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Cute Heels is the project of Victor Lenis, a contemporary electronic artist living in Berlin, Germany. He grew up in Bogotá, Columbia during the 1990s, surrounded by the radial punk scene. Over the years, Victor's passion and fascination for synthesizers and drum machines to produce and compose resulted in his debut album 'Spiritual" for Dark Entries in 2014 as well as the Third Skin' EP in 2016. Inspired by equal parts Liaisons Dangereuses, Drexciya and Black Devil Disco Club, Cute Heels connects the dots between Detroit techno, early Chicago house and Belgium electronic body music.State of Mind' is a 4-track EP featuring the vocal talents of Berlin artist Aga Wilk, of electro-punk projects Walkman Music and 77TM, on the the title track. On the A-side are two fresh compositions recorded in New York and Bogota between 2016 and 2017. Victor says, 'State of Mind refers to the subconscious as dominated by real facts, natural, unnatural ,metaphysical or virtual and dynamism of the body as physical shield.' The track is a slow building foray into techno, elegantly suited for intangible moments. 'Golden Tears' kicks off with Cute Heels' signature metallic EBM funk played with punchy, percussive analog synths. On the flip we present two banging club remixes. The first is from LA-4A, techno DJ and producer Kevin McHugh aka Ambivalent, who adds a strong kick drum and lacerating hi-hats that build up to a mind melting breakdown with a full on acid squelch attack. The second remix comes from Noncompliant, Midwest US-based producer Lisa Smith aka DJ Shiva, who creates a raw, thumping exercise though off-kilter mechanics and punishing percussion. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a custom-made die-cut jacket designed by Eloise Leigh featuring suggestive rope bondage graphic printed spot black matte on black hi-gloss finish. Each copy includes a postcard.

Artwork by Jennifer Nastanovich

Iron Curtis has felt like a Polytone artist for quite a while now. He recently delivered a breathtaking remix for Matthias Vogt, and shared a split EP with the man himself, Terrence Dixon. He's also played several label nights, but indeed 'Unwind' is his first very own EP on Polytone. The opening track 'Riders' is our floor filler here. A subsonic bass experience of the more intensive kind. It´s a pure groover, with a surprisingly long lasting breakdown that never lacks on intensity. 'Cream' on the A2 is a stellar ambient joint, with rhythmic elements and cosmic pads. On the flip we have the title track, 'Unwind', with an unconventional basic groove, bleepy touches and trademark 707 drum machine sounds. Pure and stunning deepness. The Final track is a remix from Force/Emerge and leads 'Unwind' into techno territory. Polytone stands for diversity, and again demonstrates the labels vision of versatility here.

UK techno veteran Kirk Degiorgio takes on the Future/Past guise once more for an exquisite 4 tracker on the Belgian De:tuned label. Kirk struck gold during a recent dig through some of his old DAT tapes and unearthed 2 previously unreleased gems: a finished version of his widely acclaimed 90s classic 'Hyperspace' described by Kirk as the real Hyperspace and 'Cosmos', a rough uptempo percussive workout, proper crunch Future/Past sound.

The DAT tapes also revealed a couple of tracks that were only ever released on CD: 'TRY 2004 Funk Mix 2' (from the historic 1993 'Applied Rhythmic Technology' compilation) and 'Locator' (from the sublime 'Objets D'art 92-95' compilation). The CDs have become rare and wanted items, and so Kirk and De:tuned decided to finally press these tracks on wax.

All tracks were mastered straight off the original DAT tapes by Matt Colton to guarantee that extra crisp sound quality. This release will be available on 180 gr vinyl. A separate digital release will also be available from the usual digital shops. Stay tuned!

Hidden Orchestra's 'Dawn Chorus Remixes' follows the illuminating 'Dawn Chorus' album, reworking producer and composer Joe Acheson's latest album of immersive field recordings and expansive soundscapes into an journey through electronica, deep house and ambient psychedelia. Fronted by Wingbeats (Max Cooper Remix)', 'Dawn Chorus Remixes' features reworkings from Max Cooper, Matthew Herbert, Throwing Snow, The Physics House Band, Nuage, Floex, Nostalgia 77, Wrongtom and Skalpel.

Built around a collection of birdsong and other field recordings captured over many years across diverse locations around the UK and abroad, the snapshots within 'Dawn Chorus' intertwine for a transporting listen. The 'Dawn Chorus Remixes' album revisits this vast source material, reinterpreting the structure of the tracks and uncovering new layers of hidden sounds and instruments for the listeners, sometimes unearthing entire musical progressions that bring the tracks into clearer focus.

Max Cooper provides his take on Wingbeats, focussing on the synchronised recordings of birds beating their wings, to reveal a beautiful chord structure hidden amongst the rhythms. Matthew Herbert applies intricate electronic components with a purist house beat on Stone' which follows into The Lizard', remixed by Polish duo Skalpel who were an early influence of Acheson's. Electronic producer Floex transforms 'Still' with layers of oscillating synths, while Wrongtom provides a dub remix and The Physics House Band deliver ambient and progressive sounds for their rework of Long Orchard'.

Key Marketing Points:
- Remixes from high profile acts such as Max Cooper, Matthew Herbert, Floex, Throwing Snow, The Physics House Band, Skalpel and more.
- Available on 2x LP, housed in reverse board sleeve with silver embossed foil title and printed inner-sleeves. Cover art comes from acclaimed artist and printmaker, Norman Ackroyd.
- European AV 'Dawn Chorus' Tour starts November 20th 2017.
- Radio support for 'Dawn Chorus' from Lauren Laverne (BBC 6Music), Nemone (6Music), Huey Morgan (BBC 6Music), Gideon Coe (BBC 6Music), Jamie Cullum (BBC R2) + more
- Previous press support from The Arts Desk, Clash, The Independent, The Guardian, Line Of Best Fit, Blues & Soul, Record Collector, DJ Mag

Praise for the original Dawn Chorus album
You could just listen to that forevermore, couldn't you' MARY ANNE HOBBS (BBC 6MUSIC)
Such a beautiful project' - LAUREN LAVERNE
Out of this world' - THE LINE OF BEST FIT
Gorgeous' - NEMONE (BBC 6MUSIC)

Matthias Mayer: Superschön!
Tensnake: great atmosphere on the album
Lehar: I really like it very nice work !!
Andre Lodemann: das album gefällt mir sehr gut
Andre Hommen: Finde das Album ziemlich bemerkenswert!
&me: great one
Alex Niggemann: Great piece of work!
Vince Watson: Sound lush!
Luca Bacchetti: Deepness!! Excellent work from Patrick!
Philip Sherburne: Sounds nice and moody.
The Drifter: Congrats on the album Patrick! Thx for this
Matthias Kaden: Super Genius Album from Patlac!!will listen it a lot ...TOP!
Kiki: The intro and "Marcy" suck me straight into the vibe. Let´s see how "Marcy" and "Blinded" sound at the IPSE warehouse on NYE sunrise time...
Chris Fortier: great album, have been playing.
Pablo Bolivar: This is absolutely fantastic!
Sandrino: knowing Patrick and his music for so many years now and this musical package sounds to me that Paddy finally found himself and even better expressed what he found. Happy and proud of my Hamburg friend. Congrats and thanks for the music!
Yokoo: Super nice, well done buddy!
Andre Hommen: Finde das Album ziemlich bemerkenswert
Matthias Mayer: Superschön!
BOg: Sublime album from Patlac. Such great music, rich textures and deep sounds. So many options. My full support !!
Adana Twins: Congrats Paddy Boy! Is geil Diggi :)
Tim Green: great sounding stuff here!! :)
Rancido: nice album!

As music continuously evolves, times change and new ideas and movements come & go. All of this functions in tandem with scientific, technological, social and political advancements in our society. The biggest component to that evolution is the people. There are creators and consumers. One cannot exist without the other. Throughout art, the audience defines quality, but artist has the power to introduce change and shift perception. Execution is key. The masses are always hungry for something fresh. Sometimes we're at the forefront of new trends and sometimes we find comfort innovating the past. No matter what, musicians have a responsibility to bridge the gap. Raw Poetic and Damu the Fudgemunk meet all of the above. Produced entirely by the artists, the new album "The Reflecting Sea" revisits sonic textures of yesteryear and combined with their own distinct ears for music, have created something uniquely foreign for the music world in our time. Speaking of the times, Raw Poetic's lyrical subject matter is nothing short of relevancy. Speaking from an observatory perspective in addition to his own personal experiences, the album's content is infinitely relatable. Although known primarily as hip hop acts, both Damu and Raw P stretched out to expand what the genre is known for. The combination of elements from the mix of live instrumentation, improvisation and sampling to the range of styles including jazz, fusion, rock, electronic and soul make The Reflecting Sea unlike anything else. Captured and recorded in it's rawest form, the album is honest expression. Masterminding the festival sounds is Damu the Fudgemunk. His voice is absent from the recordings, but his presence is immediately noticed throughout the 40 minute exhibition. Packed with tons of beats, tons of scratching, original compositions, upbeat and signature atmosphere, there's no question who's behind the boards. With the average tempo of over 100bpm, this is one of the most energetic releases in Redefinition's catalog. Raw P and the Fudgemunk aim to revitalize listeners of all types with their original sound. They call it "The Reflecting Sea: Welcome to a New Philosophy." Raw Poetic (MC), hails from the DMV area by way of Philadelphia. In addition to several collaborations with Damu the Fudgemunk, he's recorded 6 albums as a member of Panacea, 1 album with K-def, 1 album with Kev Brown and recent features with Brous One in which all have been met with critical acclaim. Damu the Fudgemunk (producer/DJ) is a DC native who co-owns and operates Redefinition Records. With several successful releases as a solo artist, his music has garnered a reputation in the last decade for it's consistent quality and conceptual structure.

Air Lows is the debut solo album by Silvia Kastel. The Italian artist has been a fixture of the underground since her precocious teens, clocking up many miles in Control Unit with Ninni Morgia ('It's like Catherine Deneuve dumped two cases of post-Repulsion psychiatric notes over Pere Ubu's Dub Housing, lit the fuse and, ahem, stood well back" - Julian Cope), including collaborations with the likes of Smegma, Factrix, Gary Smith, Aki Onda and Gate (Michael Morley of The Dead C). Both solo and in her work with others, Kastel has explored the outer limits and inner workings of no wave, industrial, dub, extreme electronics, free rock and improvisation. Air Lows is both her fullest and most refined offering to date, a work of vivid, isolationist electronics which draws deeply on her past experience but assuredly breaks new ground. Prompted by a late-flowering interest in techno and club music, Kastel sought to create something which combines a steady rhythmic pulse with the otherworldly sonorities of musique concrete, and avant-garde synth sounds inspired by Japanese minimalism and techno-pop (Haruomi Hosono's Philharmony being a particular favourite). The formal artifice of muzak / elevator music, the intros and outros of generic popular songs, the extreme light-heavy contrasts of jungle, the creative sampling of hardcore, and the very 'human' synths in the jazz of Herbie Hancock's Sextant and Sun Ra: all were touchstones for Air Lows' conception and composition, and all strains of music addressing - or complicating - the relationship between the human and the technological. By extension, visual inspirations also proved important: anime, and the avant-garde fashion of Rei Kawakubo. What does that shirt or dress sound like Though used sparingly, Kastel's voice remains her key instrument, whether subject to dissociative digital manipulations as on 'Bruell', delivering matter-of-fact spoken monologues, or providing splashes of pure tonal colour. Recorded between her expansive Italy studio and a more compact, ersatz set-up in Berlin, Air Lows gradually takes on some of the character of the German capital: you can hear the wide streets and uninhabited spaces, the seepage of never-ending nightlife, the loneliness. Air Lows is The Wizard of Oz in reverse: the glorious technicolour J-pop deconstructions of its first half leading inexorably to the icy noir of 'Spiderwebs' and 'Concrete Void'. These later tracks are reminiscent of 2015's magnificent 39 12', Kastel in the role of numbed, nihilistic chanteuse stalking dank, murky tunnels of reverb and sub-bass. But in fact there is contradiction and emotional ambiguity to Air Lows from the outset, and throughout - a sense of both infinite space and acute claustrophobia; energy and inertia; fluency and restraint.

Nick Klein's new record, 'Lowered Flaming Coffin,' was recorded in Brooklyn, NY, on an economic set-up. With a spartan modular synth and Korg MS-20, Klein describes the process of recording as "focused around the relentless role of filtering out and managing the anxiety of existing in a metropolitan area in the current political climate."Though 'Lowered Flaming Coffin' starts on an almost uplifting note with the glistening melodic cycles of 'Burning Mattresses,' the asphyxia soon takes over, and the vertigo of the metropolis comes into lurching clarity for the remainder of the record. The height of the following track, 'Peña Adobe,' has the panicked terror of an archaic ringtone hitting the volume of an air raid siren, 'Smelling The Sheets' skulks rather than bangs, its momentum stifled and edgy, as if not enough was on Klein's side when making his way to the studio that day. The anguish doesn't taper, but rather culminates in the despairingly titled 'The God In Vodka.' At nearly 14 minutes, its disfigured rave stabs and blunted military tattoo-snare furiously pace into a clammy, toxic rush.Despite the wry funerary image of its title, 'Lowered Flaming Coffin' is far from a lament for better times, nor a report on descending into contemporary hell. Like a frenzied metronome, the record syncs itself with the dynamics of unrest in order to grasp the brazen tactics that perpetuate the seemingly boundless inequalities in the world today. Klein forges this link with his own minutiae in stride, tethering the conceptual motivations to a fidgeting, personalized atmosphere of rhythmic dysphoria.Pitching agitation in this way, the record unapologetically presents itself as a soundtrack for participatory intervention, forcefully side-stepping the queues and suspended beliefs of much party-centric electronic music. Overwhelmingly focused, and overbearingly raw, 'Lowered Flaming Coffin' is a bleeding mess of grazed attempts and small triumphs in clawing back hope.

Next up on Chord Jay Shepheard drops 2 original, neatly programmed percussive deep house cuts with 2 remixes from Chord residents Dudley Strangeways and Matthew Burton.

Art pop meets Mongolian throat singing, Blade Runner meets Walter Carlos (Clockwork Orange), Tom Dissevelt and Kid Baltan (Bowie's favourite band) meet Tame Impala.

The fifth album from Marsmobil has been hailed by many as their best yet. With closer ties to Minx' (2006) than the last two albums, Fairytales Of The Supersurvivor' returns to Marsmobil's signature strength of wondrously brilliant songs ( And The Fishes In The Ocean', Shadows Of The Inner Light') that blend off-the-wall cinemascope sounds with dazzling beats and punchy, powerful hooks to create uniquely distinctive art pop anthems.
As always with Marsmobil, Roberto Di Gioia writes, plays, sings and programs everything himself. Here, as on Minx', he's brought in support from a fabulous singer - the very wonderful Amber Lin, who contributes vocals on four songs. All the cover illustrations are also by Di Gioia.

Multi-instrumentalist Roberto Di Gioia needs little introduction. The curious can explore his biography, discography and extensive lists of projects and collaborations as musician and songwriter (see below) for an impression of the hugely diverse achievements of this multi-talent and brilliant musician.
As a topical heads-up, Roberto Di Gioia is also the founder of the German jazz supergroup Web Web and released the album Oracle' in September 2017. The second Web Web album will follow in early 2018, hard on the heels of the fifth Marsmobil release. Di Gioia also wrote and produced Teufelswerk' for DJ Hell and contributed virtually all the songs on Hell's latest album, Zukunftsmusik'.

OMEN Recordings is off running to the industrial techno races againand this third release has already been gaining traction around the globe with high anticipation and support from many respected producers and DJs alike. The Puppetskin EP written and produced by German and French artists RENDERED with remixes by American producers BLACK ASTEROID and AXKAN is off to a great start. RENDERED starts off strong with the title track Puppetskin" (A1), with strong breakbeat kicks, thrashing snares and rich synth lines that are melodic and spacey. The dancefloor will surely love the Charles Manson samples. Nightmoves' (A2) also heads the pack with shuffling kicks while rich, minor-tuned pads take you on a persistent journey. About half way through, you will be moved by a 4/4 pattern that sneaks in and will be a favorite for the dancers. BLACK ASTEROID's remix of Puppetskin' (B2) does not disappoint as signature Black Asteroid textures and rhythms come alive in this rendition. Although it has rounded, full soundscapes that sound perfect for a large venue, its pumping, hypnotizing bass lines and screeching sirens keep you pulled into the darkness. AXKAN stays in the pack with his earthshattering remix of Puppetskin' (B1) by starting slow with a profound intro to then push the audio boundaries with his powerful kick and bassline, to gain more and more strength with vocal samples, distorted drums and FX. AXKAN uses every stem of the original in such a creative way to help win the race. This EP, soon to be available on vinyl and digital formats, exceeds the expectations of sound design and techno together. No matter what time of night it is, these tracks can be played in a versatile way. While still employing darker textures, a breath of light creeps its way in. Listening to this EP start to finish is definitely worthwhile.

Mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin.

Hana's first and self-titled LP was recorded in Autumn 2010 at Facta non Verba and consists out of 5 tracks which are techno oriented with disposal of experimental and abstract elements.

Reviews

OMG Vinyl
Hana s S/T LP is easily the best promo records we ve gotten in months. This Greek duo has somehow, almost entirely below the radar, released one of the most exciting electronic records of 2011. Their wobbly brand of techno sometimes chugs ahead at full-speed, other times easing back into a wider waver, almost resembling some weird, warped IDM. I will be shocked if this record doesn t get wider appreciation very soon. Whether that happens or not, we fully recommend it, track one down.

Cyclic Defrost by Oliver Laing
Granny Records duo Hana come correct with their first album, offering a refreshing take on techno and IDM variants in the vein of Jan Jelinek, Raime, Actress and hints of the mighty Chain Reaction label. Mastered at Berlin s Dubplates and Mastering by none other than Rashad Becker, a name that often appears in the run-out groove of artists who inhabit a curiously funky techno-not-techno netherworld Hana s debut self-titled release grows in stature and listening enjoyment with every spin. With a sense of fun and adventure inhabiting the grooves, Hana (who are also part of label-mates, Good Luck Mr Gorsky), explore experimental timbres and ghostly vocalisations with a lightness of touch that belies their recording credentials.

Starting off with an abstract, Clicks and Cuts style intro, Liv slowly finds the sweet spot between mutant Detroit electro funk, a hint of the indie/dance territory of Matthew Dear and the abstract, yet rhythmic 12 releases on the Beatservice label, by Norwegian duo Information from the mid 90s. Obermaier implies the groove to begin with, until a wrong-footed man-with-two-left-feet rhythm leads into minimal acidic flourishes. Album opener SM heads in a Ricardo Villalobos vs. Nonplace Urban Field direction, as the lopsided rhythm and sepulchral vocals add a haunted edge to proceedings. CR80 uses beautifully syncopated live drums and urgent female vocals, and adds a driving, belligerent synth riff falling somewhere in between DMZ and Gary Numan. Echoic, boingy sounds threaten to derail the beat, but somehow it manages to maintain, reminding me of Shed and A Made Up Sound; more in overall feel than in the specific sounds. For those that enjoy abstract electronics that work just as well on headphones as on the dance floor, Greece s Hana are a duo to watch.

Textura
Hana's self-titled debut album arrives saddled with a (literally) cheeky front cover one would more associate with a 70s band like Wild Cherry than a Greece-based techno outfit formed in Thessaloniki last summer. Recorded in fall 2010 at Facta non Verba, the five-cut release finds Good Luck Mr Gorsky members Thanasis Papadopoulos and Thanos Bantis hunkered down in their chemical lab concocting formulae to go along with their material's stripped-down techno beats. Using analogue synths, samplers, and sequencers, the duo brings a decidely experimental edge to their productions, sprinkling as they do liberal doses of burble and flutter over bass-heavy techno rhythms.
The opening track, Sm, sets the scene with a heavy low-end pulse thudding alongside a steady kick drum and joined by acidy synths and percussive effects that suggest a lighter being repeatedly flicked open. On a slightly more aggressive tip, the B-side's Cr80 adds truncated vocal yelps to its bleepy, elephantine throb. A dubby dimension emerges in the track, too, when echoing waves drift repeatedly across the huge bass that slithers across the track's underbelly. The album's most elaborate track comes last. Liv opens beatlessly with flickering shudders and what could pass for the amplified workings of an ant community but then progressively fills in the dots with an insistent beat pattern, voice fragments, and even the demented meander of accordion playing. Though Hana hardly rewrites the techno guidebook on the release, it's nevertheless a pleasurable listen, in part due to the multi-dimensional experience provided by the vinyl format and the always superb mastering work done by Rashad Becker at Berlin's Dubplates & Mastering.

Officially now a duo, Merrill Garbus is joined by long-time collaborator Nate Brenner. Their new album, 'I can feel you creep into my private life', tackles race, politics, intersectional feminism and environmental prophecies head on. In the billows of intense subject matter the album is their most immediate and upbeat yet - this is Tune-Yards' music to dance to. The follow-up to 2014's acclaimed album, 'Nikki Nack', much of 'I can feel you creep into my private life' was recorded at John Vanderslice's new Tiny Telephone studio in their hometown of Oakland, CA.
To help finish this stunning record, they enlisted mixer Mikaelin 'Blue' Bluespruce (Solange, Skepta, Kendrick Lamar) and mastered it in Harlem, NY with Dave Kutch (Jay-Z, Chance The Rapper). LP format includes poster and digital download card.

Complex melodic motifs grow and cover your brain like kudzu as swarms of insects gather to witness.

The music was composed entirely on Bana's personal Make Noise System, which is a Modular synthesizer you could learn more about here: makenoisemusic
Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve
and Matte Jacket w/ photography by Bana Haffar and layout by Sean Curtis Patrick.

We are very excited to present the new collabo release between Cosmic Compostions and Jitwam's selftitled album " ".

Born in Assam, Gauhati, in Northeast India, but currently based in New York's storied borough of Brooklyn, Jitwam spent his formative years in New Zealand and Australia, before living in monasteries in Thailand, orphanages in South Africa, and washed out apartments in London. Of everywhere and nowhere, his music draws influence from a litany of iconoclasts including, but not limited to RD Burman, Moondog, The Velvet Underground, Yayoi Kusama, Jay Electronica, Jay Dilla, Moodymann, Leon Thomas, Madlib and Asha Bhosle.

Across " (selftitled)", he utilizes knowledge acquired through years spent digging through dusty crates, and talents honed as a multi-instrumentalist, producer, and vocalist. A series of stumbling, jazz/soul-rooted beat sculptures, each buried beneath a haze of fuzzy psychedelia, broken microphone blues, and articulated through a freestyled process he describes as "first thought, best thought", " (selftitled)" solidifies Jitwam's spot as a major emerging talent.

Recalling the fourth world dreamscapes explored by oddball songwriters like Connan Mockasin, Clarence Clarity, Jai Paul, Silicon, and Unknown Mortal Orchestra, it represents a time of transition and remembrance for Jitwam, while still fulfilling the core qualities he looks for in song. In his words, "Music is a refuge. A shelter from the storm. A place you can go to close your eyes."

Since he first shared his music with IZWID Records boss Kutmah at a Brainfeeder afterparty in London, Jitwam has released through Leaving Records, Cosmic Compositions, and The Jazz Diaries (the label he co-runs with Casey Van Reyk and Nigel Mphisa). He's also written with Inkswel (BBE) and Paul White (R&S), featured on Moodymann's K7! "DJ-Kicks" compilation and been championed by Gilles Peterson, Alexander Nut, Andrew Jervis (Bandcamp), and Funkineven. Mainly mixed and mastered by Matthewdavid at Stones Throw studios in Los Angeles, " (selftitled)" will be available on vinyl and digital formats.

Matt Flanagan has been making music as DeFeKT, ESS and Tinfoil for the past few years, so who better to put out the debut release on First Cut We decided early on that there was no point in repeating his admittedly fine back catalogue, so Matt went off one evening and did a 30-minute live jam on his machines. There was no real plan, but between us, we picked the three best bits, which you now own. Then we had to come up with a name. Initially, we toyed with the idea of calling it 'FeKT' but then decided that only a local audience would appreciate the joke and that it wouldn't travel well. Octal Step then emerged as the clear favourite. We sealed the deal to release 'Toner Head' over a cup of takeaway coffee on a bench in the Stephen's Green Cente in Dublin. And why is Gunter Walraff on the other side of this sheet Well, he seems like a cool guy. Plus he's German and has a moustache - what's there not to like about that

The long established and critically acclaimed DJ-Kicks series kicks off 2017 with suitably accomplished DJ, producer, vocalist and instrumentalist Matthew Dear at the helm.A man of many musical hats, Texas born, Detroit raised Dear has a wide reaching discography that takes in face melting techno as Jabberjaw, dark avant-pop under his own name and intricate minimal as Audion.Often with a gothic slant and full of curiousness, his pensive but playful music is an intoxicating distillation of many different influences, often withhis own stylised vocals at the centre.

"there is no one else in the world.
there is no one else in sight.
they were the only ones who mattered.
they were the only ones left.
he had to be with me. she had to be with him.
i had to do this. i wanted to kill him.
i started to cry.
i turned to him."

Throughout its nearly 20­year heroic label's journey, Turbo Recordings has fulfilled its pledge to 'keep on lookin' for the music' no matter where it takes them, working with artists from cultures as diverse as Sweden, Finland, England, Spain, Scotland, Mexico, Australia, France, Argentina, Switzerland, Germany, Belgium, Italy, the United States, Israel, Denmark and Toronto. We realize that certain parts of the world are still underrepresented, and are working hard to correct this. Our Antarctic A&R guy has been asleep at the wheel for far too long, and can expect a sternly­worded e­mail any day now.All of which brings us to our newest core artist, Russia's Dimitri Veimar. We'd like to tell you we discovered him when he and his friends shot down our Eurasian Outreach Ableton Tutorial Helicopter for being 'too condescending,' but the truth is actually much simpler. Veimar is merely fluent in the universal language of floor­filling, one that transcends borders and skin­crawling descriptions alike. It is a primal tongue describing a future where all communication is elevated to an endless loop of sweat­drenched club­goers pressed tightly against the front of the stage, smiling at everything you do.

For release number 16 on De:tuned Stefan Robbers aka Terrace steps up to the plate. The veteran and well-respected Dutch producer from the city of Eindhoven unleashes four brand new techno tracks with a strong Detroit DNA for the discerning dancefloors. It's everything you'd expect from a Terrace release: a crisp and warm analogue sound with plenty of melody and groove, dubby undertones and fat chords. The icing on the cake is the optical themed artwork created by designer Openmind (aka Strictly Kev, DJ Food, Ninja Tune). As per usual Matt Colton from Alchemy Mastering reworked the source material to guarantee a flawless listening experience. This release will be available on 180 gr vinyl. A digital release will also be available from all the usual outlets. Stay tuned!

Betonkust immediately blended in with the 9300 family and it felt like we've been knowing each other for years and years. After his characteristic remix on Innershades' latest EP (AAL006), it was only a matter of time before he would deliver his own release on our label. With varied percussions, hard kicks and dark synths, the 0% swing EP brings you back to a time when Belgian highways were still lavisly flanked by discotheques and afterhours clubs. An era that counts as one of the most beatiful pages in Belgian dance history and of which Betonkust probably has more knowledge than most of our fellow-countrymen. All four tracks on this proper release produce a thrilling energy that will bring those sleepy ravers, from the 90's, back to life.

Purveyors of enigmatic dreamscapes and organic, danceable electronica, Leeds-based, electronic-soul quartet Noya Rao are set to release their debut album, Icaros, this November. Founded by producer Tom Henry (Cosima, Yellow Days) Noya Rao was originally conceived as a solo production project with a separate live band representation. Alongside bassist Jim Wiltshire and drummer Matt Davies, whom Tom had met playing in other bands within the Leeds music scene, the project grew to become a collaborative effort mixing Tom's production ideas with the attributes of Jim's unique bass synth lines and Matt's polyrhythmic beats. Their compositions drew on the influences of jazz, hip-hop and electronic music whilst incorporating the sounds of the bass-heavy-dub music synonymous with the Leeds music scene. Their sound really came into focus when they met vocalist Olivia Bhattacharjee who brought her gospel style and complex choral harmony to the band. Developing from raw, psychedelic improvisations, their sound became more defined and minimal, underpinned by live instrumentation and more structured song writing. This co-existing electronic and organic thread gives the band a strong identity and their powerful live show sets them apart from other producer-led bands. Matthew Halsall from Gondwana Records saw the band perform at an intimate show in Manchester in 2016 and blown away, signed the band on the spot.

Icaros takes the listener on a journey through the band's unique sound-world amplified by Tom Henry's bold and inventive production techniques. Sometimes fragile, sometimes raw and visceral the album opens with the ethereal Azimuth. It's contrasting sections and mysterious chords offer echoes of the band's instrumental beginnings whilst the repeated vocal harmony layers at the end demonstrate a signature feature of the new Noya Rao sound. Moments is the first tune they wrote together and reflects upon taking joy in the everyday: the opening womb-like chords are another distinct sound of the band. The gritty Golden Claw describes the effects of a manipulative heartbreaker, it's darker, more driving and has a ruder '80s flavour. Midas demonstrates the band's use of linear structural forms and complex rhythms influenced from around the globe. It tells the story of someone who, led by greed, made some regrettable decisions. The atmospheric Dreaming Part 1 and Part 2 are sumptuous dreamy soundscapes. They were born from the same epic improv-based writing sessions as Fly, which has a trippy disco vibe, offset with wonky chords and crunching vocal harmony. The hook-led I Feel points to future ventures for the band: mixing their electronic textures with a more formal song-writing approach. A sublime slice of dreamy space-jazz, Same Sun Will Rise, finds Olivia contemplating mankind's utter selfishness and a desire for change, "Over borders we've assigned, same sun will rise'. Minimal and spacious, This Time demonstrates the merging of ethereal edginess and delicate songwriting. It is this combined with their electronic and live approach and more than a hint of Leeds attitude that gives Noya Rao their unique sound.

"Those who physically suffer from dopamine depletion seek ways to experience maximized pleasure." Hong Kong's hyper-everything enfant terrible, S.Y. delivers a much darker complex Ep than his two previous offerings under a new alias, a creative therapy of sorts apparently dealing with substance abuse and unstable mental conditions which luckily for everyone translates into more leftfield dancefloor gold with the brilliantly nondescript '$ LFO' and weirdo power drive of the title track on A side, followed on the flip by a surprisingly beautiful ode to concrete music, and a deeply haunting field recording piece that closes a perfectly round EP... or does it;) Sleeve artwork by Matt Damhave

Legendary Los Hermanos member Santiago Salazar's album 'Aspirations For Young Xol' is given a vinyl release courtesy of Rekids.

A heartfelt dedication to his son Isaias, 'Aspirations for Young Xol' takes us through the life of a pillar in the electronic music community - Santiago Salazar. From his formative years spent in California to his connection with Detroit and the passing of a childhood friend, the long-player's tracks signpost the musician's significant experiences, both positive and negative. This meaningful body of work was released digitally on Pastel Voids and now Rekids release the album on wax.

'Saturated Fear' sets a deep tone for the LP, flanging melodies and echoing claps float through the composition before the album's title track 'Aspirations for Young Xol' offers haunting arpeggios with occasional acidic overtones which are cleverly offset by beautifully designed lead synth transitions. 'Bloodlines' follows a similar musical vein with delayed bass riffs that are suspended above shimmering hihats and a weighted kick.

Santiago provides three beatless pieces throughout, which digress into more emotional territory whilst offering brief respite from his heavier drum work. 'Xol's Pain' combines orchestral strings and swelling synthesisers which build tension with a subtly complex, evolving motif. Both 'Dark Matter' and 'Ode to Stinson' use arresting atmospheres, warped arpeggios and ethereal pads which lull the listener into a retrospective mood.

An intensity builds in the later tracks, a gritty but powerful low end provides a solid foundation in 'Orange Blossom Thump', eventually making way for a hectic and elastic lead synth before 'Pachuco Dub' displays drones that build a dissonant pressure in which the complex tom rhythms and rolling hi hats can grow. 'Sarah Rivera' hypnotises with its delectable chord progressions and complimentary melodies which seem to float above a rigid drum composition to close the album with style.

More rough analogue business from Switzerland, this time coming from Hot Jam with a 5 tracker signed by Matsuki, Matto & young Pantero. Exclusive Remix by Tuff City Kids. Essential

Soul Jazz Records are releasing this new 10th anniversary 2017 edition of their classic album 'Dancehall - The Rise of Jamaican Dancehall Culture'. This long-out-of-print collection is now available as a triple-vinyl edition and double CD pack.

The album is a lightning-flash collection of all-time classic and definitive dancehall classics as well as a stellar selection of more obscure tracks. Featuring Yellowman, Tenor Saw, Sister Nancy, Ini Kamoze, Chaka Demus & Pliers, Michigan & Smiley, Super Cat, Cutty Ranks, Eek-A-Mouse, Gregory Isaacs and more, this album features non-stop floor-filling party tune rockers throughout!

Dancehall is released to coincide with the new 2017 edition of the stunning 400+ photos deluxe coffee table book 'Dancehall - The Rise of Jamaican Dancehall Culture', featuring Beth Lesser's amazing Dancehall photography (also newly published by Soul Jazz Records). This book has become the definitive cultural reference book for Jamaican dancehall and features hundreds of killer photographs, extensive text and interviews with many of the artists.

'A vibrant anthology of all that mattered: the sound systems, studios, producers, singers and deejays.' The Guardian

The sound is short and dry, like a fist colliding with leather or other flesh, but the repetition and reverberation transcend such violence and lead the listener to a heightened state by the time the parade is cancelled. A point of consideration. Stick around because at least a few folks will still march and it could be a gorgeously lonely thing to witness...
This Make Noise Records release was Digitally Mastered by Shawn Hatfield at Audible Oddities
Analog Mastered and Cut by DC at PLUSH/
Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve and Matte Jacket w/ photography by Moe Espinosa and layout by Sean Curtis Patrick..

Idle Hands continues its quest to support new talent coming out of Bristol with a fresh 12" from local beatsmith Crump. Up to this point, he's been quietly slipping out razor sharp reduced house cuts on various artist releases for Extended Play and Banoffee Pies, but it's high time he had a 12" of his to truly showcase his sound.

The two tracks on this single tap into a consistent thread on Idle, fusing the minimal sensibilities of contemporary European house music with a swung, dub-weighted presence fit for soundsystem consumption in the fair city we call home. Much like previous releases from Leif, Christian Jay and Matt Karmil, this is a demonstration of stripped down music loaded with swagger.

"Ice & Spheres" pivots around an ear-snagging 2-step shuffle that cuts through any mix, but there's scores of subtlety woven in between the drums to reward the attentive listener. Snatches of vocal, distant field recordings, low-blowing synth licks and other unidentifiable sonic matter lurk quietly in the mix to cast a spell on the sleep-deprived twitcher and warm-up head-nodder alike.

Sporting a brighter disposition thanks to the sheen of its chords, "Mechanisms" provides a different vibe on the flip. The beat throws down with a rugged nod to West London broken styles while still tapping into that aforementioned continental 4/4 sensibility, injecting a refreshing variation into the densely populated minimal house landscape while maintaining the meditative qualities that keep the genre close to our hearts.

Moodoïd is a psychedelic rock band founded in 2013 by Pablo Padovani, the project's leader and mastermind. Early nicknamed the 'new prodigy of French pop music", Pablo wrote and conceived a first very peculiar, pop and psychedelic album. They notably toured with Phoenix and played with renowned musician and producer Damon Albarn. Soaked in psychedelic pop and world music, the songs written by Pablo Padovani evoke just as much Os Mutantes tropicalism, Connan Mockasin dreamy atmospheres and Gong progressive liberties. Supported by French lyrics, Moodoïd blasts genres, times and horizons. 'Reptile' EP is a natural evolution of the project towards a more modern sound, without losing its so peculiar synthetic and funky touch. The very composition of the tracks clearly indicated the need for studio musicians, in order to develop every disco/funk aspect of the record. The recording of the album happened in two times : first, Pablo set up the band and directed their recording (with experimented sound engineer Yann Arnaud), and then this 'live' matter was reworked and integrated to Pierre Rousseau more electronic production. The track 'Reptile' is a new proof of Moodoïd's sloughing. Only passion and lust have resisted the project's solitary soul Pablo Padovani's metamorphosis. Moodoïd changes skin, but skins keep on caressing. More erotic than toxic, Moodoïd's new venom progresses through funky guitar and synthetic arpeggios, with Pierre Rousseau and Pablo's producing, and David Wrench (The XX, Hot Chip, LA Priest) mixing.

To know what's up right now, we must understand what went down in history... 'Rave History': Easily one of Catz 'n Dogz most evocative, classically-informed and ferociously euphoric pieces of work to date, this is a celebration of every black wax brick laid in the foundations of dance music culture. Every hand that was ever raised in sweaty exultation. Every stranger whoever got hugged on the dancefloor for no reason but pure love for the moment. Every whistle. Every horn. Every damn time. From its quintessential break to its iconic vocal via its sizzling bass-heavy groove; 'Rave History' is the ultimate finale piece, a show-stopping opener or a wild mid-set excursion. It resonates with everything that's relevant now and everything that's ever been relevant. Loaded with pure positivity, this will complement any style of DJ set, any crowd, any age, any country. This is our DNA. For added euphoric stimuli, the Szczecin boys have also thrown in a kickless hype tool in the form of the feel-heavy Life Mix. Choral pads, cascading FX, dramatic one-strike piano notes, splashing cymbals and that almighty vocal sample that comes with one essential message every single one of us can raise our sweaty hands and hug strangers to: no matter how weird things feel in the world right now, when we're together with like-minded dancing neighbours, everything is going to be ALL RIGHT.

Alex Ferrazzi and Matteo Keemani a.k.a. Blue Mondays, longtime Laterra friends and collaborators (with releases on Sonar Kollektiv, Rebirth, Snatch!,Memento, Manocalda as well), strike again. They do it, as usual, their very own way: shades of Balearic flavours in there, but with a very dark and malicious twist. Marvin & Guy add some disco nuances (keeping it raw and obscure, though), while Nick Anthony Simoncino delivers a solid, strict, gloomy dancefloor affair. No frills, mad quality.

Collected Works 1996-2017' champions an oft overlooked aesthetic in contemporary techno, opting for radiant bliss over darkness and placing the listener in enveloping soundscapes, admirable for their sheer detail and arrangement whilst never losing sight of the dancefloor.The realisation of this project follows a 3 year period of co-writing, programming and engineering on the new UNKLE album 'The Road' part 1, which is now released. Since 1996, an accomplished career as a producer, and sound engineer has granted him releases on labels including Tresor, Delsin, Void, Archive, Rush Hour and Ferox, as well as a monthly residency at Tresor in Berlin

Matthew Puffett, the artist most commonly known as Future Beat Alliance, presents a retrospective of selected works under his most lauded moniker. The name - taken from an Afrika Bambaataa sleeve - may have been a nod to the early-80s hip hop that was his first musical love while growing up in Oxford, but the music bore the unmistakable influence of the Detroit techno that had become his obsession. 'Collected Works 1996-2017' maps an illustrious discography over two decades and will be released on the artist's own imprint - FBA Recordings. Preceding the compilation, a brand new track entitled 'Chemical Cloud' will also be released. The realisation of this project follows a 3 year period of co-writing, programming and engineering on the new UNKLE album -The Road' part 1, which is now released.

Next we have Italian duo Mattia & Marco, aka Dubfluss with this super 2 tracker, which also includes an outstanding remix by the master iO Mulen. Big support from the likes of Franco Cinelli and more.

First a »Tasse Kaffee« (cup of coffee), then »Ein altmodischer Tanz« (old-fashioned dance): On his second solo release Matthias Strzoda makes Sandy Denny's 1974 song »Like an Old Fashioned Waltz« his own and translates the moving lyrics congenial into German. Produced by Johann Scheerer and Matthias Strzoda, recorded and mixed by Johann Scheerer, Clouds Hill Recordings Hamburg. All instruments: Matthias Strzoda.

Four years since the release of their last full-length All Pigs Must Die have returned with Hostage Animal, a 10-song album that distills aggressive music to its purest tenets.

The band, now a 5-piece with the addition of Brian Izzi (Trap Them) on guitar, is comprised of some of the most well-seasoned musicians on the eastern seaboard —Kevin Baker (The Hope Conspiracy), Ben Koller (Converge), Matt Woods, and Adam Wentworth (both of Bloodhorse). 

 Hostage Animal is their most dynamic collection of work thus far and the album's first single, 'A Caustic Vision,' is an aural representation of the record as a whole; concise, intense, aggressive and carrying a bleak world view.

APMD unleashed their first full length in 2011 with God Is War, and the 30-minute rip was a nod to primeval disdain and anger. Exploring facets of human conflict one track at a time, God Is War introduced the world to a whole new spectrum of rage.

In 2013, APMD upped the ante with Nothing Violates This Nature. Honing their craft with more speed and filth, APMD pushed their sound closer to the edge of the cliff. Now, in 2017, the band is gearing up for the release of Hostage Animal which, like its predecessors, was recorded at Kurt Ballou's GodCity Studio. But that is where the similarities end; Hostage Animal ushers in 10 new songs that pulverize, gnash, and whirl with the band's most punishing delivery yet.

Hostage Animal showcases that All Pigs Must Die are far more than the sum of their parts, and their fusion of crust punk, hard core and metal is more ferocious than ever before.

With The Object Isn't There UK guitar player and producer Jack Allett has made a deeply personal masterpiece based around cyclical guitar parts and electronic percussion. Playing like a half remembered fever dream with an aesthetic that is ragged, hypnotic and spacey, its two side-long pieces touch on minimalism, kraut-infused dub and euphoric dance floor optimism. As comfortable being played after Manuel Göttschings E2-E4 as right before a Terekke lo-fi house anthem, it is laced with the melancholy of an early morning post-rave comedown. Yet for all the references and name-checking, it's a record that is hard to compare to anything else, past or present.



BIOGRAPHY



Jack Allett works as a producer in London and has been active for many years as an experimental guitar player, releasing a solo record on Blackest Rainbow and collaborating with UK avant-guitar player Cam Deas. The Object Isn't There was written, recorded, and mixed in Camberwell and Camden, London, UK. 2012-2016.



INFO



This record is about - insofar as instrumental music need be about anything - hallucinations. The title The Object Isn't There serves as a concise definition, derived from the quote 'An hallucination is a strictly sensational form of consciousness, as good and true a sensation as if there were a real object there. The object happens to be not there, that is all.' (William James, The Principles Of Psychology, 1890)



Having experienced constant tinnitus - a form of auditory hallucination - for the last 13 years, Jack has long questioned the distinction of something experienced as being either there or not-there. Even if, strictly speaking, an hallucination is something that's not there, if the reality of how it affects day-to-day existence is undeniable then to any extent that matters, it is there. But The Object Isn't There is no tale of woe, nor simply a response to this one condition, and tinnitus need not be considered only as distressing or distracting. Allett sees it merely as one example of many things in life that cross this uncertain terrain:



There are obvious parallels here with the notion of active listening. There is room for emotion too, particularly the kind of overwhelming, -all-consuming emotion that, once it fades, is hard to believe was actually how you felt. Essentially the music here is concerned with being overwhelmed by a sensation, never really being sure to what extent you are conjuring it up yourself, to what extent it exists independently of you, but ultimately deciding that it doesn't much matter; the sensation itself was undeniable.

— Jack Allett

A swirling haze with a plenitude of sounds bobbing to it's surface it's a heartfelt

Formed in Washington, D.C. in January of 2014, the EFFECTS are Devin Ocampo, Matthew Dowling, and David Rich.

A multi-instrumentalist, Ocampo is a former member of the bands Faraquet, Medications, Smart Went Crazy, and Deathfix, all of whom released music on Dischord. He has also toured and recorded with Mary Timony, Beauty Pill, and J. Robbins.

Dowling was the bassist and co-leader of Deleted Scenes, while Rich was the drummer in the instrumental group, Buildings. Both released music on the experimental-minded (and now defunct) local record label, Sock- ets. Devin met both Matt and David years before and while there had been talk of a possible collaboration everyone had their own projects at the time. However, by 2014 all were between bands and it finally made sense to get together and start something new.

For the trio, playing together was a nice change in routine. It was a new configuration of musicians, rather than a recombination of old friends and former bandmates, which happens regularly in the close-knit music scene of Washington D.C. Matt and David offered a fresh perspective and (possibly) gave the Devin a nudge out of his comfort zone.

Since then, the EFFECTS have performed sporadically throughout the East Coast and digitally released four two-song singles. Their full-length debut, Eyes to the Light, will be out this fall on Dischord.

Infused with minty flavours this next blend brings raw grooves, warm baselines and uplifting melodies. Crafted with love they make the perfect accompaniment to twilight settings, tracks supplied from Mattiik (UK), Slim Steve (Italy), DOS (Austria) and James Henry (UK).

"Berlin based Cocktail d'Amore Music and Ene Tokyo join forces for Greenvision's debut - The Italo-American duo formed by Trent and Juan Ramos. pENE d'Amore Pt.1 is the name of their first 12 inch. This is one of those records that makes you start questioning matters of genre and music construction. Sit back, press play and enjoy this ultra-cosmic adventure. The different rhythm patterns included in Surdinia melt organically with the acid lines, the high UFO whistles and spaceship-like sound effects, exploding into an unexpected and comfortable piano house line, solving the puzzle and leaving you thirsty for more. Meccanica is a slow tempo gem, It combines elements of industrial and Balearic with a touch of submarine-like soundscapes. Ramos and Trent's music-making philosophy is as special as unique. The multitude of elements that compose each track has its own life cycle, its own ecosystem.