House News

repressed !

Unsurprisingly for a creator as prolific as Muslimgauze's Bryn Jones was, when he was asked for a contribution for any sort of group project, he would tend to provide more options than necessary. In the case of longtime label Staalplaat's 1996 compilation Sonderangebot, where Jones would find himself in the company of everyone from Chalemagne Palestine to Reptilicus, the selected track was the characteristically headspinning "Kaliskinazure", nine minutes of insistent digital percussion bouncing the listener back and forth between samples of wailing women's voices and a trebly, blurry little whirr that traces the percussion. It's distinctive enough even among the vast Muslimgauze corpus, but as the continued excavation of DATs Jones submitted to his labels continues, sure enough there's more to that track's story, too. An extended "Kaliskinazure" makes up the second of four tracks on Babylon Is Iraq, although it's been lost to the mists of time whether an outside editor excised the more drifting, less needling coda that makes up the extra six minutes found here, or whether Jones simply submitted both versions of the track at different times. This more complete version of "Kaliskinazure" is surrounded by shorter tracks, with the opening "Kaliskinazure — Momada" sounding not very much like either track it references (instead being a barely-there wisp of far-away sampled wind instruments and what sounds like treated cymbal sounds) and the title track constantly coming to a full, roiling digital boil. The lengthy "Momada" closes out the album with a different, more tersely internal arrangement surrounding the same percussion pattern that will be familiar to any Sonderangebot fans, although the way the quieter atmosphere transforms the feeling of that rhythm indicates once more than Jones' way of reconfiguring his pieces over and over was perhaps more purposive and even more effective than he's sometimes given credit for. The result is a fascinating expansion on one of Muslimgauze's strongest stand-alone moments, as well as a fitting tribute to an artist who would never give you a track if an album would do. such strong powers of suggestion.

Cover made of 1mm thick bleu cardboard, sewed, text silver glitter screen-print, black image, name, and side lines are lasercut All done by hand hand ! All Tracks Written, Performed, Mixed By – Muslimgauze. Recorded, Engineer, Mixed By – John Delf. unreleased material. Format: Vinyl - Limited and numbered edition of: 500 Barcode: UPC (A).75390-73724-27 Catalogue#: Muslimgauze archive series

Fresh for 2019, Soul Clap returns with “Ready To Freak”, a disco infused tribute to New York City nightlife, featuring the legendary Kathy Brown on vocals. The release is the US based duo’s latest excursion on their eponymous Soul Clap Records since their collaboration with Funkadelic and features 4 special versions Ready To Freak any discerning dancefloor, boombox or Walkman.

The "Disco Mix" lives up to its name, edited and arranged with Morgan Wiley (Midnight Magic, Hercules & Love Affair, etc..) it takes the melodies and basslines of the original demo and loads them up with Wiley's keyboard wizardry over live drums. On the "Disco Dub", Soul Clap’s Eli aka Bamboozle and Wiley flip the groove with a Roland RX7 drum machine for that 80’s proto-house feel. Then on the flip-side, Soul Clap’s Charlie aka Lonely C pulls out all stops for a pumped up piece of floor shaking house music on his "Club Electronique". Finally, his "Dub Electronique" makes things oh-so-DJ-friendly with a bass driven drum work out that has already gotten massive reaction during Soul Clap's DJ sets!

The first release on new Tokyo and Hong Kong-based label Palms & Charms delivers a Balearic reflection on the paths of our lives through space and time.
The title track sets a tropical scene, with a Riviera feel. Consider questions such as 'why are we here' and ‘what are the reasons for human behaviour’ whilst drinking your favourite cocktail, preferably with a carefully selected combination of just a few ingredients.

On side B 'Feel the Wheel' is an instrumental rumination on the experience of work. The staccato sounds of Afro-Cuban bata punctuate a slice of understated synth-funk with an essence of boogie, as you contemplate the position of mankind on Earth â€' the only creatures on the planet capable of real self-determination and active endeavour.

MAX ESSA (Jansen Jardin, Is It Balearic) offers up two complimentary mixes of 'This Time Around'.

The 'Heaven in the Afternoon Dub Mix' brings a sophisticated post-prandial-dub feel to proceedings. Sip on a rum and ice and gravitate towards the dance floor, seduced by the interplay between the guitar, agogo and the bassline.

Meanwhile the 'Euro Terrace Mix' leads your mind back to pondering the big question â€' 'where else could we go now' â€' even as the stabs and subtle arpeggios drive your feet into a reverie of their own.
The night is young and the terrace is becoming busy..

Dynamic composer Neil Cowley is set to release 'Spacebound Tapes' a four track EP featuring remixes of his Trio's 'Spacebound Apes' album ("A miss- this-at-your-peril release" Drowned In Sound 9/10) by Rival Consoles, Throwing Snow, Christian Löffler and Vessels

'Spacebound Apes' was written by Cowley for his trio and long-time bandmates drummer Evan Jenkins and bassist Rex Horan, with contributions from Brian Eno collaborator Leo Abrahams on guitars and FX. A bold exercise in atmosphere and emotion, the album was woven together with some of the most breathtaking, impassioned music that Neil has created. Originally inspired by Arthur C Clarke's 1956 sci-fi book 'The City and the Stars' the album was recorded at Cooper Hall, a studio and cinema set deep in the Somerset countryside with Stanley Kubrick's '2001 A Space Odyssey' running on permanent rotation.

The sci-fi aesthetic is firmly grasped by the four remixers, echoing the theme in their own reinterpretations. The reimagined tracks retain the inventiveness of the originals while exploring progressive but considerate paths. In his version of 'Weightless', Erased Tapes signed Rival Consoles feeds off of the electronic songwriter's critically lauded humanised techno, while rising German musician Christian Löffler brings new dimensions of space and scale to 'Death To Amygdala'. Houndstooth's Throwing Snow delights in deconstructing 'Duty To The Last' with pulsing energy and Vessels' take on 'Echo Nebula' applies machinic facets to the delicate sounds of the original.

Jonny Rock is somewhat of a sorcerer, an omnipresent eye that gathers secret ingredients from far and wide—old school House oddities, hypnotic melodies of the Orient, the furthest reaches of Disco, the easy pace of Turkish psychedelic funk—fusing it all into his own shrouded code, a string of immaterial messages, both subliminal and lucid, that highlight his eccentric sense of storytelling and nuance. He imbues a sense of familiarity in his music, implying history that might not be studied but still feels learned, a quality inherent to productions born from a vast catalog of influence (and the inseparable sample material). Jonny conjures euphoric acid flashbacks, herds of crowds through Istanbul alleys, the misty morning residue from raves of yore, orchestral winds blown across the Aegean riviera, and he manages to concentrate their essence into singular details such as a snare drum. Both sides of his eternally-awaited ESP debut lean toward his dark arts—'Tye Die Techno' drives a relentless hard-edged drum kit that could throw an otherwise self-respecting Goth into a heated breakdance battle, while the title track and theme, 'Ode To A Happening On Earth,' plays with the imagery of ritual, fantasy and role-playing—but throughout this malevolent stew, there is a sustained hint of the artist's playful nature. No matter how murky the trip becomes, Jonny is always there, a light at the end of the tunnel, with a big hug to reassure that everyone will be OK. He is one clever bastard—if you know, you know.

Electronic duo Soft Error release their debut album Mechanism through Village Green. Recorded at Valgeir Sigurosson's renowned Greenhouse Studio in Reykjavik, Iceland.
Mechanism offers a fresh and singular brand of musical intrigue by reaching back and forward simultaneously - drawing from the innovative, propulsive thrum of 1970s Krautrock and the grainy textures and tonalities of the BBC Radiophonic Workshop on one hand, the symphonic, futuristic soundscapes of composers like Cliff Martinez, John Carpenter and Jon Hopkins on the other.

Well you know what they say, home is where the heart is. I must say it feels all nice and warm to be back on the label myself as Desert Sound Colony.
I've put together a few more rippers for you to enjoy. I hope they serve you well in the club and spin a few people from one side of the dance floor to the other. Imagine everyone's brains are attached to yoyos and you have control of them. You could metaphorically be walking the dog with their minds if you play these at the right time. Doesn't that sound appealing...
It is too awkward for me to 'big up' my own productions in the way that a normal press release seems to want, so I will just say that I have been playing these three out for the last six months and the results have been pretty much as described in the paragraph above. They are aimed straight at the dance floor, peak time tackle for when you also want to get everyone feeling pretty weird. Expect swingitty swung rhythms throughout and the feeling of having a rave in a drainpipe.
OK enough of my blather. Go and listen to the damn things yourself and decide if you like them, rather than trying to work it out from reading a bloody press release you weirdos.
All three tracks are produced and sculpted for the club. They want big sound systems and dark rooms.
Close your eyes, hold hands and experience transcendental space flight...

Part 5 Of 5 To Be Released Over The Coming Couple Of Months. Originally Released On The Phono Label In 1995/96 The 'parts' Series From Matthew Herbert Are A Much Loved Collection Of House Tracks That Sound Just As Original And Bold Today As They Did When They Were First Released. This Series Of 12's Were Part Of An Early Wave Of Exploratory Dance Music That Paved The Way For The Deep House That Still Works Its Magic On Dance-floors In 2018 Some 25 Years Later. The Mix Of Herbert's Playfulness Alongside Expertly Grooving Production And Unusual Sounds Makes This Unique Collection Of Work. The Odd Few Tracks Aside This Is The First Time That These Releases Have Ever Been Repressed. All Newly Remastered For This Reissue Series, The Releases Include Stone Cold Club Classics Such As 'deeper', 'take Me Back', 'resident', 'people That Make The Music' And 'see You On Monday'.

After several acclaimed releases on Astropolis, Stripped Muzic and Bedrock records in a short space of time, Caduceus Records enlist the French producer for the next 12" slab of techno on the label.


Benjamin Leclercq (Madben) grew up in Northern France, not far from the Belgian border, discovering electronic music at the end of 90s and delved into the Belgian club scene where underground sounds were already being spun, leading to his first foray into djing when he moved to Lille, back in 2000. It wasn't until he arrived in Orleans that he began composing electronic music in 2007.


Quickly picked up by the press, he was crowned a 'Rising Talent' by Trax Magazine, and is set to follow in the footsteps of his French production forefathers, Laurent Garnier or Agoria, in paving a way for himself through the growing slew of artists out there. Having already caught the eyes and ears of the old techno guard and heavyweight producers including Dave Clarke, Carl Craig, Skudge, John Digweed and Ben Sims, Madben looks set for great heights.


On 'Couleurs De Danse,' Benjamin provides a tempered palette of tracks which flow from red (Danse Rouge), to blue (Danse Bleue), to the veiled and stripped back black (Danse Noire), all taking on different shades of percussive techno. The collection of tracks is then topped off by Brazilian born producer, Urbano.

Repress

Pavel Milyakov aka Buttechno launches his new label
"RASSVET" with the 12" reissue of his very rare vinyl "1984" with tracks he made for Gosha Rubchinskiy's s/s 16 show adding 2 more tracks which were not included in the first limited press. 2 experimental soviet electro cuts on the A side and two long banger tracks on side B.

Dimitri Fergadis' L.A based label Halocyan follow up a slew of high-profile releases from the likes of Paul Woolford, Arkist, Raudive and Gravious with the next coming courtesy of the ever-evolving Hackman backed up with remixes from Timo Maas and KiNK. At just 24, Hackman has already amassed a lauded back catalogue that's touched 20:20 Vision, Futureboogie, Greco-Roman and Rampa offshoot PTN. As an artist he's consistently diversified his sound and - akin to the ethos of Halocyan - has kept one foot firmly in dance music's rich history as well as looking forwards with each release.
His latest offering 'Semibreves' shows Hackman returning to the tougher, more armoured facet of his catalogue epitomised by his collaboration with Tessela on Audio Culture back in 2011. Complex, primal rhythms are laced with his stout and muscular bass tones while he uses melody to astutely whip up rapture.
First up on remix duties is Rockets & Ponies co-founder Timo Maas; a stalwart experimentalist who has earned his stripes across a vast and varied back catalogue. His take on 'Grass Green' melds rasping bass tones with twisted and eerie melodies that roll out over an elongated breakdown.
Next up is KiNK whose penchant for analogue circuitry is manifested across his harmonious remix of 'Semibreves' - swooning synth propel a major / minor shift as

Marquis Hawkes kicks off 2019 debuting on UTTU with 4 romantic house gems aimed at the mind, body and soul of the dance floor.

The In-demand Finnish Duo Morphology Joins Firescope Records For Their 10-track 'traveller' Lp — A Vision Of Travel To Destination Unknown.

After Having Released Two Albums On Zyntax Motorcity And Eps On Labels Such As Central Processing Unit, Cultivated Electronics, Emotions Electric And Abstract Forms, Morphology's Third Album Continues Their Intensive Deep-space Exploration At The Intersection Of Electronic/electro Music And Scientific Discovery.
Awash In The Beautiful Sounds Of Hardware-derived Music Direct From Morphology's Command Center, The Album Takes Listeners Into Their Skilfully Crafted Universe. Each Track Is A New World In Itself Of Crisp Beats, Deep Basslines And Melancholic Melodies. Interspersing The Frenetic Pace Of Hyper-speed Travel With Ethereal Landings, 'traveller' Is An Intergalactic Trip Without Taking Off Your Headphones.

The Radio Static Of 'distant Signal' Mysteriously Invites You To Tune Into An Otherworldly Frequency. You Select 'y' And Hit Enter To Get To 'second Light', Its Fluttering Arp Work And Foreboding Bassline Taking Travellers To The Next Higher Dimension.

You Land On The Planet 'farthest Regions' With A Touch Of The Orient And Misty Atmosphere Surrounds. A Contemplative Mood Settles In Before You Take Off Again With 'hidden Variable', Its Haunting Sustained Pads And Adrenaline-fuelled Beats Signalling Both Thrill And Danger.

The Ambient Atmospherics 'memory Fragments' Flings One Lost Into Space For A Brief Interlude, Before 'detached' And 'pod Bay 8' Gears Back In Warp Speed Mode. The Combined Energetics Of Intricate Breakbeat Drum Patterns, Fierce Basslines And Spacey Cold Atmospherics Deliver The Album's Dancefloor Apex.

'bipolar Nebula' Soars Up To Further Stratospheric Heights And A Soft Landing While The Intelligent Brain Dance 'kernel Method' Gives One To The Head-nodders. The Lingering Final Track 'deuteros' Algorithmically Skips, Taps And Signs Out On What Has Been An Out Of This World Sonic Adventure — From Faraway Lands To Abstract Spatial Dimensions And Beyond.

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.



Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.



Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”



But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.



The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.



“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.



Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.



Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.



Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.



Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”



But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.



The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.



“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.



Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.



Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

Dance Regular is a brand new label set up by EVM128 and James Rudie of CoOp presents Selectors Assemble.

Not wanting to be pigeon holed into one particular genre the label’s ethos is just good music that moves your body, genre spanning through House, Bruk, Soul, Jazz, Boogie, Half Time, Jungle, Ragga, and beyond.

This is the first Various Artists compilation to kick off with, then to follow there are EP releases throughout the year from the likes of Duke Hugh (Rhythm Section / HW&W) Xtra Brux, James Rudie (CoOp Presents / Selectors Assemble) Trev, Ishfaq, Footshooter and more.

N.E.W.S. welcomes Musar. South America's finest Ricardo Tobar returns with 'La Condamine', an EP of melodic & cosmic electronic music adventures. Including Marc Piñol and Ulrich Schnauss remixes.

South America's finest Ricardo Tobar returns with 'La Condamine', an EP of melodic & cosmic electronic music adventures. The four tracks EP is the first release on the edgy 'MUSAR' imprint, set to release on October 20th, 2017.
As you can expect from a premium sound designer & tastemaker, Tobar's EP channels his roots from classic 80's darkwave analog sounds and the melodic, softer edges of early IDM.
'Rue Calme' is a deep and uplifting psychedelic trip that standing exactly on the borders between the dark and the light worlds of Tobar sounds, while the title track 'La Condamine' draws on influences such as Boards of Canada, Orbital and Sci-Fi movies, with an epic melody on warm northern drums-plate, perfect for sunset time. On the remixes are Barcelona's favorite player Marc Piñol and the sound architecture Ulrich Schnauss with a colorful explosion of electronic sounds. Ulrich's remix reimagining the beats in early 90's lo-fi shoegaze version of the opening track, while Marc's remix is a floor magical journey covered by bright vocals and rich atmosphere.

This September will see the long awaited vinyl release of Half Age EP by electronica act Weval. 2014 started with a bang for the
duo. Their track Detian was featured in the new Schweppes commercial starring Penelope Cruz. Meanwhile the duo worked on a new EP for Kompakt, released a remix for the legendary Gui Boratto and saw their Half Age EP climbing in the iTunes top 100 for months, #5 highest notation in France. Further the guys performed their live set at Pitch Festival, Into The Woods,
Trouw and many other clubs and festivals.Weval (consisting of Harm Coolen (1986) and Merijn Scholte Albers (1989)) both have roots in the film industry, which is also where they met in 2010. When they found out they were sharing the same love and ambition for creating electronic music they decided to team up as a producers duo. In 2012 they released their debut on Atomnation, supported by Xlr8r, SPIN, Dummy, The 405, The Line Of Best Fit and many others. Playcounts are going to the top ever since, reaching over a million in total.

Aussteiger is a Berlin based German DJ / Producer. He runs the Dub Disco label in Berlin and DJ's around the world. Zusammenkunft is his debut album released on Copenhagen's Music For Dreams. Once upon a time a golden boy came back from the shadows. Rumors were told that he once left the big city in a time where the music scene and clubs were dominated by cold music and average beats. He left behind civilisation, living withdrawn in the woody mountains of a covert place. From there on people talked about him as Aussteiger. Connected to the nature and deeply rooted in the harmonic essence, Aussteiger became a part of the great whole. In a full moon illuminated clear night while experimenting with various unique herbs he accidentally found a recipe to create warm and ravishing music. He firmly believes that music is his infinite source to gather strength and positive energy After years of strengthening himself and shaping vibrant sounds Aussteiger decided to share his delightful music with the world. He returned from his retreat in order to enchant the music lovers all over the world with his feel good approach and supernatural sounds. Coming back to the city, he also co-founded the awesome Dub Disco Label with his buddy Serj Nosé.

Fresh modern house tracks by two brothers from Hamburg, Liem & Eddie Ness. The borthers have delivered an excellent modern deep house record for the al mighty Junk Yard Connections. Liem & Eddie is also the guys behind the LEHULT record. This is the new deep house generation from Hamburg for sure!

Bold and raw sounds for adventurous dancefloors

Strategy returns to Chris Farrell's Idle Hands label for the first time since his 'Seeds Of Paradise' LP, and his first record of the year following releases for Nite Owl's Diner and Zam Zam's sister label Khaliphonic in 2018.

Here he turns in a bassy house number by the name of 'Tropical Storm', one for those sloppy grins in the summer months. The most requested track ID on Shanti Celeste's Dekmantel mix, here it finally sees the light of day. On the flip is the more paired back 'Evolu'

Formerly clandestine, today manifest, both sacred but also profane, sometimes meditated, very often improvised, the Kabar transpires in the daily Reunion, getting rid with insolence of any label that dares to impose. The Kabar is a fleeting but bubbling manifestation of an identity and a local culture that is still difficult to define. A moment of life and sharing where handcrafted instruments, neighborhood meetings, ritual dances and lyrical demands are mixed. A meeting.

Born from the musical union of maloya and electronic music, Digital Kabar is a compilation at the crossroads of cultures, porous to all sound experiences. It's also the result of a friendship that drives InFiné at Les Electropicales festival, from the fascination of a small team dedicated to the independent musical cause for a musical scene and its diversity.

Digital Kabar features tracks & reworks from Jako Maron, InFiné affiliate Labelle, Alex Barck, Christine Salem, Boogzbrown, Loya, Sheitan Brothers,Ti Fock, Force Indigène, Agnesca, Zong, Psychorigid, J-ZeuS, and Kwalud.

Wisdom Teeth co-founder K-LONE is back on home turf with a four track EP of broken beats for big rigs. The last 18 months have seen him release an impressive run of records on a spread of acclaimed labels spanning a range of styles: slow-mo dub techno (‘Old Fashioned’ on Parris’s Soundman Chronicles imprint); anthemic halfstep (‘Barbarossa’ on his own offshoot label, Wych); low-lit UK garage (‘Furious Styles’ on Dr Banana); and dubwise broken-beat house (‘Dance of the Vampires’ on Idle Hands). The scope and variety of his output has been mirrored in the diverse array of record bags that these releases have snuck their way into: recent co-signs have spanned artists as eclectic as Ben UFO, Four Tet, Bake, Kiran Sande, Beatrice Dillon, Leif, Trevor Jackson, Batu, Commodo and Iggy Pop. The Sine Language EP sees him handling a range of styles and tempos, moving from paranoiac electro (‘Sine Language’) and low-slung percussive house (‘Batucada’) through to tripping, bleeping techno (‘Missed Calls’) and, finally, early hours dubbed-out house (‘Bells’).

Vinyl only. Even though we're not paladins of pure concepts, the sound we're currently looking to release usually has a raw, kinda primitive and rough around the edges nature. We're definitely not looking for the generic "soul sample meets a 4x4 beat" kind of edit. Our very own first release is the perfect picture of what we wanted this label to be. Can’t go wrong with a Mike Simonetti turn.

Kuiper comes after last year's acclaimed debut album 'Elaenia' and is the second release on his own label Pluto. Check out the video here!:
Speaking about the new release, Shepherd says:

'Since starting a band to realise the music from my LP, it has sparked a deep interest in the band itself, and so Kuiper is the result of playing with Leo, Alex and Susumu. Each time we play it, its completely different. We set the scene with electronics, and some drum machines that form the foundation to allow the unfurling of the rest of the track. The version on this EP - believe it or not - was recorded at 8am!

The other side - 'For Marmish Part II' - is carbon dated by my singing voice. I can't get that high anymore! It was recorded way before ' For Marmish' on the album but the two tracks happened to be written around the same time.

I want to share them because both sides reflect in two tracks where I was right at the start of the Elaenia project, right up to now post-LP release, playing live and going on the road with a band. I hope, like I feel, people will find a common strand in the hypnotic nature of both tracks. '

With his roots in Assam, northeast India, and his hustle now based in Brooklyn, the psychedelic soul-savant known as Jitwam. will officially drop his second album on the Copenhagen-based label Tartelet Records in May 2019.

Zur Zeit der Veröffentlichung seines hochgelobten Albums "Howl" und einer damit verbundenen Tour gegen Ende des Jahres 2015, löste sich der Londoner Elektronik-Songwriter Ryan Lee West aka Rival Consoles gerade aus einer 13-jährigen Beziehung.

Also setzte er sich hin und begann über die Wintermonate hinweg, neue Musik zu schreiben. Das Ergebnis dieser Unternehmung bildet das in arbeitsreichen Nächten geborene 34-minütige Mini-Album "Night Melody". Dessen sechs Titel warten mit mysteriösen Sounds auf. Nicht ohne Grund, wie der Künstler selbst erläutert: "Ich fand mich wieder in einer stillen Wohnung, während die Tage früh dunkel wurden. Noch nie zuvor in meinem Leben wurde ich so sehr von einem Mangel an Licht beeinflusst. Ich erinnere mich nur, dass es eigentlich immer nur Nacht war. Entweder machte ich Musik und traf Freunde auf ein paar Drinks, oder ich ging zu Partys und tanzte bis in die frühen Morgenstunden."

So entstand Wests bisher persönlichstes Werk. Fast jede Synthie-Spur nahm er intuitiv auf, ohne Hang zur Perfektion, aber mit viel Intention und Ausdruck. "Ich bin nicht interessiert daran, etwas Trauriges oder Glückliches zu machen", so West. "Ich will Musik, die bittersüß und komplex ist - so wie das Leben."

“Built By Humanoid” is Humanoid's second album, a mere 30 years after the debut, though Brian Dougans claims the first album wasn't really him anyway.
Humanoid's classic acid house single, ‘Stakker Humanoid’, highly regarded as one of the key tracks from the era (Richard James (Aphex Twin) sights the Stakker project as a major influence), enjoyed massive success in 1988. Reaching No.1 for 5 weeks in the UK dance charts, performances on Top of the Pops, a John Peel session for the BBC and European tours eventually led to an album deal.
Whilst all this was happening, Brian Dougans (one half of electronic legends Future Sound of London) claims he was returning to his squat in Kings Cross with no electricity or water. He not only became disillusioned with the business, but also became increasingly ill from the conditions he was living in. Around 6 tracks into the album, he left London and record label, Streetsounds, returning to Manchester to recover and regroup his thoughts. However, Steetsounds pressed ahead with the album and it was finished in Brian’s absence with guest performers.
Brian left Humanoid behind and went on to create FSOL with Gaz Cobain becoming leading lights in the burgeoning ambient scene, scoring a top 10 album "Lifeforms" on Virgin Records.
In 2003 Rephlex (Aphex Twin’s label) released a posthumous album of 1988 out takes compiled by Brian.
Recently Humanoid tracks have been popping up on modern compilation albums (Touched Music / Gasman, etc) signalling a possible return.
“Built by Humanoid” is a brand new nine track album of future acid cuts, breaks and electronics, a lot of which is credited to 2 synthesisers co-designed by Brian Dougans and English Electronics company Digitana. It is this innovation that has helped usher Humanoid back into the limelight and consequently the album has a rather new and unique sound and style.
The track ‘Polymath’ is created using a possibility / probability theory that results in a track which at no point repeats itself - 303 tinged acidic bubbles. Meanwhile ‘Traktion’ is a break beat, pulse laden, bass heavy monster. ‘Fu*k It’ is the future sound of 303. Fast, frantic and beat driven. Whilst ‘Post Humans’ combines thumping 909 and 303 into an acid hallucination.

Hazards of Prophecy is the latest project from UK producer Dave Rendle ('System Status' and 'The Detroit Urban Gardening Ensemble'). Dave has previously released music on labels including Untracked, Out Here Audio, Horn Wax, Stupid Human, People Must Jam and his own label Night Sweats Music and has caught the attention of global tastemakers such as Gilles Peterson, Phil Asher, Ashley Beedle, Alex Nut and Ross Allen.

Kicking things off with "Percussion Concussion", Hazards of Prophecy lay down luscious chords, a wriggling bassline and carefully spliced vocal chops over a bedrock of interlocking rhythms and whistles in what can only be described as a floaty "Bruklearic" roller. The A2, "Minnie & Marcos", takes things up a gear and brings the listener on a Rhodes fuelled odyssey, swinging through a variety of dynamically and sonically versatile sections as it pulls and pushes limbs across the dancefloor. Finally, "Love & Rum" bring things to a half-time climax with majestic pads, piercing synth runs and a bubbling rhythm section.

Inconspicuous French duo Nummer (made up of Silvère Letellier and Emmanuel Corre AKA E-Talking, best known for their work with Going Good) deliver a stunning five track EP laced with supersonic, hypnotic and funky fresh space oddities for people of the new age! A revitalising take on classic deep house and IDM styles, Space Oddities Volume 1 is infused with strong doses of organic percussion, odd samples and blissful melodies. Get up and move or sit back and experience the curious world of Nummer, in what could be their most exciting offering to date.

The mysterious Teisco LP is perhaps the most bizarre artefact to emerge from the phenomenal world of Italian Library music. Originally scored for a 1978 RAI television documentary, the album titled Tuscan Castle and Country Seat conforms to nothing you know or understand about library music. Studying composition under maestro A.R Luciani, the young Teisco composed innovative home studio recordings that parallel the outsider technique of French soundtrack composer Francois De Roubaix. With little resemblance to the standard cues usually found on library music LPs, this is stoned underground psychedelic music of the most eccentric kind. Imagine lyrical Moog oscillations drifting loosely over baroque and hallucinogenic atmospheres, or alternatively, think the DIY guitar jamming of the Velvet Underground and Dream Syndicate mixed with the electronics of some lesser-known Krautrock band. Wherever this recording sits among the dusty shelves of forgotten stock music, it is highly personal, deeply rewarding and without a doubt the most mind-blowing library record you will hear this year. This record is soon to be an outsider classic.

Four variances of Shadows In The Sun from Midnat’s dreamy dubtechno infused ambient album Small Things In Life courtesy of Glo Phase, Maps Of Hyperspace, Diahgonal, and Aural Imbalance. Each brings their unique take on Kenneth’s original arrangement and sonic presentation.

Opening the side, Aural Imbalance flashes all this traits of luscious pads and sublime breaks on his version. Glo Phase takes the original’s core dubtechno themes and infuses them with a sweet sneaky midtempo chug to bring the bump and hustle for house headz. Maps Of Hyperspace rounds out the A-side, delivering another of his exceptional remixes with this terraformed slice of chillhouse as only he can do. Diahgonal brings the epic and ambience on his beatless rework. Approaching Silence closes out our journey with a return visit to Midnat’s gene pool.

Detroit native Javonntte, keyboardist to the late Aretha Franklin, delves deep into the Jazz Fusion vaults with Primetime Voyage.

Explorer Series Vol.4, Original ethnic music of the peoples of the world
Berlin 2019

In welthistorischer Einmaligkeit erscheint auf dem Berliner Label Nonplace die erste ethnologische Edition der musikalischen Traditionen Zentraleuropas, am Beispiel Berlins der Gegenwart, zusammengefasst von Burnt Friedman. Nachdem House und Techno, oder Clubmusik, zum Kulturphänomen geworden war, und seit 30 Jahren bei festlichen Anlässen und fortwährend in allen Kulturstätten erklingt, wurde es Zeit für eine Aufarbeitung, für diese musikethnologische Bestandsaufnahme des kreativen Spektrum Berlins im Licht Zentraleuropas.

Bisher konnte der geneigte Hörer im Fach "Weltmusik" die entsprechenden Tondokumente finden, die einen direkten akustischen Einblick in Kultur und Tradition der seltensten Volksgruppen und entlegensten Landstriche geben konnten. Doch die Traditionen und Bräuche weisser Zentraleuropäer blieben bei diesen Bestandsaufnahmen nicht selten aussen vor. Dieser klaffenden Lücke in den Musikarchiven wird mit dieser Neuerscheinung endlich gerecht. Im Zuge der Musealisierung von bedrohtem Kulturerbe, können der Gemeinschaft aller, die besonderen Beispiele westlicher Prägung im Bereich Musikerzeugung, Techno, Jazz, Dub, usw., nicht mehr vorenthalten werden.

New 4 Track 12" release from Hypho for Swamp 81 sublabel, 81. Mastered at TenEightSeven

In mid 2018 Denham Audio and & Borai put out a self released cassette tape named Club Glow Vol 1 full of early 90s hardcore and breakbeat madness, it was well received and tracks started showing up in DJ sets and radio shows. The most popular and widely played was "Make Me" First championed by DJs Peach and Sienfield, the track took on life of its own and has been named checked and ID'd in groups many times by people desperate to know what it was called and where they could get it.

We have remastered the track alongside a new production by the duo that also has that 90s hands-in-the-air-singalong feel, and are able to offer a heavy weight 12in complete with artwork by Mani Festo for everyone who has been asking if it was ever going to be released on wax.