House Novedades

STEVE POINDEXTER and JAMAL MOSS return as THE FACES OF DRUMS banging those classic GHERKIN style vibes and deep chaotic sound motions with a twist of off-kilter acid to finish you off in the classic MATHEMATICS way on "DO U LIKE THE WAY THAT IT FEELS"

The fallen angel. The rebellious soul expelled from the pearly gates and forced to live in hell among mere mortals for eternity. Here they endeavour to condition and corrupt everything around them, a bold middle finger aimed in the direction of its former home in the promised land. Now imagine a soundtrack to this tragic tale. FunkinEven—also known as Steven Julien— has made just that with his debut album Fallen.

Split into two contrasting chapters, Fallen follows the trail of our main character. The first six songs introduce us to utopia, a collection which is matched by the light and airy tones of this initial set. The twist comes right down the middle, where we descend into the project's darker, hellish bogs. Both episodes intertwine seamlessly, and all composed, written and produced by Steven himself.

Julien plays the majority of the instruments you hear on the record, using session musicians — including three appearances from Hercules on bass — sparingly to plug any gaps. All the above choices combine to emit a contagious warmth that blankets the whole record. Within the dozen tracks, he jumps between everything from jazz fusion to techno. It's easily his best work to date.

Steven Julien first surfaced in 2009 with a refreshing sound unlike many of his contemporaries. While his peers flirted with R&B, abstract grime and whatever else, Julien forged his own path, one which partnered an organic, analogue sensibility with the sounds of electro, '80s funk, and acid. Initially affiliated with the Eglo camp, he eventually formed his own label, Apron Records, which has become a reliable outlet in its own right, not only for his own workings, but also as a home base for talents like Seven Davis Jr and Greg Beato. He's also proven to be an avid collaborator over the years, having worked with Fatima, Delroy Edwards, and, most notably, Kyle Hall, with whom he creates the unapologetically raw sounds of FunkinEvil.

Adonis 'We're Rocking Down The House' re issued and re mastered for 2014. Released in conjunction with Trax in original 1986 artwork.

Dame-Music is opening 2016 with fresh cuts straight out of The Jaydes live performance pressed on wax for the pleasure of your ears.
While touring and performing their live show in some of the most renowned clubs and festivals in the world, Bloody Mary and Attan took the time to lock themselves in their Berlin lab to sharpen and create some new unreleased beats and loops to spice up and enhance the unexpected effect of their show.
Witnessing the enthusiasm and the positive response of the crowd while building these pieces into tracks on stage, the heartwarmed duo decided to go back in studio and record these sections one by one.
The result of these recordings is an uplifting four tracks EP floating between acid lines and stabbing synth chords that the two producer have the secret.
Combine to their energetic signature rhythmics you'll quickly find yourself taping on the beat as the tunes evolves into insane club anthems. Be ready for no rest.

RVDS second album with different musical impacts. A musical journey with Acid, Deep House, Deep Techno, Jazz, Ambient, Love and so on - All tracks by RVDS, Guitar on A2: Philipp Schneider, Voice on E1: Giada Pesce.

Unfashionable acid

repressed !

Rubber is new label from The Hague with a motley mixture of off-radar electronix for both the experimental clubber and home listener. Rubber001 is a bold three-tracker. Mannequin Records head-honcho Alessandro Adriani hits the nail on the head with his secret weapons. Secondly, reigning from Finland, 0.5W pans across the room like running with titanium scissors. The cherry on top is this piece of Dutch drum-laden ''poetry'', probably on illegal medication, about a bicycle mechanic from The Hague by legends Unit Moebius, Reverend Cor Gout and Salo Mentale. All on 180 grams of white vinyl in a white jacket.

Roman Debnar with the 3 in his oxymoronic "Anonymous" releases. "Jeckle" is up first, with it's deep analog bassline joined by upbeat techy beats on a minimal tech-house groover. "Crunchy" changes gears with some driving techno that really does sound like the previous track sped up to 4 and then thrown into some filters! On the reverse, "Doors Of Perception" is a textured techno soundscape, with minimal beats and haunting synths the main features. After the brief tweaked out vocal twists of "Anonym (The One Who Is Anonymous)", "Lost Tango" goes back to the floors with some bass-driven tech-house grooves, joined by crisp beats and dubbed out synth lines.

DIMDJ of AUDIO ATLAS comes with 5 fresh tracks on MATHEMATICS. Ranging from the acid attack of "CRASH 3" to the downtempo funk of "TEMPLE OF THE MOUNTAIN" and covering lots of territory in between, there is something for every DJ here!

'When we say 'live in the future' it becomes a repudiation of living in the present, and then instantly we are in a state of denial' 'Denial' has a hypnotic effect on the mind. Gutsy 909 claps work with percussion and futurist vocal snippets that warp and chop, whilst haunting chords wrap themselves and sublimate over the body. 'Denial' wants you to 'live in the future", denying the present moment. Yet the music speaks in the present. To close your eyes, find yourself; lose yourself in the moment and groove. 'Denial' is an invitation to live in the present. In the 'Prise d'acid' version, things are ramped up a gear with more forceful kick drums and densely layered percussion. Whilst it still retains the hypnotic, evocative factor of the original, Wink's trademark 303 bubbles its way in, providing more peak-time oomph. The 'Tweak Dub' is a raw interpretation of the original, heavily focusing on the swing and drive of the magnetic groove with trippy tweaks of analog synth sequences drawing inspiration from his Chicago luminaries. Josh Wink is a quiet expert of metaphors within music. Of music that invites you to forget your thoughts and let the music do its work. 20 years ago he released 'Higher States of Consciousness', a record that portrayed and shaped dance culture at that time. Since, he has released music including 'I Am Ready', 'Don't Laugh', 'Oakish', 'When A Banana Was Just A Banana', 'Balls' and last year he released the intense game-changer techno anthem, 'Talking To You', a record that hasn't left DJ's boxes and has forthcoming a remix package from Adam Beyer and Matthew Dear. Wink is a producer who works ahead of trends and always stays true to his passion of the music itself, with integrity at the forefront.

Following PREVIOUSLY UNRELEASED - the critically-acclaimed run of nine 12' vinyl EPs released this summer over 9 weeks by Trevor Jackson's much loved PLAYGROUP - a Limited Edition Double CD (and Digital Album) of highlights from the vinyl will be released on December 2nd, via Yes Wave records. The music featured is a collection of reworked demos and unreleased recordings. A hedonistic mix of raw Disco, Dub, Funk, Electro, New Wave & Post Punk that still sound as relevant today as they did when initially recorded for the debut PLAYGROUP album during 1997 - 2001. The sold out run of 'PREVIOUSLY UNRELEASED' vinyl has been supported by numerous DJs including Four Tet, James Murphy, Gilles Peterson, John Talabot, Optimo, Pedro Winter, Heidi & Laurent Garnier. Several of the tracks were freshly re-edited and tweaked with the assistance of Sasha Crnobrnja from In Flagranti. Ed DMX lends a helping hand on one track, two feature the vocals of Mike Z from the seminal new wave band Crash Course In Science, and a young Kieran Hebden (AKA Four Tet) plays guitar on the album's final number.

I started writing demos for what eventually became the Playgroup album at the start of 1997, after an extensive period producing recording and remixing dark hip hop based tracks as The Underdog. I consciously wanted to move in a different direction combining influences from my youth along with inspirations from the foundations of club music, that were barely written about seriously in the mainstream media at the time', explains Trevor. Inspired by the hedonistic early days of house, disco, post punk, no wave, electro and dub, these tracks reflect a unique moment in time. The emergence of underground club culture in New York, London, Chicago, Paris and Northern Italy was driven by pioneering DJs playing a wildly diverse soundtrack to a passionate, dance driven and open minded audience. A sensory overload of chemicals, bass, smoke, sweat, sex and danger, a testament to the non-air conditioned, non-i-Phone infested and non- corporate clubbing days of yore.'

PLAYGROUP'S self-titled debut album was released on the Virgin affiliated Source label back in 2001, then re-issued on Trevor's own Output recordings label in 2003. It received overwhelmingly positive reviews, with Mojo stating there will be few better albums this year' and The Face calling it a shuddering amalgamation of risky disco, punk-funk and early house vibrations'. Rolling Stone described perfect incandescent pop funk' whilst XLR8R dubbed it a concept album that does that rare thing - actually delivers'. Featuring Kathleen Hanna, Peaches, Gonzales, Edwyn Collins, KC Flightt, Rowettea, Roddy Frame, Dennis Bovell and Shinehead, the album played a key part in the rediscovery of modern dance music's foundations rooted in the 80's underground - something that still powerfully reverberates today.

Trevor Jackson has been working at the forefront of audio and visual culture for over 20 years. The London based Creative Director, moving-image maker, producer and DJ's work includes countless classic record covers, and has been exhibited at prestigious international galleries/museums like the ICA, the Barbican, and the Guggenheim. Jackson's iconic Output Recordings label ran from 1996-2006 and helped launch the careers of Four Tet and LCD Soundsystem. Trevor has released a released a 'DJ Kicks' album for !K7 and produced/remixed Metronomy, Massive Attack, U2, The Cure, Tiga, Run DMC, Soft Cell and Dinos Chapman. He has created award-winning artwork for Soulwax, been commissioned to create audio visual works for major brands like BMW, Lexus and Coca Cola, and continues to work as an art director, designer and film maker - most recently for XL recordings signing POWELL and US beat-maker Clams Casino.

'PREVIOUSLY UNRELEASED' follows the success of last year's multi-edition album release 'F O R M A T' via The Vinyl Factory and media praise his 'Science Fiction Dancehall Classics' On-U Sound compilation, and the 'Metal Dance' series for Strut.

Jackson DJs internationally at some of the world's finest clubs, such as Berghain/Panorama Bar, Salon des Amateurs, Robert Johnson, Watergate, The Rex, Lux, Fabric, Oval Space, The Warehouse Project and Red Bull Music Academy. Recent festival appearances include Sonar, Primerva, Bennicassim and Glastonbury, plus's he's played at top galleries including LACMA, The Serpentine and Kraftwerk's Tate Modern residency. He also hosts a fortnightly radio show on NTS featuring the very best in brand new, alternative underground music titled 'Music for Sick Minds and Warm Hearts'.

Detroit Electronic Quarterly (DEQ) Magazine Issue # 7 LP: It's a slick, compilation from Detroit Artists Mike Clark,Todd Modes, Gary Martin, Gustav Brovold, Marshall Applewhite, The Valley and the Mountain and Quinton McRae. Full interviews available on-line at after May 7.

Limited to 500 copies. Will not be repressed.

Mace. appearances are scarce. As his music is. Scarce, dirty, brown and miserable, as the Bunker guys would say. A mechanical reflection, not a choice of soothing harmonics. Not melodious structures. The survival of the fittest, harsh economics, suicidal stock brokers, piling up as much as possible before leaving. These are four things everyone will be talking about today. And so Lux Rec does. The last piece is a joint venture together with Diana Berti of 'Veleno Viola'.

Two original tracks and two edits from Detroit's up-and-coming talent: Val G. Her youthful fresh style shows she's learning to stand on her own two feet behind gear that's been around decades longer than she has.

REPRESSED !!
One of a series of limited represses on colored vinyl for the 20th anniversary of MATHEMATICS. STEVE POINDEXTER presents ANDREAS GEHM. It is with a heavy heart but a deep appreciation of the artistry of the late German producer that we re-present his first EP on MATHEMATICS - this time a limited colored vinyl pressing. "MY SO CALLED ROBOT LIFE" is a modern deep house masterpiece!

DEXT Recordings is a brand new label kicking off with an EP from dubspeeka complete with remixes from Apple Pips boss Appleblim and Aus artist Komon and it's a bit of a Bristol affair.

dubspeeka, the elusive Bristol based producer who has released on Oliver Huntemann's Ideal Audio, Waveform and has remixed for Evolution, is sure to become big news in 2014, especially once the world gets to hear this new EP.

Opening track 'Leaving Home' is a dark and broody affair with thick basslines, eerie pitch shifted voices lurking in shadows and plenty of spangled synths wrapping around it from start to finish. 'Special Occasion' is then a fulsome, swaggering house track. The drums are bulky, the percussion is crisp and the chords rattle with plenty of menace.

Next up, 'Creature Funk' again fuses elements of house and bass into a skipping track that sways to and fro as siren like tones survey the bleak horizon. It's arresting, strangely funky stuff that sound like little else.

Komon & Appleblim have teamed up many times before now, for both remixes and originals, and here the pair refix 'Creature Funk' into a nimble, supple bit of grainy but bulky techno that skips and scrapes with a real late night and underground swagger.
Komon then remixes 'Leaving Home' on his own and turns it into a reflective and pensive bit of house with nicely shaped synths off in the distance as infectious percussive slices churn out a pattern in the foreground.

dubspeeka's production is fresh and filled with plenty of personality and all three tracks here are likely to become seriously highly rated weapons for DJs in the know in the coming months.

The term Cosmic classic has been banded around increasingly in the last decade, with its modern disco retake, thankfully, soon running out of steam. However, in Michael Chapman's Lescudjack we see the genius of Daniele Baldelli in finding obscure records that do not fit the traditional dance floor and making them work. So how does a former art and photography teacher turned singer-songwriter from the 60s folk scene end up making a discernable leftfield track that was a underground hit in the late 70s Italian club scene After a series of successful albums for the Harvest label, things started to change tack when Chapman signed for Decca and released the 1973 Milestone Grit album. Mixing his oft-gloomy writing with some lively instrumentals, this semi-experimental work was a sign of things to come.
By the time he released the Life On The Ceiling album in 1978 a pattern had emerged. The fact one such instrumental was then chosen for release a year later as a 7' and subsequent limited 12' was all the more surprising. Here then Lescudjack finds it's way to the infamous Mr Baldelli and it's place in the Cosmic greatest list and it's easy to hear why, with the Celtic influenced acoustic and electronic guitar interplay riding atop an almost rudimentary mid-tempo phased electro-beat and claps.
Derived from the Celtic words for shielded stronghold, the roots of the song are apparent, however, by utilising a modern electronic backing track, the song becomes something else altogether.
At just over 2 minutes long this oft-kilter guitar cut was always ripe for reworking and who better than DJ and producer Lexx to provide an extended edit. Almost doubling the length, loops, echo and fx push the original higher, meeting modern DJ needs while respectively allowing Chapman's brilliant playing to remain at it's heart.

Limited 7" release of Axel Boman's Fantastic Piano (taken from the upcoming album Family Vacation) with an exclusive Dungeon Acid remix on the b-side! Axel Boman broke through in 2010 with his Holy Love EP, released on DJ Koze's Pampa Records. The track Purple Drank became an instant classic in underground house music circles - since then, Boman has toured extensively while releasing original productions and remixes on labels like DFA, Hypercolour, Kompakt, Permanent Vacation and Ovum, as well as on Studio Barnhus, the label he runs together with Kornél Kovács and Petter Nordkvist. Family Vacation, Boman's debut album, arrives on Studio Barnhus on November 11 2013. 'I decided to go through the vast collection of ideas and sketches I had on my computer, as a final project before I set that machine on fire and let it all go up in flames. Kind of like what Lee 'Scratch' Perry did with The Black Ark in Kingston in the 70's. A friend says the album sounds like 'weird Jamaican space disco' so maybe it's a fitting reference', says Boman himself. Axel Boman's music has also been described as 'raw and playful house music drenched in oceans of soul". He graduated with a master's degree from Valand School of Fine Arts in 2010 and currently lives in the calm and peaceful Stockholm suburb Gröndal

Immersed in the early days of the 90s midwest rave scene, Bill Converse began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Twonz were key early influences. Since moving to Texas in 1998, he has experimented with analog techniques in varied studio bunkers. Early techno, noise, ambient, tape, and paranormal processing are all part of his uncanny sound palette. Warehouse Invocation' is Converse's debut 12 release, collecting material from a cassette release on Obsolete Future plus a new unreleased song. Three of the tracks, Warehouse Invocation', Senys Magick' and Consulted Acid', were recorded in Austin TX between 2012-2013 at home and direct to tape with no overdubs or multi-tracking. Riverbank' was also recorded at home in early 2014 in one take with a mic placed outside of the window to record the the sounds of the river late at night. Bill is informed by his surroundings, influenced by scenes of desolation in nature, the sea, the desert, and places of industry, like power stations, old factories, and warehouses. The songs on this EP length reveal a sublime influence from Detroit techno, early Chicago house, and Acid. The album was recorded and mixed by Bill at his home studio in Austin and mastered by Dave Alex. All songs were EQed for vinyl by George Horn at Fantasy Studios in Berkeley. A custom-made jacket designed by Eloise Leigh features a mystical collage by Josua Dorje Ngodup with acid yellow hues on a deep blue-purple background. Each copy includes a postcard with notes and a Buddhist mandala

The latest EP 'My Normal Usual Far' from Apotek keeps the label in a firm stride.Jerome Sydenham forges on with another classic edit. On this occasion, Sydenham minimalizes Jonas Kopp's classic 'Reforce' leaving us with a steady pumping floor pounder. 'My Normal Usual Far' is the second installment of the new Ibadan Records artist Sally. Armed with an array of organic drum machines and synth Jerome Sydenham and Sally trail blaze their way into Tech-House heaven. The movement of this track is indelible. With 'Encouragement' Sydenham and Sally continue on the path to Tech-House excellence with this stripped down ultra tool.

The debut album from the mighty Parisian electronic music crew Acid Arab, who have been putting European festival and club audiences under a spell with their intoxicating blend of sharp Western electronic music with Eastern sounds and vocals.

Glenn Astro is a living legend. On this dj essential we compiled six of his most outstanding early productions- incl. Colored Sands, three killer tracks from the Tearz EP and a groundbreaking but almost unknown remix of Scherbe's Me and My Mouse.
It's been 5 years since Glenn Astro had his debut release with Colored Sands on Bigbait. We knew from the first moment that this guy has the explosive potential to become an international star. Since almost all his older releases are sold out by now, we decided to give in to the many requests we got in the last month and repress these tunes on a 12' vinyl special edition.
To put this limited Edition (555pcs) in a proper shape, our pressing plant gave in to produce 555 individually colored vinyls. Every record is an individually colored unique piece. The colors range from black to white, from red, green, yellow and blue to all the mixed and mottled color variations in between.

Butane teams up with Andras Toth for the 'Elements Of Truth' EP this March, set to be released via Butane's very own Alphahouse imprint.

Andrew Rasse aka Butane, launched the Alphahouse imprint back in 2005 amidst the minimal explosion, working with the likes of Troy Pierce and Quenum in the early stages. Now, looking back on how things have progressed and seeing the imprint reach a thirty-release milestone here, the label has made quite the standing in its time, releasing cuts from luminaries such as Skudge, Ricardo Villalobos and Ion Ludwig to name a few. Here we see Andras Toth return to the label with the duo's second collaborative EP following 'Futures' back in 2011.

The single opens with the original mix of 'Truth', a raw, stripped-back record built around an evolving bass hook, jangling percussion, splashy hats and trippy vocal murmurs. The pair subtly tweak the envelope of the bass throughout the tracks entire duration to generate a blooming dynamic while the bumpy rhythm fuels the groove. Following we have the 'Soul Of Beauty Edit' of 'Truth', which as the name would suggest embraces a more heartfelt, melancholic vibe. Bringing a weighty kick, throbbing subs and stunning jazzy Rhodes and guitar lines to the forefront, shimmering with chorus to add a further warmth and elegance to the record.

Last up to close the single we have 'Elements', taking on a more rugged and upfront feel this time the duo tip the focus towards busy percussion, a rolling tom-driven bass line and swinging snares to create a heady drum led groove. Soft chords, bass licks and resonant, psychedelic synth sweeps then gracefully meander around the groove to add an underlying and tension-building atmosphere in the depths of the background.

Norwegian duo Trulz & Robin throw down the gauntlet with the third vinyl-only statement from the Cymawax label, delivering an acidic take on their patented 'hot and crunchy techno with soul.'
The prolific pair from Oslo have been a force in their country's electronic music scene for over two decades, with massive singles for Full Pupp, Eskimo Recordings, and the Cymasonic and Cymawax labels to show for it. Now, the Agent Acid EP finds Trulz & Robin infiltrating the secret lair of a 303 conspiracy and decoding a quartet of sonic documents full of heavy synthesized funk.
The EP's title track is a slinky introduction, featuring battling analog squelches and drum machine patterns while a disembodied vocal plays on top. 'I Disappear', adding collaborator Brokkoli on the voice, is a more in-your-face effort as its pulsating sequences give way to floor-thrilling breakdowns. The low end might of 'Magnetisk Smultring' showcases Trulz & Robin's experimental side, complete with a disconcerting middle passage that soon reveals gentle synth melodies over a hypnotic rhythm section. Then 'My Body', the release's closing track, introduces mysterious feelings ... percussive clicks and tones build steadily as dub effects, sharp washes, and ominous whispers take hold. The Agent Acid EP is another triumph for Trulz & Robin ... a masterclass of covert nightclub maneuvers.

Here we have the fourth and last reference of the Moog Your Body' series, in which, as always, we have 4 tracks from 4 different artists. For this release we team up with Cream Soda aka Locked Club, Moscow based duo, that offers a particular vision of acid house with his track One More Night Stand', mixing Low-Fi Jacking and Hip-House in a record that will be the artists first vinyl giveaway. The next cut is 6tma's, our franchise-man. His new mutant rave composition, Joan Manuel Serato', more focused towards Breaks and UK Hardcore, is going to destroy the dance floor again.

Big release on Cin Cin from the prolific Bwana and newcomer LOR.

Collecting orders for repress

Leibniz and Credit 00 team up for more Basement Toolz on RAT5. Three home made Bangers to rock every party like its Octoberfest all over again. Buy two copies!

At 21 years old, Mathis Ruffing has already managed to craft a signature sound, elegant and mature with a focus on melody and texture. Rewardingly diverse, the EP touches on several genres and influences, ranging from cosmic to earthy dancefloor cuts, acid, grime, proper electro, IDM and ambient. The common thread on this record is the search for balance between heartfelt melodies on one hand and on the other a form of immediacy, raw and almost industrial. Ruffing has no trouble finding this balance and adding five terrific tracks to the Banlieue catalogue.

Rous comes from Argentina. Currently living in Mendoza, the young and talented musician, producer and wine sommelier makes his mark as a DJ, live performer and restaurateur.
His music has very confident brush strokes of synthesizer magic over titillating classic analogue sounding drums. This is the sound palette with which he takes us into the raw and intense landscapes of a snowy Patagonian lake island and it's surroundings- the place where he spent a month with no communications or technology, thinking about the enormous and immersive ascendant energy from the Los Andes mountains.
In Rous' own words, "this recording expresses my intensity while growing up, my experience with masters, the natural destinies that the mountain put in front of us and the ecstasy we feel at the parties with our South American family and friends."
Once back home, he brought down the concept into an EP called "La Púrpura del Ocaso" (The Purple of Sunset) and through pounding rhythms and the constant unfolding of simple and powerful synthesizer lines, he shows us the raw power of snow, fire, water and air.
"The Purple of Sunset is born from my experience in and with Mendoza, where I've lived for four years. It starts with the learning process of strategy and alchemy behind wine; the perseverance and transcendence needed to create a product that communicates with the world. Purple is the color of wine and the sunset is the moment where the artist closes his eyes from thinking, with a glass of wine in his hand after a long day of work."

Ruff Stuff, also known as Francois Le Roy and Nanni, is a collaboration between two DJs active on the international underground scene for a number of years. Both DJ's grew up during the 90's electronic wave, firstly as hard-core clubbers and then as DJs and vinyl enthusiasts.

Francois Le Roy and Nanni have both had extensive solo careers. Francois Le Roy, grew up in the South of Italy where he was influenced by underground techno from an early age.
Taking to DJ'ing in 1995, Francois quickly became the hottest property on the local scene. Francois's passion for dance music inspired him to branch out from DJ'ing and develop his own sound. In 2006 Francois rose to fame with the MaGmA' international radio network who recruited him as one of their up and coming DJs on the MaGmA Global Groove Radio Show.

In 2010 Francois had a number of releases including, Taj Mahal' a track championed by DJ Pathaan of the UK's BBC Asian Network on his compilation Musical Rickshaw'. This paved the way for the Did You Get it' EP on London based Serotonin Digital, released in 2011. With a host of releases to his name Francois Le Roy brings a wealth of experience to this versatile duo.

Nanni's addiction to music came to a forefront in 2009 as he embarked upon his production career. Coming from the south of Italy, Nanni was influenced by the electronic sounds of the 90's. Garage to Techno with smatterings of House can all be heard in Nanni's productions. Nanni's work with fat basslines, warm synths, chopped vocals and sheer grooves, has seen him drop releases on a variety of record labels.

Despite following different musical paths, the pair decided to merge their experiences and formed a communal project. Originally releasing tracks as Francois Le Roy and Nanni the pair grew in stature, gaining them extensive coverage for their remix of Squarehead's Bats', and their track Going Back to Detroit' saw a stylistic additional mix which also featured on T. William's BBC Radio 1 show.

Now have both worked for a considerable amount of time on their respective solo careers and collaborated on each other's productions, the pair have formed the Ruff Stuff project.
A single unique entity which combines the spirit of both producers, the Ruff Stuff project is rooted in the influences of old school Deep House, Techno and Garage with a propensity to find the newest, freshest sounds.

Seth Troxler's Play It Say It label welcomes Phil Moffa as The Butcha for an excellentnew EP entitled "202 Future". Featuring three killer tracks, it is yet another club readyoffering from this most on point label.
Phil Moffa, as well as being a fine solo artist, engineer and studio owner who hasworked on labels like The Corner, Plan B Recordings and Sublevel Sounds, alsoreleases on Hypercolour with boss man Seth. He has also collaborated with underground techno heroes like DJ Spider and Anthony Parasole as well as The
Martinez Brothers whom he paired up with on the Tuskegee label last year. As such he knows a thing or two about making dance floors move. His sound is robust and freaky, functional yet full of character, and this EP proves that once again.
Arresting opener 'More Bugged Out Please' is a massive cut with rolling rubber drums and wild acid lines spraying about up top. Clever filters open and close to add scale and dynamism and coarse claps help drive things along, meaning that dancers will be swept off their feet in the process.
Then comes the brilliantly absorbing titular track, '202 Future.' This one is much deeper and darker, more subdued but just as impactful. Paranoid sirens and alarms go off above slow, snaking, dirty and dark sub bass. Percussion grows in stature and becomes a focal point and then acid lines and spooky riffs join the fray to make this a truly tripped out and late night monster.
Last but not least, 'Acid In The 1st Degree' ups the ante with a shuffling marriage between crisp metal hits that blow in a stiff breeze above buried deep kicks. The effect is uplifting and unsettling, and once a prickly 202 line rips up the track, it's another certified club anthem that ebbs and flows with real class.

Legowelt, as Nacho Patrol, is back on MinimalRome with the single Panter 777, already included in the limited edition tape of his LP The Maze of Violence, produced in 2008. The track is an explosion of wahwah funk riffs and juicy analog synthesizers and it comes on the B side with a powerful acid remix by Jared Wilson from Motor City. Don't miss it, it's on MRX - Patiendum Est limited series.

Following hot on the heels of Tadd Mullinix's 'Skein' - Bopside's second album release for 2016 comes from label owner Tadd Mullinix's dancefloor destroying nom de plume who needs little introduction: JTC An 8 track concise body of work perfectly calibrated for DJ use and home listening alike, where the beats hit hard and the melodies linger in your brain. The self-titled LP starts with 'Caskadia' - a call to arms for dancers with call and response synth lines and broken beats. 'Atmospheres Pt.2' takes things out into deep space, and 'Nexus Ship Core' is an acid drenched burner with glacial synths. 'Infoline' then makes it's first appearance in a remixed guise by Rephlex alumni Ed DMX, then closing out the album with its recognisable lead line in its original form. Things take a deeper turn with 'Dusselmorph' before the full on breakbeat assault of 'Blitz Puff (High Position Mix) takes things up a gear, then dropping you off safe and sound, though a little shaken with 'Atmospheres pt.5 (Hemi Mix).

Noho Records is an homemade party, a weekly moment to share soul, funky and
disco vibes.
Riviera Studios is the place where all the jams are recorded directly on tape to
catch the magic of the moment.
The tentacles of the legendary Dj Octopus take kindly part on 'Funky Hands'.

Record Store Day 2015 will see a special release from Gene Hunt directed and selected by label boss I-Robots.

The two track vinyl EP features unreleased material produced in the early years of the famed Chicago artist's career in the 80s and is dedicated to musical legend Frankie Knuckles who appears on the artwork in a rare picture with Gene Hunt from back in the day.

Gene has regularly produced and remixed for the label before now (including remixing Klein & M.B.O. 'Last Call' and on forthcoming I-Robots project 'Dirty Talk' ft. Donna McGhee) and has already assured his place in house history as a DJ headlining clubs like Warehouse and the Music Box as well as playing with the likes of Ron Hardy and Larry Heard.

As a producer he has been on top of his game for three decades and has released on legendary imprints such Rush Hour, Svek, Djax and many more, so is a true house icon.

His first cut here, 'Drive Yourself Nuts' is a classic bit of Chicago jack with prickly percussive patterns staying busy on top of punchy drums. Wonky bass, physical grooves and coarse claps all make this one a standout banger for the peak of the night.

On the flip of this special package, 'Wildside D Dubb' is a slow building, mania inducing tune with a lead synth line slithering about over dusty metallic drums. Eventually some acid bleeds into the mix and pans all around, adding a sense of scale to this heady, freaky, dance floor smasher. As ever, Opilec Music show others how it is done with this real and rare bit of true Chicago house history.

A limited white label press with two new tracks from Hot Chip / 2 Bears man Joe Goddard.

Limited to one pressing, this white label 12' features two new Joe Goddard productions - 'Lasers' backed with 'After Dark'.

'Lasers' has been receiving tastemaker club plays across the summer, appearing in DJ sets from Joe, Four Tet and Floating Points amongst others.

Sydney based Dreems & Jamie Blanco pool together creative minds and production proficiency on the "Studio Glucose" single, delivering three diverse original tracks and a guest remix from Moscoman, as well as keeping Futureboogie on a great roll of red hot releases.

Running Back's 50th anniversary comes courtesy of Redshape. After his utilitarian Bonuz Beatz effort earlier this year, the masked man is back on the monolithic techno tip. Graced with a sense of tradition and a modern stlye of execution, 'Leaves' is the sort of warehouse rave signal that exceeds the sole purpose of a tool. Speaking of which, it comes in two different mixes to choose from accompanied by two unclothed versions for the creative DJ mind.

Inspired in equal measure by analog synthesizer technology and the lush Swedish countryside, Genome marks the first collaboration between veteran techno producers Patrick Siech and Minilogue's Sebastian Mullaert, with part one of the three-EP series appearing on Richie Hawtin's Minus label. Recorded live to tape last spring, the four tracks that comprise Genome 1 make for a transformative dancefloor experience that morphs and swoops its way through soulful, sweaty analog techno with flourishes of 303-style acid. Mullaert and Siech met in their hometown of Malmö, Sweden, back in 2000, when Mullaert was premiering his Minilogue project live with partner Marcus Henriksson. Siech opened that show with his very first public DJ set. The pair kept in touch over the years in the small but tightknit scene, and when it came time for Mullaert to set up his new studio in the small forest village of Röstånga, an hour outside of the city, he enlisted Siech's help, which led to a week of intense experimentation and lengthy analog-synth jams. 'That was the real door opener for us,' says Mullaert. 'We didn't have any concept or vision in mind for it, other than having fun together.' Central to the Genome series is Siech's modular synth, which he reassembled in Mullaert's studio for the recording. 'I credit all my tracks partly to the ghost that lives in this machine,' says Siech. 'I can't imagine making music without it. There are so many variables in it that create strange voltage fluctuations, so you can never be 100% sure what it will throw at you from the speakers.