House News

Lucky number 3. 5 tracks, 5 different vibes
Music by Z@p, Villa Åbo, Darren Allen and E.N.E.

Marius & Cesar are brothers. The 1st has been Disc-Jockey and Art Director for a while, the 2nd, a producer and co-founder of the music studio SODASOUND for almost a decade. They grew up in a family of musicians and started learning and playing music very early.

Fatal weapon of Sodasound’s label, they’ve been DJing for years in Parisian clubs, and launched their own party called AFTERBEAT, where they perform all night long on turntables plus a few analog toys for marathon DJ sets. They are now resident DJs at RINSE and AFTERBEAT FM is their monthly radio show since 2015.

Their debut EP “B.R.O.T.H.E.R.S.” is a blend of their eclectic influences, from 80's synthetic disco to balearic techno through impressionist music, ambient or acid house. It will be out on June 21st, 2019 (digital and vinyl).

Todd Osborn Returns To Spectral Sound In His Osborne Guise With His First Release On On The Label Since 2013's Hold Up (feat. Joe Goddard). Fools Finds Osborn In His Best Self, As A Shapeshifter Bringing Together Strands Of Various Genres. The Title Track Is A Lesson In House Reduction, While "different" Is A Chunk Of Bassline-led Techno. On The B-side, "back Whenever" Kicks Off In Proto-idm Electro Form, All Melody And Light, And "integrate" Slows It Down To A Walking Pace For A Dash Of Synth Funk.

As the title suggests, there are many ways to jack and this EP makes no pretense about its intentions.
DMX Krew treat us to a wild concoction of tracks for the fourth instalment of the now firing on all cylinders, Super Rhythm Trax label.The music here veers between grimy basement Acid trax, UK Bleep inspired future warehouse anthems and even an ultra cheeky ragga style rendition of Lil Louis' classic "Original Video Clash". Ed DMX is obviously having fun here and with 5 tracks and a loud cut, you're getting bang for your buck !!
Now leave me alone to jack.

When we think of the rise of electronic dance music, especially the raves that blossomed in the late 80s/early 90s, we inevitably think of DJs... but there's another side to that story. Right from the start, live performers were at the heart of things; synth wizards who would plug in and play their analogue kit and send crowds as wild as any DJ. This album, curated by legendary promoter Sean McLusky for Mixmag - the world's biggest dance music and culture brand - showcases some of the most seminal artists from this golden era, led by the original synth wizard Adamski and also featuring seismic rare cuts from Orbital, Nexus 21, 808 State and a whole host more. These artists are the direct ancestors of today's stadium-filling live electronic acts, and it's time their music was celebrated.

Warsaw-based Bartosz Kruczyński returns as Earth Trax to Phonica’s main label, following on from last year’s well received ‘L’Avventura’ 12”, this time in collaboration with regular production partner Newborn Jr.

The pair have created a string of brilliant records together, such as ‘Sax & Flute’ on Rhythm Section, ‘Mirage’ on Les Yeux Orange and ‘If You’ on Shall Not Fade. Bartosz also has a growing solo discography under his own name, along with a variety of aliases such as The Phantom, Pejzaz, and of course; Earth Trax.

The A side here leads with the title track ‘Truth’, in which rose-tinted reminiscences of the golden early 90s era of House music echo, with dubbed out diva vocals cascading over wide snares, 303 acid lines and that almighty bassline, appearing through shimmering delays and reverbs in a vision of bygone nights at the Hacienda or Shelleys. Next up is the ‘Back Alley mix’ or a traditional dub mix - everything you need from the main mix but less vocal and more plays on THAT bassline with dub effects.

On the flip, as its title suggests, ‘Old Way, New Way’ bridges the gap, combing the same bassline driven Chicago house stylings with the deep new age textures that have characterised previous releases from the pair, flutes and pads floating sweetly above jacking drum grooves, reminiscent of mid-90s Italo House. Finally, ‘And Then’ fulfils the transformation, with ethereal late night pads enveloping a more lofi rhythm section and more flute for a more subtle, end of night Don Carlos ‘Alone’ feel.

Andrea Introvigne, Joe Montana, Stefano Dovo, Pietro Giuliano, these analog guys, made 4 raw tracks for Oldivibes.

Gnork steps up for the fourth instalment of the Church Marble series with a selection percussive, breaks & acid infused heaters.

Detroit natives, Nikki O and Javonntte, collaborate on EP filled with Motor City Soul.

Nikki O, best known for her work with Moodymann, is joined by Javonntte who worked and toured with the late Aretha Franklin.

Two bubbling soulful house tracks on the A side are followed up by two Detroit dubs on the B side.

WADDUP DOE

When I found myself on the main dance floor of ://about blank during Berlin's most beloved party, Buttons, I was immersed by the sounds of Shingo Suwa. He has honed his skills as a resident DJ and producer for many years. In this record, you will hear how his experiences have heavily influenced his productions. We are excited to release Shingo's debut album and the first album released by Acid Camp Records. The album includes a bonus remix from Mixmaster Eric Cloutier.

Marius Circus retuns to his own In The Garden label with his cover version of Lindstrom’s
‘I Feel Space’, backed with an Andrew Weatherall remix.
Norway’s Marius Circus has been steadily building stream over the past few years, starting out
with a release on Prins Thomas’ Full Pupp in 2011 before 2017 saw him launch his own In The
Garden label, picking up support on releases from the likes of Perel, Axel Boman, Jennifer
Cardini and Ivan Smagghe amongst others.
Here though we see Marius deliver his interpretation of fellow Norwegian friend Lindstrom’s
classic ‘I Feel Space’, replaying and programming all the parts of the original whilst adding his
own twist via squelching 303 licks, choppy bass hits and crunchy drums.
Andrew Weatherall’s remix follows next, with gritty low-slung drums, spiralling atmospherics and
winding 303 licks driving the composition whilst the cinematic melodies of the original further fuel the
murky, hypnotic groove.

Forget Puss in Boots, the Cheshire Cat or Grumpy Cat. Meet Karlsson, who receives a colorful tribute by Perel on her first record for the Dresden-based label Uncanny Valley. After all, there is nothing better than the soothing purr of your own personal tomcat to come down from exhausting DJ gigs and studio sessions. The title track is a fiery excursion into rave heaven covered with Italo-flags. While Perel goes manta-like about a diet for KARLSSON, listeners are wrapped in anthemic synths. MONTEIRO DA COSTA on the other hand is a paranoid love letter to Perel's best friend and a lesson in causing dance mania. The synths continue to spiral upwards to the point where there is no coming back. On the flipside, KARLSSON gets the remix treatment twice. First, BLOODY MARY tucks him into a compelling and classic acid corset. KIM ANN FOXMAN then recreates Karlsson as a toy robot that just discovered house music.

RAWAX welcomes Marlon Hoffstadt to the Artist Family!
The berlin based producer will present two ep's in the near future.
Starting in April with The "Real-Time Experience". A great space echno ep!

After 3 sell out releases Downfall recordings are back with The Corroded Circuits EP

4 jackin analogue driven machine that rock the dancefloor with squelch from the 303s and beats to make you move
This time as well as residents ConSequence and the Auditor they also bring tracks by Mantra and a new artist from Finland
Happopumppu with his 1st vinyl release

Real acid house for the dancefloor

2019 marks thirty-five years that DJ PIERRE has been DJing and creating acid house music. This seven-part series of 35 remixes of ACID TRACK by PHUTURE is a celebration of the first monumental record for DJ Pierre and the spark for a new genre and movement in dance music history.

“35 - 001” will be the first volume in this series and will feature 5 remixes from KiNK, Bloody Mary, Paco Osuna, Analog Kitchen, and Beyun.

Tolga Top's subsequential follow up, after releasing a 12" in 2017 on his very own Understate:ment imprint, marks a reinvention of one's signature sound. Lifting off with 'The Turning EP', you can expect chunky, rhythmic & detroit electro influenced Tech House tracks par excellence.

Minimalistic breaks surrounded by celestial pads and acid vibes! The first release by Emiliano Comollo, one of the historical djs of the underground Turin' scene. Includes DJ Normal 4's Mood MixX, original artwork by Anna Rarefatta and mastered by Stefano Genta. Dance

DJ SUPPORT:

XDB
Stenny Ilian Tape
Andrea Ilian Tape
Topper Club der Visionaire
D-Vince from Boston 168

We're glad to present you a new release on Whoyostro by Information Ghetto.
Vinyl Only

Veniceberg collective proudly presents label's second instalment by 100Hz ! longstanding Uk duo Lee Renacre and James Chapman deliver eclectic and trippy visions of techno and broken beats. B2 track features collaboration by Lee Renacre and Jules Giles, formerly known as the Junction Chaos project.

Double debut on the label here. Posthuman doing what they do best in the form of this moody but real tough acid track and the ubiquitous Derek Carr with his superb remix caps this one-sided bit of wax off very nicely.
Pressed on limited edition, hand stamped & numbered one-sided black vinyl housed in a white disco bag with a printed insert info sheet.
Vinyl only, no repress.

The latest chapter in the electronic evolution of guitarist John Frusciante features a new project under his Trickfinger guise and has him utilizing the classic hardware that spawned the eternal acid template. Frusciante's desire to cede control to machines has paradoxically allowed him to present a singular take on elemental dance music, a brilliant and unexpected entry into Acid Test's growing canon of modern, 303-focused dance music.

Words from the Artist
'I started being serious about following my dream to make electronic music, and to be my own engineer, five years ago. For the 10 years prior to that, I had been playing guitar along with a wide range of different types of programmed synthesizer and sample based music, emulating as best as I could, what I heard. I found that the languages machines forced programmers to think in had caused them to discover a new musical vocabulary. The various forms of electronically generated music, particularly in the last 22 years, have introduced many new principles of rhythm, melody, and harmony. I would learn what someone had programmed but their thought process eluded me. Programmers, particularly ones fluent on machines from the early 80s and/or tracker programs from the 90s, clearly had a theoretical foundation in their employ but it was not the theory I knew from pop/rock, jazz or classical. The hands relationship to the instrument accounts for so much of why musicians do what they do, and I had come to feel that in pop/rock my mind was often being overpowered by my hand, which I had a strong desire to correct. I was obsessed with music where machine intelligence and human intelligence seemed to be bouncing off one another, each expanding with the incorporation of what it received from the other.

In 2007 I started to learn how to program all the instruments we associate with Acid House music and some other hardware. For about 7 months I didn't record anything. Then I started recording, playing 10 or so synced machines through a small mixer into a CD burner. This was all experimental Acid House, my skills at making rock music playing no part in it whatsoever. I had lost interest in traditional songwriting and I was excited about finding new methods for creating music. I'd surround myself with machines, program one and then another and enjoy what was a fascinating process from beginning to end. I was so excited by the method of using numbers much in the same way I'd used my muscles all my life. Skills that had previously been applied by my subconscious were gradually becoming conscious, by virtue of having numerical theoretical means of thinking about rhythm, melody and sound.

In summary, Acid served as a good starting point for me, very gradually leading me to be able to combine whatever styles of music I want, as a one man band.' - John

300 Degrees is a solo project by Lithuanian producer Audrius Vaitiekunas dedicated to the sound of classic Roland analogue machines.

After featuring on their last year's Evidence Found No.1 compilation under his IJO alias, Audrius delivers his first album-length release for Little Beat Different.

300 Degrees' lush, drifting chords are delicately hung in space and drawn forward by thrumming acid melodies. As the album travels on, these propulsively beatless visions coalesce into cold, reverb-drenched deep house, dive into dank, slo-mo electro, and perform warmly melancholic echoes of rave and IDM.

Sound-wise the deepest release so far on this label will finally see the light of day in May on digital and cassette tape.

After almost 5 years Lonesome Hero is back and delivers two bassheavy club jams with Acid Barney getting spins from Offen's Vladimir Ivkovic at the Strange Sounds from Beyond Festival 2018 in Amsterdam.

NTJW is back with his first V/A mini album.
"THE SLAVES OF DARKNESS Vol.1".
A mix of different styles in an unique industrial techno acid trance collection.

For the second release on the sublabel Spaziotempo, WWM team is pleased to welcome the spanish crack Corp!

The EP kicks off with the elecronica mood of XTC, followed by a classic 4/4 Corp action track Neurotic.

The B side opening is a trip on the artist's underworld, a techno banger which is clearly Berlin infused. The closing track Re-Active perfectly mesh some qwerky acid bassline from the nineties and proper rhythms to shake any dancefloor.

For their second release on the label, DGTL Records asked another one of its festival shows regulars: Fort Romeau. After playing at three different DGTL editions, and an upcoming fourth during ADE, the organization also wanted to propagate his sound with an EP on their imprint. The release consists of two multi-layered compositions, Untitled II and A Familiar Place, and will be available both on vinyl and in digital stores on the 13th of October.

Fort Romeau came into the spotlight with releases on Running Back, Live At Robert Johnson and Ghostly International amongst others. The British talent gained recognition with his cultivated ear and apprehension of all genres of music, that brought him to add something unique to the widespread spectrum of electronic music, both as a DJ and a producer. In 2015 he also set up his own label, Cin Cin, releasing split EPs from established names and newcomers alike, with a diverse musical policy that reflects Fort Romeau his open minded and inquisitive approach.


'Untitled II' is a luminous house tune, with a soundscape on top that takes you on a journey, while 'A Familiar Place' adds a little bit of darkness to the EP. This B-side is made up out of raw elements, a high tempo kick and hi- hat create a sturdy flow that makes it hard to sit still. All in all, it advocates the vision of the festival and its label, in every way.

Finnish legends and everything-but-grey eminences of electronic music, Jimi Tenor and Freestyle Man revive their dormant partnership on this four track EP for Studio Barnhus, jam-packed with classic drum machine funk, congenial synth lines and Jimi's unmistakable lead vocals and flute-playing. The Sleepover EP is fuelled by the two maestros' mutual love for New Jersey house music and pyjama parties, as well as musical wisdom gained from numerous collaborations in the past, ranging back to some fabled mid-90s Sähkö releases. Live show booking now! Artwork by Robin Ekemark.

Byron The Aquarius makes his Eglo Records debut following on from his two recent EP's for Sound Signature and Wild Oats. The Alabama producer once again delivers something truly special, journeying through disco, jazz, acid, house and crashing 808's. 'Leaving This Planet' is an EP of two halves. The A-Side bumps, with two bubbling house jams. whilst the B-Side sees Byron get loose over two freestyle jazz odysseys. Music for the mind, body and soul.

2019 is shaping up to be a great year yet with more of the same focus on championing new and emerging artists; alongside the more established. But before all that..

Belfast is the first port of call as DJ and producer Jordan delivers a variety of party thumpers. With thanks to AVA festival and the invincible Bicep going from strength to strength; the Belfast scene is enjoying a moment with the likes of Bobby Analog, Cromby and Hammer all breaking through to greater recognition. Jordan has equally been keeping busy between releases on Abandon Silence and launching his own edits label through Lobster Theremin..

So the stars are aligning for this release, which typifies what the label is about. Each track could easily be the 'A1' and it's already been doing the damage with the likes of Tim Sweeney, Erol Alkan and a select few, until now.. Expect to hear much more from each over the year ahead.

Bohm (030303 Records) and Marcus Paulson (aka Kid Machine) deliver four classic cuts of quality house. Inspired by Manchester and Utrecht commutes, the EP sets the tone for future things to come on their Purewaxx label. Paulson and Bohm share a side each, both using the 707/101/303/106 to good use, layering pads, square basslines and deep moody pads and strings. If you like the sounds of Chicago and Detroit, you'll find them on this Anglo-Dutch production.

DJ Pierre’s legendary Jack Trax Records returns with a delicious set of raw acid tracks from Finnish producer Type-303, who made his 12” wax debut on Posthuman’s I Love Acid imprint, with a release on Lobster-distributed ProForm this past fall.

“What is the Time?” kicks things off with a jacking beat reminiscent of the classic Chicago acid house sound, answering the question with “it’s time to jack”.

Next up is “Sound of Future”, alluding to Phuture’s classic “Acid Track” with a tough, driven beat and acid line that builds up to a psychedelic frenzy of claps, snares, and rides.

The title track, “Ghost in the 303”, follows suit with more of Type-303’s punchy percussion, interjected by moments of frenzied 16th claps, paired with an eerie, otherworldly pad taking the listener deep into the soul of the machine, the classic TB-303.

Last is “Control”—filled with dreamy yet slightly dissonant pads and a wispy breakbeat-inspired snare line that provides a deep, introspective conclusion to this acid laced journey.

one of the most wanted japanese early 90’s house music 12inch is finally reissued. it was limited to 300 promo copies. four unique very club friendly tracks. don’t miss it!

''For ECK003 we celebrate Data Room's debut release on Planet Earth.

This EP sees a future-thinking take on the beloved Junglist movement of the past 30 years.

Data Room delivers 3 tracks of different pace & style, centred around the aforementioned influence. Class, sophistication & bass weight can be expected from this 12".

Accompanying DR on the A-side is V Recordings' Jumpin Jack Frost, one of the original pioneers of jungle/drum & bass. Born & raised in London, growing up in the heyday of rare groove, acid house, hardcore & jungle, JJF brings a fast paced 4/4 driven breakbeat track that delivers the goods 20 beats per minute either side of it's original 158 tempo mark - taking the A2 spot to perfectly adrenalize this release.''

On their debut album as DOVS, Tin Man and AAAA summon the ethereal spirit of acid. Tin Man, AKA Johannes Auvinen, has been studying the emotional potential of the Roland TB-303 for 15 years now, and AAAA (Gabo Barranco), a fixture of the Mexico City underground, might as well be his acolyte. While the coincidental similarities of their studio and live approaches make this collaboration feel natural, even expected, Silent Cities is anything but. We recognize most of the elements here—the ubiquitous acid box and hardware drum machines—yet Auvinen and Barranco arrive in new, mysterious territory this time out. Lush arpeggiation, breakbeats and atmosphere imbue tracks like 'Nostalgic Oblivion' with a widescreen grandeur. 'Rene Figures' recalls Specific Momentific-era Cristian Vogel, symphonic, melodic techno with a kick heavy enough for dark, cavernous rooms. Meanwhile, beatless cuts like 'Whining Acid' are as intricately crafted as Tin Man's well-loved classical work (Vienna Blues). But as a duo, they craft a virtuosic harmonic narrative almost solely with 303s. Tin Man and Donato Dozzy's 'Nonneo' was the first release on Acid Test, setting the tone for the label and unlocking new potential for the genre. DOVS' closer on Silent Cities, 'Diazepam Blues', is the label's new melancholic acid anthem and a statement of purpose for Tin Man and AAAA, two hardware masters who have created an album of remarkable emotional depth.










[J}] D2 - Dysphoric Fix

The inaugral release from Transmigration, a collection of acid cuts from Susumu Yokota's EBI alias. Originally released by the seminal Space Teddy label in 1994, these tracks still sound fresh today. Fully licensed and remastered by Steffen Müller for maximum enjoyment.

Pedro Zopelar and Benjamim Sallum started jamming and performing live sets in São Paulo in 2016, when Ben was only 15 years old. At that time they where doing freaky improvised live perfomances in tribute to a popular youtube video called “My Girlfriend Is Programming The Roland TR-909, Making a House Beat”. Using that huge name the duo performed live before Theo Parrish at the RBMA festival in São Paulo 2017, and was the first that the track GIDI was played. In 2018 “My Girlfriend” releases their first record dropped by Subsubtropics, (a Brazilian label that previously released “Dreams”, “Design a Wave”, “Seixlack & Zopelar” and more).

The Apron EP is a compilation of My Girlfriend’s tracks there are more influenced by a Brazilian approach on neo-soul, house and funk. From the first raw jams to these particular vision from “what is Brazilian music from nowadays”, the duo represents a fresh sample about what is happening into the club music scene there. Benjamim Sallum is resident at the famous party “Mamba Negra” headed by Cashu and Laura Diaz (Teto Preto, Carneosso), and since his 15yo developed a fast progress on the art of making tracks and DJing. He runs his own label “OXI”, where he often drops some crazy cassettes EPs from himself and his friends. Zopelar is multi instrumentist, DJ and producer based in SP, responsible for the keyboards, synths and basslines of the record. He studied piano on his youth and made music college in rio with 18 yo. Based in SP after his studies till now, he runs another well known party named “ODD”, where Funkineven played in 2017 (both Rio and Sao Paulo editions) and knew all that crew.

The opening track “piercing”brings pads and strings recorded and manipulated on a MPC sampler with some dreamy lead synths on top. GIDI is a tribute to all the church keyboard players in the world. And there is also another tribute to a specific music school from late 70’s in Brazil called club da esquina (“B2 Corner Club”), headed by legendary singer and composer “Milton nascimento”, is a typical sound from Minas Gerais, State where Pedro was born and raised till his 17 years old.

Berlin Bass Collective are back for their 8th full record and with this we see a much called for full vinyl from so. mind.

Having previously featured on the label with a digital release that turned out to be one of the most uplifting and sought after BBC records from the summer of 2018.
This time he brings his unique deep but uplifting swagger into 2019 with an EP of super cuts that would grace any dancefloor... This record has more to it than most.

"Elevating Mind" gets things going on the right path, heavy machine rhythm, dusty thick pads and carefully curated acid make this track so deep and fulfilling.

Following that, and after many requests for a vinyl release, we have "Callin' For Ya". Having this monster track on vinyl is a treat for all with pianos and beefy drums, the Peanut butter and Jam of the music world.

"Good Conditions" and "Moonshine Shuffle" stretch things again, always well balanced and deep, tasteful to the point of restraint without ever feeling restrained.
This is the careful balance so. mind has worked so hard to get across, deep and full of different types of energy.

The balanced appproach is perfectly evidenced by the B2 "Sétif", closing out the EP with a huge arp, amazing percussive work and borderline balaeric vibes.