House News

Whenever I try to break down why I love music as much as I do, one element comes back to me again and again: discovery. I have enough records to last a lifetime (literally - I'm not sure if I'd be able to physically listen to all the records I own in whatever time I have left on the planet). My shelves are overflowing, my hard drive is full, and yet I keep listening, keep buying, keep searching. And that feeling of discovering that killer beat, that perfect track, that singular album is one that doesn't subside. Of course there's then the question of what you do with that discovery - my response has always led me to want to share it. Years before I started DJing, I'd find myself dragging friends to my stereo: "you've got to hear this tune". It led me to starting First Word Records in 2003 - finding music that I love and sharing it with the world.

I have a natural attraction to others who are equally addicted to the cycle of discovery and sharing of music and it's why my life has been so shaped by the radio DJs who educated me as a teenager. Growing up in the pre-internet era the power and responsibility held by radio DJs was huge, and one figure loomed larger than them all - John Peel. There has been much written about his unique talent and passion for music, I don't feel I can add much more to it, but on a personal level I just loved that I genuinely never knew what I was going to hear next, which in today's focus-grouped, play-listed culture seems almost impossible to imagine. When we were fortunate enough to be invited by the John Peel Archive to access his private collection for this, the third instalment in our RSD series, there was no hesitation. So it was that on a cold November afternoon that we found ourselves trawling through tens of thousands of records in rural England in search of inspiration. It was a day that I'll remember as long as I live and will be eternally grateful to Sheila and the Ravenscroft Family as well as Leon, James and the rest of the JPA team for their generosity and enthusiasm.

For those new to our Record Store Day projects, this is the third and final part of a trilogy of releases. For the first, the producers could each pick one record from Mr Thing's collection, for the second, he picked one record for each of them. They then were tasked with creating a new track from that singular sample source. This year is no different: each of the four tracks on these records were created using music sampled from the John Peel Archive. We discovered some incredible music that day and in your hands you are holding the results. It's a pleasure to share it with you...,.

Hier Bahnsteig 23 Summer Smasher !! Bump bump bump beats, ethereal melodie. Oriental liebeslied. Etbonz bricht herzen. One sider, etcher. Cambodian Dream Peoples !!!

For their latest slice of saucer-eyed Balearic perfection, Leng Records has looked to the North East of England for inspiration.
Lizards is a freshly minted project from Newcastle-based twosome Lee Forster - better known as one third of Balearic house combo Last Waltz, whose impressive releases have appeared on World Unknown, Futureboogie, Endless Flight and Is It Balearic - and long-time friend James Hadfeld of Nein Records' Elizabeth Collective. Despite writing music together on and off for the last 15 years, the duo only made their debut this month. As frst 12' singles go, their Tanni EP on Not An Animal was something of a gem, and featured two winding, ear-pleasing chunks of dreamy, sun-kissed Balearic disco loveliness. Their Leng debut is just as strong. A-side 'Frontier' sets the tone, layering bubbly, psychedelic electronics, vintage synthesizer arpeggio lines
and strummed acoustic guitar riffs over a head nodding, 102 BPM drum machine groove. By the time the jammed-out, eyes-closed electric guitars and jaunty synthesizer melodies come in, you'll be lost in the music. Flipside 'Coming In' stares at the sunset wistfully, effortlessly capturing the twilight humidity associated with lazy Croatian festivals and beautiful Bali beaches. Analogue synth lines futter in the breeze, whilst picked guitar lines,
spinetingling chords and a druggy bassline move the action forwards at a pleasingly loose and groovy pace. Go on, hug a stranger; after all, we're all friends in Lizards' baggy, melody-rich world.

Lizards are Lee Forster (1/3 Last Waltz) and James Hadfield (the mainstay of the Elizabeth Collective).
Taking over a full side, and clocking in at over 9 minutes, Anthemic understatement is a very difficult trick to pull of, but the deepness of feel here, coupled with the restraint shown in rhythm and melody, allows the track space to ebb, flow and truly get under the skin of the listener. It's one of those rare tracks that are as equally beautiful as they are danceable International Track lives up to it's name, seeing the North Eastern English producers channel the Japanese take on the Balearic sound as heard in productions by artists such as CosMes.Ironically, with his remix, Japanese based Max Essa lends a Euro Pop lilt to the track, softening the beats and adding delicate 80s digital melodies.

3x12" Gatefold Cover
Pets Recordings are partying at the very forefront of house music right now... With each release stretching their consistent-yet-excitingly unpredictable remit further into unchartered territories, the latest in their well-established Friends Will Carry You Home series compounds their curatorial creativity like never before. Now on its third outing, this is the label's largest in the album series so far; tethering its myriad wild talents for one giant audio class photo, label bosses Catz 'N Dogz have successfully represented their label's vast remit with clarity and harmony. Every groove, every rhythm and every influence you associate with Pets' musical menagerie is all here. What's more, it's all exclusive... The deep bass bubbles of Catz 'N Dogz' rugged contemporisation of Spirit Catcher's 2004 classic 'Voodoo Knight". The infectious percussive tech funk and synth seduction of Axel Boman's 'It Starts With The Stomach". The unrelenting pounds and pulverisations of Andre Kronert's 'Thrills". The loopy techno chugs of Catz Eatz Dogz' 'Calling Every Day". The loose lolloping groove, commanding disco strings and subtle Moroderisms of Paco Wegmann's 'The Return Of The Funk". The epic emotional dynamic and organic swing of Eric Volta's remix of We Draw A's 'Silent Tide". Need we go on






G D1 | Spirit Catcher - Voodoo Knight (Catz 'n Dogz Dub Mix) ,

[ZZA] CD15 | DJ Fronter - Urra!
[ZZB] CD16 | Jayforce - Take Me
[ZZC] CD17 | Huxley - Widow
[ZZD] CD18 | ANNA - Odd Behaviour
[ZZE] CD19 | Darius Syrossian - Beetham Tower
[ZZF] CD20 | TKNO, Dee Marcus - EyewaveD

Albion gewinner verbindet Bahnsteig 23 !! Alle anderen ruhestand. Sieg B23 ! Vier edits ov linkes feld rillen groovers.
En Trance gitarre liebe wobble. Schwarzen Mer iz syncho kurio.
City People escape in der nacht wit psychedelischen power. Die Marinette Der Zeit ihnene sagen. Panzer Peoples Shuffle Sh

The return of Konigs Jonny 5 !

Vollkreis liebe. Deja-vu nein Beats in Balearic Space. Schlagen bass, guitar himmel. One more time !!! Sirup vocal, groove funk. Das ist Last Trrrrraaaaain. Late-night-romanzen Uh-O Uh-O Miami kilter schlagzeug. Eindringlichen refrain. BababaBASS !! Finale Grazie ist Slow Bodies. 100 bpm, Arp kopfes. Und weiter. Panzer Peoples Funk Esel !!!

More Pesky Japanese disco edits from the Last stable. Yume's revision of Rie's Yoru weaves delayed clavichord between Philly strings and conga breaks, then trips head first into a blast of euro beat via Billy Jean; Junko's Communicate channels the joy of early Madonna, macerated to feed the gulls on the Japan sea.

Since 2009, Vincent Koreman a.k.a. Drvg Cvltvre has been working on his own blend of dystopian acid, no wave and dooms day deephouse , which he proved impressively on his release on Crème Organization or Porn Wax. For his Permanent Vacation release he is perfecting his methods and style , which is equally influenced by Suicide, Sun Ra and Terrence Dixon. On remix duties for 'Night Time Is the Right Time' is original chief rocker and Omar S protégé OB Ignitt who puts some extra swing on top and makes sure that it is always the right time for this one.

The elusive Essex Rascals strike once more, this time with a highly limited 45 featuring 2 party starting Hip Hop mash ups for the fun loving DJ's amongst us.
Simple, effective and familiar, not only will these 2 golden era flavoured jams do plenty of damage at the dance but they'll also put a smile on the face of even the most hardened ageing boy.

Ultratheque' pays tribute to Glasgow's first ever laser disco and the first dancehall that Hifi Sean frequented as a teenager .
Soft Cell/The Grid analogue keyboard maestro Dave Ball adds his trademark sound on this solid electro groove making it sound like some lost dub from NYC Danceteria days Dave himself with Skull Bandits crank up the electroclash vibes on the remix and turn it into a full on dancefloor onslaught like Ultratheque itself was back in those laser-tastic days.

ol 7 in the very popular Midnight Riot series see's some of the biggest names in edits on one tasty vinyl. Tracks
from LNTG / 80's Child / TV & Digital Human.

Back in 2013, Futureboogie released The Fade EP by Outboxx, a record that received critical acclaim from the who's who of music press, helping to propel Outboxx on the upward trajectory they've managed to maintain since those early releases. Unsurprisingly, Futureboogie are delighted to get the pair back for more.
Having developed their sound in the two years since, the pair has refined the raw ingredients of those records to show a combined maturity beyond their collective years. Previously the pair of producers (Matthew Lambert and Jake 'Hodge' Martin) have released music on respected independent imprints such as BRSTL, Idle Hands, Well Rounded Records and Local Talk; honing their analogue rich sound that touches on the hard edge of drum machine rhythms crafted by Hodge and the harmonic, jazz soaked embellishments from Lambert on Keys.
'Day One' opens with the sound of a string sample drifting behind warm drums to beautifully open up proceedings. As the track develops with an explosion of shuffling hi hats, the main hook enters with more than a nod to the classic Acid basslines of a 303, built to hypnotize dancers into the early hours with subtle simplicity.
The EP's title track 'Under The Lights' shows the pairs appreciation of Disco, with overdriven drums and a dotting bassline setting the feel. As the track develops, elements of Detroit enter the picture, with more string samples setting the key, and further allowing Lambert to contribute more of his signature Jazz licks as the track winds down to an unwanted close.
'Gift of Life' features the always-beautiful vocal contributions from long-term collaborator, Naomi Jeremy. Having featured on some of their most memorable releases to date, Jeremy's vocals again add a complexity often found in Jazz, but with the drum machine funk of 90's House; creating a sound that blurs the lines between sampling and original composition, uniquely, as only Outboxx can.
The record ends on the appropriately named 'Closing Titles', a track seemingly built to allow Lambert the opportunity to show his prowess and mastery of melody and harmony. Creeping basslines and warm chords mix with looped drum machine rhythms to wind down the release elegantly, showing the pairs versatility and understanding of each other's strengths.

Padre Himalaya's first release sees Renato step up to the plate: a young producer from Lisboa gracing us with his debut EP. The 'Alo Alo' Ep contains 3 organic groovy tracks with a slightly sense of humour which marks the identity of the Renato project. Super fresh sounds from Portuguese underground that comes HIGHLY RECOMMENDED!!

Smalltown Supersound is proud to announce the new album from Dan Lissvik (formerly of Studio), the album is a brand new collection of instrumentals made throughout 2015, the year Lissvik became a father for the first time. The title refers to the time he would start his recording sessions after his wife and newborn baby went to bed. Midnight is filled with the Dan Lissvik signature sounds, gentle guitars, laidback bass, dubby disco, lush balearics and sun-drenced psychedelics.

The album was recorded at home with a stripped back setup of an analog graphic equalizer he found at a flea market, a bass guitar and a mic. He worked at night with a thermos of coffee, while his young family slept in the room furthest away from his studio. His process was to press record and let the midnight jams unfurl, resulting in a sound and mood that has shifted since his previous release, Meditation, under the moniker Atelje in January 2015. Ten years ago, Dan Lissvik was instrumental in kicking off the midnoughties Balearic revival alongside his partner in the group Studio, Rasmus Hägg. Both came from the frozen coast of Sweden (rather than Ibiza) and their debut West Coast was hailed as one of 2006's best releases, making Rough Trade's top 10 albums of the year. Their sound was a blissful, effortless, laidback afrobeat-kraut-disco-pop and won a legion of fans.

Though West Coast made Studio internationally acclaimed (they even remixed Kylie Minogue's 2 Hearts') that was the only record they ever made. Lissvik showed little interest in pursing an international DJ career or touring as a band,' preferring to stay in Gothenburg and record. Then, in 2012, six years after West Coast was released, Studio officially broke up with a quick note. For Studio-addicts, Lissvik hinted at a tantalizing stockpile of new material - at one point posting 50 tracks on Soundcloud before taking them down. Then in 2014, he started to release new material, beginning with the limited-edition 300- release run of the Atelje LP Meditations, with the Dan Lissvik Airwalk/Shuvit' 12' to follow via Smalltown Supersound. Now, ten years following the release of West Coast, as the influence of Studio's work reverberates up through a new generation of producers (Jamie xx sampled a beach-blissed loop from it for Girl'), Lissvik's Midnight is set for release.

Music For Dreams are proud to present the latest vinyl sampler of 'Mediterraneo - Rare Balearica Vol 1', their Leo Mas curated series of sought after Italian goodies!
Leo Mas says: "This third sampler of my 'Mediterraneo' compilation opens with 'U (I Dig You)' by Chrisma, a cover of 'Who' by Odyssey, a project from 1974 that saw Vangelis collaborate with Richelle Dassin and Robert Fitoussi and which only ever came out on 7". It was covered twice in 1977, once by Chrisma and also by Demis Roussous, with his 'I Dig You' version. Chrisma's cover was produced by Niko Papathanassiou, Vangelis' brother, and the version I choose is the Extended, found on side A of the original 12", a sexy and nocturnal funk disco suite that I love.
'The second track on side A of the sampler is 'Clouds Over Thin Paper' by Faust'O from his album 'Love Story' that came out in 1985. Faust'O is a great borderline artist, original and innovative, a true rebel. His first productions from the late Seventies have a sound between Berlin Bowie, Joy Division and the first dark new-wave.
'On the B side, I choose 'Blue Light', a track by Giorgio Li Calzi ft. Marconi Union. Calzi collaborated in his career with artists like Wolfgang Flür from Kraftwerk, Alexandre Balanescu and others and for this track he worked with Marconi Union from Manchester, true makers of a minimal English ambient sound, who also worked with Jah Wobble. 'Blue Light' is an emotional track with a great dreamy atmosphere that I loved at first listening, simply beautiful. With my partner Fabrice we did a version of 'Blue Light', the Androids Dream Remix. We chose this title because while working on it memories of Ridley Scott's Blade Runner came to us!", finishes Mas. Limited vinyl - don't sleep.

The latest chapter in the long standing relationship between Gilles Peterson and the music of Cuba sees him explore the roots of rumba through a project comprising three parts: a feature length documentary, a collection of remixes and a free sample pack. Produced in collaboration with rum maker Havana Club - creator of the Havana Cultura platform to promote contemporary Cuban culture - this is another episode in a six-year relationship that's already given vital exposure to different aspects of Cuba's thriving music culture through the Havana Cultura album series. Peterson worked with the island's esteemed rumberos to record authoritative versions of the three rhythms as well as discuss what differing meanings and origins are attached to each.

The recordings of rumba's three key styles were handed to a crop of producers working in the orbit of the most interesting corners of club music, allowing for an exciting, global re-interpretation of rumba's roots. The result is Havana Club Rumba Sessions: a collection of remixes that's as varied as you'd expect from a roster of producers spread across locales as wide as South London to Japan and beyond. Japan's Daisuke Tanabe & Yosi Horikawa tease out the rhythm to a careful balance between percussion and undercurrents of bass; France's débruit ratchets up the tempo in a beautifully polished rework that slots the click of the percussion into a steady bounce; Canada-based Poirier keeps things steady with delicate melodies adding an emotive edge; and Djoyvan brings a modern Cuban energy to the mix.

The last of Public Release's single-digit records is the first from the British West Midlands' most famous DJ and producer, Mark E. This shouldn't come as a surprise. If anything, the fact it didn't happen earlier should; Mark appeared as a remixer on Jeffrey Brodsky's 2014 Public Release EP, which has earned him the status of esteemed member of the outfit's inner circle and prime candidate for an extended play of his own.

That little bit of context behind us, let's move on to the actual music that's been pressed to Sky Horn. The 12' kicks off with the titular track, an abrasive number built around a meaty, sawtoothed synth line that sits snugly atop a hypnotic beat. Happy Family's remix—Happy Family, for the uninitiated, is Eric Duncan and Justin Van Der Volgen—is a more psychedelic reimagining of the original cut that'll knock you into an exhilarating stupor. Speedy and demented, it's an explosive, tantalizing cap to the first record.

The second begins with 'Midnight Equatic,' a tense yet propulsive number that's somehow paranoid industrial, tropical disco, and prototypical synthwave all at once. The duo comprised of Dennis McNany and LCD Soundsystem's Pat Mahoney, Museum of Love, wrap the four-tracker with their remix of the song, which zeroes in on the electro component so elemental to the original and runs with it, taking it into Depeche Mode Violator territories—before making a sharp left turn and exploring the wild sounds of the early 90s UK rave scene. A final hoorah for the party that is this record.

Detroit's Fuxa makes a triumphant return to the label with a very special release, teaming up with the Neil Mackay, of the then newly refromed Loop. A mini-LP of further explorations to
seek out a psychedelic tinged cosmos, with guitar and instrumental rock now joined by the tripped out kick of the dance floor for a perfect meeting of mind and (purple) hearts. The return of Loop in 2013 after over 20 years since their disappearance was naturally greeted with much interest and excitement. The success of their curation for All Tomorrow's Parties final weekender and subsequent world tour was soon lost when the band appeared to disband as quickly as it returned.
Teaming up with the band's former bassist and groove merchant Neil Mackay seems a natural and perfect direction for Fuxa's Randall Neimann and sure enough together they collaborate
as if old masters. From the space-funk anthem of opening Apollo Soyuz it is clear we are in for some ride. Randall returns to the microphone, extolling a (hippy) shakedown while underpinned by Neil's mothership bass, with ethereal keys overlaid - the trip is up and running. This is soon followed by the kosmiche groove that of Comerzreggae. Delicate and meditating, taking you
up and beyond. Space Junk and side closer, Testz 1 allow you to simply let go - outer orbit has been achieved - layers and layers of sound, keys arpeggio'd to the stars and beyond.
The groove returns for Fuxa Gate, this time a primal loop extolling a higher awareness, that is then carried on with Nerdz and it's oft-kilter drums and rolling bass and fuzz distortion.
Things begin to prepare for a return to Earth with the gentle keys of Progress M34 and finally the pyschedelic mantra of Korg Dub, creating the question, has all been lost or saved
and minds blown, do we even care...just let go A sonic match, truly made for the heavens.

Few parents while away time at the school gates discussing analogue synthesizers, dusty drum machines, and obscure old records. Then again, few parents are quite as musically
decorated as Mark Evetts and Stuart Hobbs. Evetts, of course, has carved out a successful career as a globetrotting DJ/producer under the Mark E alias, delivering a string of killer albums and singles on such esteemed labels as Running Back, Spectral Sound, Golf Channel Recordings, ESP Institute and his own Merc imprint. As for Glasgow-raised Hobbs, he currently works as a producer out of his own SHONK studio in Oxford, having previously co-owned Crash Records in Glasgow, and appeared in all manner of weird and wonderful bands alongside former members of Teenage Fanclub, Superstar, Ride and Candyskins. As the duo got to know each other - and their shared musical interests - while waiting to pick up their respective fve year-old daughters from school, a plan began to form. They'd
get together in the studio to have some fun, indulging in 'an eclectic groove-driven forage into the wonky playing of frst takes'. They decided nothing was off limits except 'the
formula'. Thus, Quarry Hollow was born. The frst results of their musical partnership are presented on this fne debut EP for Leng.
It's a deliciously warm, fuzzy and off-kilter exploration that touches on numerous musical styles, whilst developing an endearing loose mix of krautrock guitars, heavy dub basslines, bongo-laden percussion and futtering synthesizer lines. 'The Path Of Tranquility', the EP's triumphant title track, sounds like an unlikely jam session between Tangerine Dream, Terry Riley, Can and The Idjut Boys - all picturesque synthesizer lines, attractive cyclical melodies, fuzzy guitar textures and rolling, organic percussion. It's utterly sublime. 'Long Slide' takes a drowsy, high-grade fuelled trip into Balearic dub territory, with aquatic funk guitars drifting in and out of a mix that wisely emphasizes the duo's heavyweight bass, live percussion and ghostly synthesizers. 'Masons Arms', on the other hand, tips a wink to low-slung post-punk rock, whilst at the same time maintaining one eye on the dancefoor via restless ercussion, Doors-style organ riffs and hazy, psychedelic electronics. Formula-free music from the margins: what's not to like

Half of this Belgian duo was still wearing diapers when The Crash Test Dummies had their moment of fame; the other half wasn't even born yet. There's a fair chance they don't even know the Canadian band that music lovers might think about when they hear their name. Musically they couldn't have been more different, as these two guys from Kortrijk make music that's energetic, experimental and full of pumping bass lines. After winning the prestigious Rock Rally competition they were quickly added to the Belgian electro family of Goose, The Subs and Front 242.
Now they are ready for the next step: release of their new album 'Silver Souls'.
"We're all the same silver souls / Just wrapped in different kinds of foil."

SHADELEAF No.9 sees City Fly's JONNA step up with a superb EP !Vocalist Erik Rico graces title track 'Through The night', a serious piece of Deep, Disco influenced dopeness that follows the classic US House blueprint, but with that all important UK grit in the construction.A2 & 3 cater for the labels love of lo-slung Sample House, with 'Music For People' really shining as a thumpin' sound system jam
Who better to tackle the beautiful title track than NY born, Detroit grown bad boy Kai Alce !
His recent Sandman & Riverside joint has been testing a few speaker stacks these last few weeks, so the label couldn't wait to hear his versions of Through The Night
Safe to say, he doesn't disappoint !
A disctinctive vocal rub that recalls classic Ron Trent, and a stripped down and deadly KZR dub - Roots House at its finest !
Another Shadeleaf sureshot !

Fred Ventura strikes again on the Bordello A Parigi label. With a classic italo production by Spain's talented Synergic Silence it can't go wrong: fist pumping and heartbreaking love bangers! Comes with beautiful picture sleeve.

GLENN is back with 4 more tracks reworked in his distinctive style mixing jazz and Chicago house. CANDIDO's "DANCIN' AND PRANCIN", a party cut with all new percussion plus one by ELI's 2ND COMING, a Paradise Garage/MusicBox classic b/w FATBACK BAND's "ALL DAY" and a dope EARL KLUGH jazz funk jam!

Atomium is a bass riff driven phat slo-mo disco funk groove featuring the man himself from Funkadelic / Parliament with his usual unique vocal playing with you as it rolls along on tripped out harpsichord and vocoder riffs Dr. Packer dubs it up a little more on remix duties with his usual disco funk edit style that we all know and love him for.

Prolific Seattle producer Jon McMillion returns to Nuearth Kitchen with another crucial chapter in his epic tale of haunted house-music subversions. This EP offers four variations on a bizarre and engrossing theme. Don't It Make You (edit 1)' is a work of extremes: By some miracle of aural physics, it's at once one of McMillion's strangest tracks and one of his most accessible. He sets into motion a staunch, relentless house rhythm bolstered with congas, massed claps, synth-bass raspberries, and a badass male singer intoning, Don't it make you feel good, if you wanna get down/Just say it, say it again,' over which a miasma of enigmatic tones bubbles and swirls. Like Bohannon's disco-funk classics from the '70s, Don't It Make You' seems like a tease, even at 10 minutes duration, you wish it would roll on for at least 30. On Don't It Make You (edit 2),' McMillion strips things down to dance-floor essentials and erases some of the free-floating background weirdness.

The two remixes are revelatory. New York house icon Fred P. (aka Black Jazz Consortium) slides the track into a tighter pair of pants, but that just makes it swivel harder and slyer. He emphasizes Don't It Make You''s mysterious drones and then loops a female vocalist singing He keeps me' while dropping in some echoed male chatter to gently disorient. What a dreamy, soulful trip Fred P. conjures here. And rising German wunderkind Orson Wells layers and pitches up the original's cascades of bleeps, which becomes the dominant motif, and then subtly modulates said bleeps over the tune's seven minutes, while keeping that irrepressible rhythm strutting. McMillion's raw materials prove to be fertile ground for these two maverick remixers to flaunt their own fascinating quirks while maintaining the original cut's club-darkening and ass-moving functionality.

ENDILL006 goes split. Scottish Stephen Lopkin and Greek DimDJ have delivered quality Detroit informed house tunes straight for the floors, except Grave Roll' which can be nice opening track. 909 turns 707 and it's not Endless illusion without proper synth lines.

Sophisticated from the off, the set stretches into life with the delicate guitars, dreamy chimes and swaying rhythm of 12" cut 'Tabarin'. Appearing here in its original form, 'Tabarin' soundtracks la dolce vita of the Mediterranean, sweeping through Capri, San Antonio and Casablanca on a swell of swooning strings, sun kissed trumpets and airy flute. The beachfront soul of previous single 'Alive' finds Bing Ji Ling musing on Tibetan mindfulness over Phil's gentle samba groove before the titular 'Just Landed' reclines on the beach, looking out to where the waves chase the sun over the horizon.

Phil delivers a touch of dub on 'Echo', laying a fluid foundation of limber bass and circular steel drums for Suad Khalifa's soaring vocals before the stunning 'Abando', a collaboration with Balearic legend and former Finis Africae member Javier Bergia, brings us to the halfway point.

The flamenco guitar and insistent backbeat of 'Tali Lumi' offers a subtle change of pace, while the african drums, dreamy harp and future primitive melodies of 'Vialas Journey' hint at the rich vegetation of tropical climes.

'Clear Coast' drifts in on the jet stream as Brenda Ray's whispered vocals glide over a verdant blend of guitar, synth and melodica, transporting us to a distant cliff top where the piano led beauty of 'Sea Of Blue' fills the air.

For its 4th release, Malka Tuti is welcoming J.A.K.A.M. to its ever-expanding family. Born in Tokyo Japan, J.A.K.A.M. has been been one of the leading figures developing the music scene in Japan from the early 90s as a DJ, producer and a band member. His wide variety of musical influences ranges from house, hip hop, drum&bass, techno, reggae, jazz, rock and world music. With combining these different styles of inspirations and tradition, he creates the most unique time and space on the dance floor, a kind of fusion of early tribal house (recording live instruments in the studio), world music with a pinch of shamanic spiritual vibes. On his ep for Malka Tuti he delivers 2 Original epic tunes, followed by a smokey dub version by Versatile Records boss Gilb'r and a total dance-floor smashing remix by Aussie prodigy - Dreems. The label is also stating: "This record will include a hand-printed silk-screen cover and will be limited to 400 copies", so don't sleep on it.

Red Axes is the project of Tel-Aviv-based producers and DJs Dori Sadovnik and Niv Arzi. They had a meteoric rise over the last 12 months with a string of releases on labels like Multi Culti, Crosstown Rebels, Hivern Disc as well as on their freshly founded own imprint Garzen. As a result they've deservedly become sought after remixers and global DJs.

Fabrizio Martina, the man behind Jolly Mare, is a champion turntablist, with a master degree in Mechanical Engineering and a PhD in Vibration Dynamics under his belt. He's currently a full time producer and DJ, taking part in festivals across Europe from Sonar to Harvey's Discotheque Stage at Bestival. A graduate of Red Bull Music Academy in New York, he has opened acts from Masters at Work to Roy Ayers, worked with the likes of Soul Clap and Thundercat, and has already been featured in the likes of Pitchfork, Mixmag and Okayplayer with his dream-like brand of cosmic disco and house.

Jolly Mare's debut album "Mechanics" was conceived as a conceptual journey through the mechanics of groove and the dynamics of love. Featuring dew-eyed disco jams, Jolly Mare takes you on aural journey through a blackhole of futuristic funk and fresh, twinkling midnight beats -complete with crunchy, choppy bass riffs and plenty of outerspace synth action. Nowhere is this more evident in album opener 'Hun' with its breezy, rolling pulse and 'Hungry Angry' with its slow laser descent into an earthy, gritty guitar groove.

gives anything meaning."

Em Vee, the Lumberjack of Love comes out of retirement and chops up some favorite pieces. From boogie to high tech soul to proper disco. Three killer cuts that cut the killer.

Minimono strikes back this time on new born italian label Greentech joined by a remix by neverthelss than Mr Paul Johnson. This 4 tracker starts with the raw filter house banger track named "Boogie" , follwed by "Follow Me" a dirt dry funk house jam. On the B side we find the deeper and rawer vintage roller "The Difference" followed by the percussive ghetto interpretattion of "Boogie" by Paul Johnson. Solid Ep for the 1st release of Greentech Music.

This edit of Yves Simon ´Au Pays Des Merveilles De Juliet´ first appeared a year or so ago as a free download for a super limited time via the Psychemagik soundcloud page. Blink and you missed it.

Now, after a long wait and many licensing delays the edit sees an official release on limited edition vinyl (500) via Leng Records. Played by many over the last year the edit takes all the elements of Yves Simon's original, stretching it out from two minutes to over seven making it an instant classic.