while maintaining the continuity of the flow of the tracks, which is Ambient to the core. This is a rare art in our time, where hypercompressed and superoptimized glossy sounds dominate most of Ambient, drone and even deep listening music.

In this aspect the album follows and refines the subtle production skills of seminal electronic artists like Jan Jelinek or Terre Thaemlitz a.k.a. DJ Sprinkles. What is genuinly special about Menelaos music is the natural and seemingly effortless fusion of challenging experimentalism and a warm and soothing organic sound-design. This shows exemplary in the collaborative tracks with trombonist and bass trumpet player Achim Fink, a founding figure of the Cologne jazz and free improvisation scene of the eighties. Achim is uncompromisingand in times disruptive play merges perfectly into Menelaos serene soundscapes.

This way „WTMCT“ became a genuine album. It tells a story. It invites deep exploration but it does not demand it, thus transcending common notions of how Ambient or Electronica should sound. Text: Frank Eckert

The Album includes also some warm sampels (my live with the wave vol 1+ 2) from the Detroit legend Mike Huckaby to whom i very thankful.

Limited edition of 170

After their brilliant debut on Resense, SoulBrigada returns with two new cuts. Following the proven formula, two classic Funk & Soul joints get the SoulBrigada treatment to fire up the dancefloors again.

'Help' is a Northern Soul gem from the midwest - from 1969. The raw & funky sound of the song follows with great perfection a JB style, which is complemented by the sweet soul voice of the singer. The SoulBrigada-Edit focuses even more on the percussive side of the song and the extension provides a real dancefloor filler.

'Love U Baby' is a great Soultune, which was also released in 1969 by a vocal duo from the southwest of the USA. The song stands out because of its funkiness and the great interaction of the two singers. The rework provides the right dose of funk with additional drums, repetitive editing and expansion.

International Feel's minialbum series. From their base in Los Angeles, intrepid musical voyagers Pharaohs have imagined a place far from the city for their first stand alone release on International Feel.