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The ''Scheme EP'' proves Jenifa Mayanja as a serious artist unafraid of mixing genres, Detroit deephouse with traces of jazz. Melodic techno balancing comfortably between deep house, future jazz and downtempo, making this record extremely interesting for various musical spaces

Baroque Sunburst co-founder and Honest Jon’s team member, Big Hands displays his potent production prowess on the next Oscilla Sound release with three tracks touching on organic soundscapes, illbience and muddy bass oddities. In the old city of Lakamha ancient tombs stand tall and ruined, woven with moss. Birds as old as time beat their wings over tropical forests; their cries bouncing off wet rock lassoed with carvings of Mayan symbols. ‘1346’ begins with stirring synths and dub-echoing, low frequencies encompassing both spatiality and aberration before the heads-down atmospheric roller ‘Calix’s Head’ lays down sharp, acid flutters and ghostly ripples. ‘Louis H theme’ is an ode to the radical minimalist composer Moondog (Louis Thomas Hardin), whose experiments with polyrhythms continue to influence numerous generations of musicians. The track features swampy bass that balances weightlessly with the hypnotic sonics and breezy rhythms.

Favorite Recordings presents an exclusive reissue of the first private press eponymous LP by Sacbé, a Mexican Jazz Fusion masterpiece from 1977. Unique and beautifully recorded, with a breezy feel brought by the synthesizers, Sacbé could be likened to what Azymuth was doing at the same time in Brazil. Available as a vinyl-only limited pressing Deluxe Tip-On LP, coming with its original printed innersleeve, remastered by The Carvery.

Sacbé was composed of Eugenio (keyboards), Enrique (electric bass) & Fernando Toussaint (drums), three brothers hailing from the huge Mexico city, and their friend and sax player Alejandro Campos. Growing up in a family of musicians, they quickly became familiar with jazz music. However they were mostly self-taught, most of them choosing at first to work and study outside the music industry, but somehow, Eugenio had the opportunity to start studies at the Berklee Music University. Before leaving, he deeply wanted to play jazz with his brothers. That’s how Sacbé was created on a hot day of October 1976.

The band then built step by step a challenging repertoire including Chick Corea, Herbie Hancock, Weather Report, Milton Nascimento, Focus, Passport, and many more… Gradually, Eugenio started to compose more tracks, and through a cooperative work of arrangement, Sacbé ended up playing only their own compositions. That was not an easy choice for the band, resulting in a lot fewer opportunities to play in bars and clubs at night, while they were cumulating small jobs during the daytime. But their dedication, tightness, and integrity started to attract a wider audience thanks to their sessions at the Musicafé and helped Sacbé to assert its imprint within Mexico’s creative artistic circles. A group of artists with similar attitudes was created and they began working almost as a team, holding live shows, exhibitions, and dance performances, all with a very unique and creative proposal. It’s at this period that the band met Luis Gil, a young designer and recording engineer, who had access to one of the best studios of the city called LAGAB. Recording at nights and weekends for free, the Toussaint brothers had, therefore, the chance to really put their band quite literally under the microscope.

With tenacity, they explored all the possibilities of interpretations, structures and improvisations, collaborating with great musicians and finding themselves in the position of being their own producers, despite being only around 20 years old! This album is the result of this perfectionism ethics, shared by everyone involved. “Sacbé” means white road in the Mayan culture, it was the name for the roads connecting the main ceremonial centres with the jungle, made of roughly three feet of coral limestone. They were sacred roads used by high priests and warriors, which echoed the musical path of the three brothers. Putting the pieces together, they managed to create their own label and pressed 1000 copies of their reunited recordings in 1977. The artwork was painted by Enrique, inspired by the work of Le Douanier Rousseau and the Mayan jungle. Hopefully, the LP met some success in Mexico and California, opening many radio and TV doors for them. It was the starting point for a whole career of recordings, with a total of seven albums including various guests.

One year after the landing of his long-awaited eponymous debut album, French producer Zimmer is back with a massive remix package to make the pleasure last, and he’s certainly put on a great spread for the occasion.

Up on duty for this second round of synth-splattered, stargazing goodies, we find none other than Herr Gerd Janson in the saddle for a pair of ‘short' and ‘extended’ dance versions, expert vibist Lauer, Mexican outfit Zombies In Miami, US-based producer Amtrac, with French clique homeboys Kendal and You Man completing the set.

All synths blazing, Gerd Janson gets the ball rolling with a pair of prismatic reworks of ‘Rey’, tailored to take the dancers on a wildly fun and light-hearted space jaunt. No need for an intro, the ’short edit’ goes straight for the audio G-spot and takes no byway to get its point across - pure mellifluous, horizon-widening dancefloor carefreeness on the menu.

Don’t get too easily distracted by its title, the ‘extended version’ is no basement creeper but rather an enhanced summer-flavoured earworm that lays further emphasis on the drums and bass for optimal peak time functionality.

French duo You Man pick up the torch with an equally sturdy and emotional reshape of ‘Wildflowers (ft. Panama)’, nicely contrasting Panama’s suave vocals with thoroughly funk-oozing bass arpeggios that’ll melt any sweatbox down to the ground.

In comes Lauer’s reinterpretation of ‘Mouvement’ - a dynamic late-afternoon weapon meshing the hectic bounce of cascading synths and incendiary bass, hazed-out poolside vibes and pop-indebted melodic motifs. The result is a fast-paced heater primed for extended use from sunset to sunrise with vibrant variations in shades throughout.


A true solar-powered, mystique-imbued affair, Zombies In Miami’s take on ‘Mayans’ propels us in a fascinating continuum of pulsating rhythms, hyper-modern textures and smouldering ritualistic vibrations.

Adding his spin to ’Techno Disco’, rising talent Kendal shoots his shots with deadeye accuracy, luring you into a junglistic intro to better surprise you with his usual tsunami- like deluge of serpentine keyboard chords and epic buildups.

Topping off this variegated sonic journey, Amtrac takes us on a soul-healing trip with his revisit of ‘Make It Happen’ - laying down a particularly tasty downtempo pop jam for you to chill and dream yourself to sleep with, fully enlarged with his trademark streamlined, balmy signature.

Alinka makes an eagerly anticipated return to Crosstown Rebels with the outstanding Control Transmission, her last appearance on the label featuring in 2016 collaborating with Shaun J. Wright. This solo release demonstrates her versatile sound that is inspired by her experience in scenes across the world.

Control Transmission begins with robust 909 drums as the claps resound with force. The bass, a razor-sharp, distorted and filtered charge is introduced commanding attention, further electro inspired samples and effects are layered in this powerful track. Day Zero captures the spirit of the Mayan jungles, with synth that propels with energy, ebbing and flowing with mystical chords that give a nod to the famous festival spearheaded by Damian Lazarus.

Born in Kiev, Alinka has a unique power on the decks and in the studio, influenced by the city of Chicago, with toes tipped in Detroit techno and Europe’s key cities. Immigrating to Chicago with her family as a child she immersed herself in the scene, digging for records and becoming resident for Justin Long’s Dotbleep party at Smartbar. In 2012 an impromptu meeting with former Hercules and Love Affair vocalist Shaun J. Wright changed her life. The pair launched their Twirl parties and label whilst continuing to evolve their collaboration.

The result has been an impressive catalogue of material from, with music featured on Jackathon Jams, Crosstown Rebels, Leftroom, The Classic Music Company and of course Twirl. Now living in Berlin, Alinka has used this base to play at parties across Europe including the likes Panorama Bar and Circo Loco, whilst regularly returning to the US to play for promoters such as Ladyfag. 2020 will she Alinka’s evolution continue, with a packed schedule of releases and her newly launched label Fantasy Life.

Whether offering up dreamy, hypnotic deep house tracks or soft downbeats, Jenifa Mayanja's work has always tended towards the melancholic fields and cinematic soundscapes. Jenifa sets the bar always high, also in terms of quality and depth. She again delivers 5 extraordinary tracks, a mixture of elongated chords, playful smooth melodies and synth games, gentle new age jazz keys, all what your open minded heart can welcome. The mini album also contains a space ambient with pensive synth lines remix by Allstarr Motomusic.

Following the release of his debut album, ‘sketches of transition’, UK house devotee Seb Wildblood has curated a brand new collection of remixes, inviting a cast of artists to reimagine tracks from the LP - featuring contributions from Suzanne Kraft, object blue, Ciel and Jenifa Mayanja. Running Back and ESP Institute affiliate Suzanne Kraft opens into the collection, offering a typically atmospheric, Italo-inspired take on sombre pop cut ‘amelia’.

Breakthrough experimental club producer and DJ, object blue, warps the easy-going pace set out in ‘sketches’, drawing focus to its woozy mood with muffled vocals and disjointed percussive hits. Swirling synths and a rich ambient tapestry make for an intoxicating rework.

On the B-side, Bumako Recordings boss Jenifa Mayanja puts a percussive deep house spin on the technicolor minimalism of ‘small talk’. A live bass groove pops beneath the track’s swaying synth beds and melodic chimes, making for the most “classic” dancefloor take of the bunch.

Discwoman affiliate and DJ/producer extraordinaire, Ciel, bathes ‘bahn’ in fluttering psychedelic percussion. Invoking the likes of Orbital, Boards of Canada and The Black Dog, with an emotional candour shining through the foggy atmosphere.

Hot off the heels of Aluxes, his 2018 Lumière Noire debut EP, young Mexican DJ/producer Iñigo
Vontier is inviting Chloé's label on a trip to the far corners of the body & mind with an album of
demented grooves, psychedelic take-offs and imaginary comic strips of mystical rituals. A
bewitching debut full-length. Mexicans may never possess the sonic science of the Germans,
the hedonistic madness of the English or the gift for synthesis of the French, but, as proven by
Iñigo Vontier's first full-length for Lumière Noire, their universe is much more exciting than
anyone would have ever thought.
The DJ/producer fully asserts his origins by brandishing the album’s title "El Hijo del Maiz" ("the
son of the corn") almost as an emblem: "in Mexico, corn is eaten daily. It has long been defined
as 'the gold of America', and I consider all Mexicans as children of corn". A spiritual and
embodied vision Iñigo's first Lumière Noire release, the four-track Aluxes, set the tone of the
young talent's distinctive interpretation of dark disco, which creeps up on the dancefloor from its
iconoclastic side. The two tracks and two remixes (one by Flügel, the other by Inigo himself)
featured on the 12" for lead single "Xu Xu" (featuring Red Axes-affiliate Xen's irrelevant vocals)
was a full-bodied confirmation that Vontier sees the dancefloor as an arena for the occult –
whether from the peoples of the equatorial jungle, the Middle East or, even from indocile
machines. But, while the spiritual element seems part and parcel of the Jalisco native’s output, it
is in no way the only ingredient of this first long-player: "this album best reflects my own vision
and spirituality, and the way I feel it" he says.
Whether contemplative or frenetic, the collection of tracks that make up “El Hijo Del Maiz” takes
the kitchen sink and throws it out the window: languid rhythms, haunted vocals, and mysterious
percussion fuel a discombobulated house set that scrambles the listener's five senses, leaving
one disoriented and exposed to the vagaries of vertigo. Following the demented, dystopian “Xu
Xu” EP, which explored an imaginary jungle that harbored Mayan and Egyptian pyramids,
Middle Eastern accents are once more present in the off-kilter “Bo Ni Ke” and its Japaneseinfluenced vocal trickery, which Moroccan flutes à la Jajouka transform into a feverish trance.
With the following three tracks, Iñigo Vontier raises himself to the same level of excellence as
the Pachanga duo (of which pride of the Mexican scene Rebolledo, is also known as a prolific
artisan of deconstruction): “Awaken”'s slumbering voice, heard as through the veil of hypnosis,
slowly introduces a techno beat which, as in follow-up “Time”, literally brings the listener to a
levitative state. In a housier vein, yet continuing in the same psychedelic, 90s-infused spirit,
“Don’t Go Back” disrupts the genre’s usual signatures with an out-of-tune keyboard that is
becoming the artist's trademark, destabilizing the listener into a drunken vertigo, with a good
helping of sexiness: "I think the sexy dimension definitely brings a kind of magic to music," says
Vontier. “I'm sure I felt this magic during my DJ sets, and I like to think that sorcerers use this
element in their practices. I might consider myself a bit of a sorcerer when I take over the DJ
booth, by the way." A mood and sound that can once again be found – in a quieter, more
bucolic version – on “Chiquitita” (feat. the flute stylings of pioneer DJ Rocca, now a partner of
cosmic disco legend Daniele Baldelli). The more cinematic, fast-paced and dreamy beat of the
no less captivating “Little Monster” might evoke the mischievous spirit of the Mayas' minor
mythological creatures, while ode to the magical herb Marijuana (feat Thomass Jackson)
proudly tramples into the debate that such a provocative title inevitably provokes: "psychedelic
drugs are powerful tools to reach a higher level of consciousness about what surrounds us, but
we must learn how to complete this psychic journey by ourselves, notably through meditation
and love.
In the end, El Hijo del Maiz is an album-length confirmation of Iñigo Vontier's uniqueness, and
his adherence to Lumière Noire's policy of letting artists fully express their vision – while letting
their passions guide their idiosyncrasies and explorations of innovative electronic signatures

Friend and supporter of the Bass Cadet team, Jenifa Mayanja steps up for the new chapter of the Orbits series. She offers three very personal tracks, carefully crafted, evolving in their own space-time, showcasing a crossbound vision of deepness and soulfulness. Partner in life, DJ Jus-Ed is also here on the remix duty. This release definitely wraps up a family affair about good vibes !

The Bunker New York is excited to be releasing LDY OSC's powerful debut EP 'Magic² of 8' which takes inspiration from Liaisons Dangereuses as much as it does from Sähkö Recordings and Mayan Cosmology.

The inaugural release on enigmatic conceptual artist and Freerotation regular Aboutface's new label Coordinates- a limited physical release series exclusively showcasing his music and original art, depicting conceptual themes and exploring the aural terrain of two sets of location coordinates around the world. Coordinates #1 explores ultra-sonic bat recordings from Lincolnshire, England, and ancient mayan culture from the Chiapas region, Mexico.

Sound Warrior Records founded by Jenifa Mayanja & Dakini 9 aims to balance the playing field for female producers and exclusively release their music. SW006 "Warrior Formulation" is rooted in soul-stirring house with its heart arching towards the future. Lady Fingers returns with an engrossing slice of dub house. The North Carolina artist/DJ was recently a featured DJ at Moog Fest. Jenifa Mayanja Bumako records, shows up with a broken ambient house break. On the flip side Sound warrior teams with well known Berlin underground heroines "Mint Berlin" the female only booking agency. Representing Mint Berlin is co-founder Ena Lind who has been pushing boundaries in the electronic music scene in Berlin for over a decade. Lady Blacktronika comes with a soul house soaker. She has made quite a splash with her labels Sound Black and Sound Keymstry in the process earning the title "first lady of beatdown".

After dropping their first various, Figures, Slowciety is about to release Guru, Sunrom's next EP. The artist has already worked with prestigious labels like Kompakt, Ancient Future Now and The Bricks. The EP lays down four organic tracks for a blend of deep house, world music and techno. The title track sounds like a ride on acid and is followed by Quirigua, a rich track conjuring transcendent Mayan rituals. The B side opens with Elephant's deep muffled kicks and takes off with Utopia's elegant arpeggiator for a final flight. This strange and personal EP will cast a spell on the dance floor.

There has been much speculation about the significance of the Mayan system of timekeeping. Many researchers on the subject have verified that the Mayan long count calendar, which is only one of several advanced timekeeping tools devised by the Mayan people, comes to an end on December 21, 2012, with no real clear explanation as to what exactly that signifies. Some have speculated that it was meant to point to a cataclysmic event that would end the world as we previously knew it, while others have hypothesized it to indicate some worldwide shift in consciousness around that time. This musical offering is not meant to speculate on the meaning of this date. Instead, it serves as a tribute to one of the most astronomically, mathematically and architecturally advanced civilizations in the history of planet Earth. Each track is a tribute to one of the many Mayan spiritual sites known to date. While only four of these temples are acknowledged in this recording, many others have been rediscovered and more are yet to be found.