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After their Butterfunk EP from last year, Fouk are back again with their new offering 'Mating Call EP'.
As the name suggests, this three track EP is made for the hot & heavy moments while dancing away, during those infinite summer days. The title track 'Mating Call' is a funky beast, driven by a very infectious bassline and live instrumentation, edging the line between disco and house, as has we have come to expect from the duo. The next track on the flip furthers the fact that this release is all about the groove. Housey vibes with a classic hint, Rhodes floating on a solid rolling funk bass. 'Just Feel Good' Yup! Finally we come to 'Down Below'.
You might wonder "what's down below". Well, there you can find a dreamy thumper, driven by the compact kick, repeating drone and deep bassline, while the synth pads in the middle tie it all together.

Superb techno release for Dune records... With a long side from AcidUpDub, a minimal acid techno device, kind of a stable mental phase lost in the middle of the night.... After party style is possible too. Tribal. Second side brings 2 new commers for me. 909 Resistance for the beginning, with a hangar techno 909 acid device... Could have been an Old Tresor production. The EP finishes on something more experimental and inductrial, very downtempo from Geotropism, my fave tune here for its weirdness.. but really hard to play in a party ^^ ahahah:) A Great great production, once again big sound from Shane The Cutter. BIG UP !

Neddix from XIT sound system delivers his "Welcome To My Underground" famous track : exciting sub bass for a massive growing hard techno release...
On the flip you'll get my fave track of this record, a very Pumpin Hard tehcno tunes, totally in the state of mind of Famous Peur Bleue 04 from FKY.
The finish is a UFO... a techno acid tune with a long Dubstep-like break in the middle of the tune, making of this tune a melt between electro techno, hard techno and acid core track.
The plate is bluie and the visual by vstee is a twirling hypnotic 3D effect when you play the tunes :)
Big one !

Cause we love Vinyl..... Here is the first Vinyl from the Label JACKFRUIT RECORDINGS, a new label founded in 2017. Label Owner is the Berlin based Artist, DOMPE, known for good arranged House Sounds. He releases a lot, a real creative mind. Four handmade tracks can be found on the Vinyl. THE JOKER: Do you need a Joker Deep and warm Techhouse-Bassline So who is you favourite Buffoon now Risky grinning attitudes sounds you have to hear loud. After that bomb it's time for an new experience: It's time to Boogie. 1,2,3,4 what are you waiting for Move your Body to the Groove. CRY: snappy sounds, a necessary amount of percussions and a beat that makes you teeter along. FREE BIRD: Here are some very new House Beats for you! It is really time for some spring feelings, so the sounds go fresher! And it feels like hearing the bird singing, sitting in the sun meanwhile. Real Groove comes through your Speakers - turn is loud! Percussions make you hooo. So shake your body once again and dance until the spring is coming. JACK BROWN: Hey Sweetheart you are such a hot fruity! Another brilliant cooperation between AGENT! and DOMPE and as it is common: never change a winning team! These both guys living in Berlin are not only Friends; they got a perfect match with their sounds and ideas. Soundaholics with playful whims in their heads. There is a rumour that JACK BROWN gives his Name to JACK FRUIT. Not really just kidding. JACK BROWN makes you dance, drags u to the middle of the floor. Charming Bassline, Vocal and a direct urge for snipping your fingers.

Truly nuts and really kind of essential... the Starship Commander had his whole approach to the Synthesiser Voice technique. B-Boys/Girls delight. Check the instrumental cut, Mastership - a head nod synth voyage of the highest order. Limited copies. TIP!
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'How are you doing, Earthling' That's how Omer Coleman, Jr. addressed his public in the 80s, driving around Kansas City, Missouri in the electric space-car built especially for his alter ego Starship Commander Wooooo Wooooo.

Left Ear Records went back to Coleman's original master tapes for their vinyl reissue of the Commander's 1981 private press album Mastership, a lost electronic funk classic. Coleman performs in an alien voice that comes not from electronic filtering but from his own natural vocal distortions. This visitor from Mars wants people to be happy and, like his song goes, 'Laugh and Dance.' It's an endearing and very personal space-age funk that blends George Clinton and Kraftwerk in a vision of a better and happier world.

Born and raised in Kansas City, Coleman was musically inclined from an early age. His parents couldn't afford to buy him a real drum for orchestra, so he took up electrical wiring and wood shop instead, which fed his muse in a different direction. Omer built enormous speaker cabinets. In the late '70s he was a DJ, and ran a Mobile Disco business that took him across the country, hosting parties. After a trip to California, he came back to Kansas City inspired to dress up as Commander Wooooo Wooooo.

The future commander began working at the Armco Steel Mill in Kansas City when he was 18. He was inspired by older machinists who demanded perfection in their work and in their character. It was while he was working at the steel mill that Coleman came up with Starship Commander Wooooo Wooooo. One day coworker John Manley came up to Coleman with a vision of an electric car, and built it. His coworkers built all of his equipment, from lighting and fog machines to big steel eyeglasses. Coleman's sister, a seamstress, created his outfits.

Coleman started his own label in 1985 but took some time off from music to raise his children, and when they came of age his son recorded with Coleman as a gospel vocalist. When his son was killed in an auto accident in 2004, it took something out of him, and he stopped making music. But he's starting to get the feeling again.

Now 62, he's currently enjoying his retirement from a long stint with the IRS. The former Commander is in the middle of a house project where he's using metal ceiling tiles to line his walls. It's starting to look like a spaceship. Coleman promises, 'There is a real good possibility that we have not seen the last of Starship Commander Wooooo Wooooo!
Pat Padua'

Coco finally available on double vinyl for the first time. With his unmistakable sound-mix of Jazzand Swing samples and electronic music, Parov Stelar has secured his own unique position in the world of music.

The double vinyl starts off where his former successful LP's ended. On the other hand he is consequently developing his established jazzy sound, by adding new stylistic elements to his tunes. Also his dancefloor-productions, which

have been published only as singles, now find a debut to a greater extent on this album. They meet with Stelar's melancholic-melodious trademark-sound, which is well known from his earlier albums, but now also spiced up with Hip-

Hop beats and synthpads. An electrifying album to fall for. The two vinyls are originally thought of as one with tracks that can be danced to and one with tracks just for listening. Nevertheless the line between those two approaches becomes blurred in Parov Stelar's newer compositions. The

album makes your feet tap more and more with every track. The musician himself sees the LP as a 'book for musical readers' which is classically defined in introduction, middle part and end. Because of streaming hit singles the

consumer behaviour changed, people don't listen to albums the same way they used to. The whole experience that includes refelecting on less prominent tracks somehow got lost. Parov Stelar sets 'Coco' as a statement against this habit.

Although better known for his euphoric uptempo European disco edit style across labels such as Public Possession, Ostra Discos and most recently Bahnsteig23, here the Melbourne based collector and DJ steps away from the dancefloor and presents two slower paced and (dare we say) more mature, sample-based efforts on this double-A side limited edition 7''Temple' continues the Middle Eastern influence Hysteric has been working on since several years, with a dark and hypnotic Egyptian melody accompanied by tough drum programming.'Tranquil' is a peaceful and melancholy arrangement based around an oriental melody to float away on. Recommended listening for your next visit to the local opium den.

Faze Mag 9/10 review

* The Strike Team EP is the second in the trilogy of releases introducing the world to the sound of the STRIPPER.
The title track is a rare hybrid of modern day production and timeless influences transformed through the prism of 1990's hardcore, jungle, and broken beat. You and your favorite DJ like to close your sets with classic jungle tracks Well, the STRIPPER is here with a monster for the middle of your set, pacing at a cool 128 BPM. Following it is the hidden gem of the record, Culture Vulture: an impossible to pinpoint breakbeat laced melodic odyssey. Similar to "Consciousness Proliferation" (Back 2 93 Mix) from SLEEVE-01, Culture Vulture takes you on a journey inspired by the irresistible grit and beauty of the early 1990's sound from the city of Coventry and producers like Skanna and Essence of Aura. Flipping the record to Side 2, the STRIPPER gives you an absolute burner of a techno track intended for the heaviest and sweatiest of social settings. The atmospheric pads are pointing to the producer's undeniable rave influences and love for illegal parties around the world. The final track of the record is the STRIPPER tying back the European influences with his unquestionable debt to the American Midwest: melodic, deep, and irresistible.

Vinyl edition of Stars of the Lid 2nd album in print for the first time in over 20 years.

The release of Music for Nitrous Oxide, the 1995 debut album by Stars of the Lid, heralded a new strain of the american underground music scene, one borne of the heat and humidity, boredom, and the insular, constipated, rockist music scene of Austin, Texas, the home of the duo of Brian McBride and Adam Wiltzie. It was a muffled lashing out against surrounding musical conventions, a small middle finger to the local dominant americana' scene, but one that nobody could see outside the shack of a house in which they recorded or at their occasional sparsely populated live performances. It was as punk a move as anyone could make at that place and in that time. But in a surprise to the two members of SotL, people took notice, as related rumblings and grumblings were taking place simultaneously in other parts of the american landscape.
Coming quickly on the heels of that release was our current subject, Gravitational Pull vs. the Desire for an Aquatic Life, released one year later. This is a transitional release that travels from the scruffiness of the debut's ambiance to more extended and subtle undulating tides of assembled sound, yet still dominated by processed guitars as the primary sound source. It also serves as an omen to the mini-orchestral works to come beginning with the Avec Laudenum album a few years later. Gravitational Pull... is a small masterpiece.

The 12' you're about to read a few lines about is a laconic introduction to the music of an elusive new musician on Antinote. Biographical details about him would probably not help comprehend his music and might even seem slightly contradictory with the music itself, as Reigi / Haipa has been produced in Reims - at least, it would have been much more accommodating if the capital of Champagne was located somewhere in-between Sheffield and London...
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Indeed, at first listen, Slowglide's music seems deeply rooted in a very British history of dance music. Reigi, on the A-side, unfolds a cavernous syncopated kick on which relies a compressed, flangered, smart but somehow handcrafted sound with an extra Kraftwerkian treatment (the obsessive robotic arigato gozaimasu' and the pocket calculator' bleeping melodic line), enlightened by discreet synth waves appearing in the middle of the track.

Haipa, the atmospheric B-side, is an even stronger throwback to a time when Intelligent Dance Music was ruling over electronic music, the likes of Aphex Twin and his fellow Warp-affiliates were about to be crowned kings and Ghost In The Shell was establishing itself as one of the most culturally significant pictures of the late past century.

Slowglide's music is not backward-looking, though. There's something that relevantly resonates with today's diffracted musical landscape, as the French producer gathers and updates bits and pieces from a thirty-andsomething yearlong history of electronic dance music. The result is probably Bass Music', something that one might have been tempted to describe as the future of Dance Music' a few decades ago - to quote these prophetic words written many times. It's probably not, but these two songs are certainly fresh and futuristic.

Gitkin sold guitars. To be precise, he re-branded, sold and traded knock-off Gibsons. A lone, travelling salesman, he toted his counterfeit wares to guitar stores and music emporiums. His trade took him to most corners of the USA, passing through big, smoggy cities and nowheresville small towns. His nights were spent at not-so-salubrious motels. It was at those nocturnal stop-offs that he'd often cross paths with newcomers to the States. His fellow travellers were mostly immigrants, newly-arrived, from places like Ethiopia, Mexico, Indonesia.

Or at least, that's the story as Brian J Gitkin has been able to piece it together. This album, '5 Star Motel', is by a different Gitkin, an ode to the one described above. Or to put it another way, this is the younger Gitkin's homage to his elder relative: the elusive, guitar salesman uncle he never met. A steady drip of anecdotes have construed an image of his relation's itinerant, huckster lifestyle. Finding a cassette of his recordings, it spoke of the effect of those encounters: lo-fi and scratchy, the music leaped seamlessly, in difficult to discern ways, between different far-flung styles.

On '5 Star Motel', that younger Gitkin (henceforth referred to simply as Gitkin) has sought to expand the philosophy he encountered on that tape. The guitar is common thread, the raft to navigate a sun-dappled stream of ideas. It's an embrace of cultures where folkloric stringed instruments still rule, or where they've led to a more recent embrace of the electric guitar. He traces the loose, meandering paths which join them together.

It's about America, the world outside its borders, and the inscrutable, inevitable dialogue that exists between them. Take 'Cancion Del Rey', where the sound of Peruvian chicha - steady-moving, alluring, and lyrical - winds its way through Gitkin's fuzz-filtered licks, and the rhythm underpinning it. Or 'Yama', where Middle Eastern influences echo out of grooving, cyclical riffs. Touching on the distinctive tones of Tuareg music and the Sahara, too, 'Grand Street Feast' charts a sand-dusted, melodic misadventure.

The early 2000s were a time of upheaval for hip-hop. The underground and mainstream divide that had dened so much of the previous decade was showing the rst signs of irrelevance. Timbaland and The Neptunes made radio rappers sound futuristic while independent artists struggled in a quagmire of backpacks and misguided claims to keep it real. Away from this, in a misunderstood middle ground between hip-hop and electronic music, a new generation of artists were busy imagining a new sound for hip-hop.

One such artist was Scott Prefuse 73' Herren, whose perpendicular MPC chops on his 2001 debut for Warp Records set curious minds racing with possibilities. That same year Tadd Mullinix released his debut as Dabrye on Ghostly International, a sonic wildstyle that appealed to both hip-hop heads and IDM nerds. Sometime that same year Herren and Mullinix met after sharing a bill in Detroit. CD-Rs were exchanged and a year later Eastern Development, Herren's newly launched label, released Dabrye's Instrmntl, a short album with a big impact. On its fteenth anniversary Ghostly International is reissuing Instrmtl on vinyl and making it available digitally for the rst time.

Instrmntl is a continuation of the beat experiments Dabrye began with One/Three and a bridge to the diverse textures that would dene Two/Three four years later. About half of its nine tracks (ten if you lived in Japan) were created at the same time as One/Three while the rest were newer or made specically for the album. Once again Mullinix looked outside of hip-hop to techno, house, and drum & bass for stylistic and technical ideas while embracing the blissful minimalism of a good hip-hop instrumental and the rhythmic nuance of Detroit.

Despite the similarities between Dabrye's debut and this follow up, Mullinix didn't simply replicate what had made One/Three so arresting. He pushed and pulled further between the two cornerstones of his approach to reveal more potentials. Instrmntl takes you deeper into electronic depths — the rugged synth stutter of 'Won', the tumbling, wobbling bass in 'No Child Of God', the electro get down of 'Prospects (Marshall Law)' — while also treading more organic grounds by letting samples breathe and moods unfurl at a gentler pace ('Take Me Home', 'Evelyn', and 'You Know The Formula Right'). And then there are the moments where this push and pull nds balance and the result becomes more, as it does on the mournful march of 'D-Town Tabernacle Choir' and the twinkling daydream of 'This Is Where I Came In'.

At just over 30 minutes, Instrmntl offers a snapshot of a time when potentials seemed innite, when lines could be drawn between jazz, ragga jungle, techno, and hip-hop and the resulting shape divined an exciting future.

- Reissue of the out of print 2002 album, available for the rst time on Ghostly.
- Includes previously Japanese-only bonus track, Gimme Lowlands'
- Standard weight blue vinyl is housed in a matte jacket.
- Dabrye's beats are like Jay Dee getting crunked up with Autechre.' — Prefuse 73

Alien Ensemble's trombone man Mathias Goetz caused quite a splash when he released his eponymous debut LP under his Le Millipede moniker back in 2015: The multi-instrumentalist's initial offering was clearly something else, impossible to grasp, a musical vessel beyond genre, beyond style or era, seemingly beyond space and time even, a vessel that carried an almost cosmic kind of song-craft - music with no fixed stamp of origin, though it did somehow feel like an Alien Transistor release. Followed by remix album Mirror Mirror, which comprised reworks by 1115, Protein, LeRoy, Olaf Opal, and Saroos, to name a few, it's now time for album #2: The Sun Has No Money.Let's face it: There's nothing as majestic as the sun. At least not in our world. If it runs out of juice one day, it's game over: The End. Light's out. For everyone. At that point, it wouldn't even matter if you're rich or poor. We're all equal under the sun. Same level. And yeah, this might not be major news, but then again... we're talking about the sun. The sun! Guess it's about time to acknowledge its power and superiority, right In fact, you can feel it on your bicycle: pedaling at night, when it's on duty in other hemispheres, and you're working hard at the dynamo, sweating, you can actually feel how powerful it is. In the end you get off the bike all recharged, a tune on your lips - and somehow feeling like a miniature version of the sun yourself. And whenever you feel like that, that's exactly the right moment to grab a melodica and get to work.Following an initial warm-up round sans electricity, this new album soon begins to glow: Mathias Goetz aka Le Millipede doesn't need pedals, he boosts circulation by single-handedly* playing tons and tons of different instruments - it actually feels like thousands, easily. And thus begins a show that has countless levels to it: There are various sonic illusions... and yet Le Millipede doesn't hide anything: He's also willing to show the inner workings, the actual recording process and everything else. In short: he goes meta. Makes songs about making songs. That's right: why not use all these beautiful means to address the issue of money It's not the sun that casts shadows, all it does is recharge, fuel: growth & thriving, that's the sun's area of responsibility. And yet there came a man whose plan was simple: steal the fruit from your garden, only to sell it right back to you, for money. We can hear the sea gulls crying in the distance, as somebody is throwing breadcrumbs up into the wind that carries their voices...It's not the sun that casts shadows - all it does is radiate light. And yet there came a time when someone blocked those rays of light. Now if you're some kind of Diogenes, you'll simply say, Move at least a little out of the sun.' But if you're a teacher, you'll maybe light up your pipe and use that to lighten up. What matters is that the percussion parts, in this case, resemble some serious musique concréte. The sun doesn't know shadows - all it knows, is itself. And yet somebody entered the picture and built an entire city. A city full of streets, so that houses can cast shadows into these avenues. Plus, there's music in the streets, music originally written inside the walls of said houses.One of those streets is known as the Tin Pan Alley: a place that got its name from a music writer who compared the sound of so many pianos to the banging of tin pans. That sound: that's one side of the road that is this album. Some of these melodies appear to be shadows of earlier tunes, dating back to, say, 1898 or even before that, melodies that were first registered in the Tin Pan Alley publishers' offices back in 1912 or 1917. We actually get to see this Alley at that point in time. We see the ropes, the workings. How things come together, the actual act of creation. Suddenly, we can hear the shadows!
Okay, so one side of this street is America. The US of A. The opposite side: Russia. And smack dab in the middle: Europe. A pothole in the center. All the back-and-forth that occurs between these two poles ultimately depends on the movement of the sun. Night and day, taking turns, commuting in and out of sight. We get to meet Prokofiew's and Scriabin's ghost, among other spirits, reframed and published by Le Millipede's own imaginary label imprint on the historic Tin Pan Alley. Indeed there are moments on this album when Le Millipede seems to be playing Scriabin's clavier a` lumie`res (tastiera per luce), when his performance seems to be based on synesthesia, a wild cross-pollination of colors and sounds. In case you didn't know this: In the States, Prokofiew goes by the name Brian Wilson, and Scriabin's also known as Sun Ra - yet another guy who's usually broke, but gets to spend a lot of time out in the sun. Together, these assorted protagonists ask the people of the Antilles for Mutabor dance-tokens and send postcards to Moondog in Germany, right back into the darkness. On the postcards you can see people dancing the Biguine...Firing foreign fossil fuels from all pipes (Brennelementsteuer!), Le Millipede controls the very center of this hustle and bustle: going as far as to employ some southern Chopped & Screwed styles, he's 100% current and zeitgeisty! Houston, we've got a problem: there's some kind of myriapod, centi- or millipede on the loose! Well, give me another sip of lean, sizzurp, dirty Sprite, and on goes the journey in the Pullman coach. Let's follow the sun! Keep on moving, keep things motorik! Here comes the Trans-Eureka-Express. Cherish the backpacking days! A piercing rhapsody of sound (bohrende Rhapsodie), we'll remember them fondly! And thus things move on, the sun, the days, the earth: rise, set, action, round and round... onwards eternally. The sun: the biggest loop known to mankind. As if it was some kind of sonic Rube Goldberg contraption, time seems to be stretching out while listening to that hmmm. After all: time is a lot (a lot!) more than just money. And yeah, the sun is the real big shot on (or rather: above) Planet Earth. Le Millipede's live line-up also includes Markus & Micha Acher (The Notwist etc.), Nico Sierig (Joasihno), and Manuela Rzytki (G. Rag & die Landlergschwister, Kamerakino etc.).
*sole exception: Evi Keglmaier (Zwirbeldirn, Hochzeitskapelle) plays the viola. Words/sun worship: Pico Be

Now presented in a shrink-wrapped 6 panel fold out card wallet on CD, on heavyweight double vinyl in a gatefold sleeve. Digitally re-mastered by John Rivers at Woodbine Studios, November 2017 August 1988, Spacemen 3 embark on one of the strangest events in the band's already strange history. Billed as "An Evening of Contemporary Sitar Music" (although consciously omitting the sitar), the group would play in the foyer of Watermans Arts Centre in Brentford, Middlesex to a largely unsuspecting and unsympathetic audience waiting to take their seats for Wim Wenders' film 'Wings of Desire'. Spacemen 3's proceeding set, forty-five minutes of repetitive drone-like guitar riffs, could be seen as the "Sweet Sister Ray" of '80s Britain. Their signature sound is at once recognizable and disorienting - pointing as much to the hypnotic minimalism of La Monte Young as to a future shoegaze constituency. On this double LP reissue, Dreamweapon is augmented by studio sessions and rehearsal tapes from 1987 that would lead up to the recording of Spacemen 3's classic 'Playing With Fire' album. 'Spacemen Jam,' featuring Sonic Boom and Jason Pierce on dual guitar, is a side-long mediation on delicate textures and psychedelic effects.

Fantasy Life was a one-off Italo disco studio project that consisted of various producers, songwriters, and vocalists from Turin, Italy. The line-up included Lorenzo Avico, Maurizio Camoletto and Sergio Bergamin. They recorded their only single Over and Over' at Minirec Studio in 1985 with mixing engineer Gigi Guerrieri. It was released that same year by Thick Record a sublabel of Il Discotto Productions and became one of the most coveted Italo Disco 12's. Over and Over' is a parable that describes the story of a girl growing up, comparing her life to the changes of the moon. Signature Linn drum and Simmons drums create the driving rhythm track that hauntingly sways back and forth. The vocal version has a nearly two minute extended instrumental break in the middle of the song heightening the dramatic pace. On the B-side is a Dub Version with extended instrumental breaks, bass lines and occasional vocals. Both songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl is housed in the original jacket featuring a painting by Andrea Franzoso and includes a double sided postcard with lyrics and notes

'Intraverso is a journey in that momentary 'inbetween land' that many of us experience sometimes. It explores the turmoil of feelings of when one gets stuck in the middle, floating in between ambition and complete stillness'.

Fabrizio Lapiana is a well-known name on the contemporary Italian techno scene. He has been involved in music since the 90's when he started DJ'ing in his hometown Rome. To date he has over two handfuls of releases on labels such as Figure Jams, Arts and M_Rec Ltd - as well as his own imprint, the well renowned Attic Music, founded in 2008.
Intraverso is Fabrizio's debut album, set for release on his label. The record is a very personal journey, according to the artist himself. You here find him examining different territory than where he usually heads within his productions. The album, which consists of nine songs in total, was composed between April 2016 and February 2017 in his studio in Rome. Written in a state of 'introspect', we here see an artist in motion. Changing. Evolving. The perfect moment to explore something new and unveil a different side of yourself to the world.

The intro 'Early Morning Waves' opens the album with its own quiet dramatic tone, waves hitting the shore as we move into 'Bret'. A cloud-walking kind of melody welcomes you, accompanied by a curious beat driving the journey forward. A deep heavy bassline and almost ancient sounding melody rises in 'Onironauta' (reflecting 'Early Morning Waves' mystical mood) until more playful elements blends in. The contemplative bass elements continue in the title track of the album; 'Intraverso' is a track of mind traveling discovery, yet before drifting too far you are grabbed by a snare, a clap of white noise and a pulsating beat to keep you on track. Further on, 'Lost In Negative Thoughts (reshaped)' reveals itself with its heavy ominous drumbeats and a dark spun web of strings is joined by sounds of distant life and machinery. Then there is 'Distance' which is the album's first flirt with more dancefloor friendly territory. Still under a veil of ill-lit melodies, expertly programmed percussion and claps creates something for a more personal body move experience. Moving into 'Again' sees the expedition continuing journeying through the dancefloor, albeit in a deeper landscape where flickering extraterrestrial sounds watches you go along. In 'Backlit' you find the albums most organic moment, an ambient slow thoughtful walk through the consciousness of the producer - only to end up with the album's final moment; 'Freckles (beatless)'. Here we drift deeper off into slow ambient melodies with a comforting thoughtful bassline taking us to the end of our voyage.

Lapiana has composed an album where you get to travel with him on a sonic journey into the deepest corners of his mind, baring vulnerabilities as well as strengths. Intraverso carries a feeling of ancient atmosphere via its melodic language through its whole running time, perhaps since the foundation of the album is based on emotions and the mind. Thoughts, feelings and mental states that always have been with us, no matter the time and place. It is a mature debut album for an artist that proves he is willing to risk going into different areas than the tried and tested ground. One might say Intraverso is a record created for an introvert introspective dancer, willing to see what lies beyond that of which is visible at first glance.

Syncrophone is pleased to welcome Shuffles to the family!
Shuffless is a technohouse-duo hailing from the forests of middle-Finland. Their musical inspiration comes from the sounds of legendary techno and house cities, but in production they mix it with a Finnish twist. They make their music with a selection of hardware gear, and record the tracks live in the night to get the feeling right.Here is one of the two EP scheduled for the early 2018.

For the first release of 2018 we welcome Harry Wolfman to the Outplay family!
Having followed his work for the last couple of years we're very happy to have him deliver this varied 4-tracker, which very well might be some of his best work to date.

The A side starts off with 'Hitch'. A warm and dusty groover driven by rhodes, a rubbery bassline and a thudding kick. A lovely string piece in the middle of the track slowly builds up to the break for it to return to the head nodding groove soon after. The added percussion gives it a nice lively feel as well.

'Pigs in Blankets' sets the pace a little slower, but the funk goes on. The track incorporates 80's style samples with some excellent synth and chord work. Perfect for a warm up session.

Starting on the B side Harry takes it up a notch with 'Nemoto', which will be a definite stomper for the dance floor. It takes you on a 9 minute journey of rolling bumpy basslines, screaming distortion leads and hypnotising synth work.
Finally, to ease things off, STS-136 (Final Call) comes in at a slow 88 bpm pace as a perfect closure to the EP. Dreamy pads, piano licks and a calming marimba melody combined with a beat which feels like a warm blanket will make you wander off for a moment...

"I Can't Love You Anymore" is the first single by hard working soul performer Carlton Jumel Smith recorded with Cold Diamond & Mink, and the man has revealed his middle name just for the occasion. Otherwise known simply as Carlton J. Smith, there's no doubt he has swallowed a large pill of soul since seeing James Brown live at the Apollo Theatre as an 8-year old.

Smith's Timmion debut single sinks him into drum heavy southern flavored deep soul, a style that comes out of him naturally as water from a mountain spring. Backing him up on the falsetto parts is Pratt, who recently turned some heads with his Pratt & Moody release "Lost Lost Lost" on Stylart Records, and together the two basically NAIL IT.

When looking for artists, who just seem to move through time effortlessly with a steady air of confidence, passion and precision, one might pick up the phone and give CJS a call. Even though his discography of couple of late 2000's albums and some guest spots in early 90's soulful house 12"s is a bit mysterious, there seems to be not one bit of difficulty to his craft or personality. As a recording artist, "I Can't Love You Anymore" is a new opening into raw soul territory, and it is just what the world needs today. He laid down an album worth of tracks on his last Helsinki visit, and this might be something to look forward to.

Releasing an album into the world is a special moment for any artist but when you're an artist who grew up in remote northern Ghana with no schooling, spending a life herding cows and goats, building your own instruments and teaching yourself to sing, then there's a particular sense of occasion and celebration in finding recognition and an audience for that music.

This is the case for Guy One, an utterly unique artist who is writing and performing Frafra music, a style that originates from a small area in the north of Ghana. Whilst Guy One is already loved and adored locally by now - building up a fervent following in local villages in which no funeral or wedding would take place without his soaring voice and deeply rhythmic playing, before then transforming into an award-winning, TV appearing artist in Ghana - his music is now to find a much wider audience through Max Weissenfeldt's Philophon label (Jimi Tenor, Hailu Mergia, Alemayehu Eshete) on this Berlin meets Bolgatanga release.

Guy One's international debut #1 is an album rooted in tradition as much as it is the contemporary ("Frafra music Made in Germany" says drummer producer Max Weissenfeldt if he's forced to put a label on it) but given the fact that the traditionalism of Frafra music itself is a largely unknown force, the results are more even more potent and stirring in their creations. Choirs, trumpet, organ, bass, drums, synthesiser, vibraphone, saxophone and piano, the album is as bursting with instrumentation as it is ideas and innovation.

The album's perfect positioning between the old and the new and in taking that middle ground and launching it into completely new territory is enough to completely unglue the definitions of what music can be.

Avant Garde, Repetitive, Minimal, Stoner Rock, Religious.

A french trio called France, using drums, bass and amplified hurdy-gurdy. They perform only live, in the middle of the audience - turned in to face each other - full on smoke machines and strobes. And they play only one 'song' for the duration of their hour-long set. And it's the most transfixing live experience of intense physical and mental focus. The distorted hurdy gurdy plugs France's sound into the country's history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole live. One doesn't need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who've stayed for the whole duration of their performances know they've shared something. However disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you're not quite the same person who went in, even though you'd be hard-pressed to pinpoint precisely what has changed. One certainty remains at least, that there is still a France we can believe in. David McKenna (The Quietus). The Release: Initially released as a 50 copies CD-r in 2009, swiss Mental Groove has teamed with french Standard-Infi to reissue this classic live performance onto glorious vinyl edition. The 45 minutes are radically sliced onto the two sides. The recording is raw and the mastering is fat. The first two pressings made in 2014 and 2015 were distributed confidentially and during the numerous live performances of the band. They are long time sold out and sought after.

The mighty one-man-band with the most notoriously misspelled airport pick-up signs in music history returns to his beloved hometown imprint Musique Risquée with a scorching three-track can of shake-ass. Guillaume & The Coutu Dumonts is never one to shy away from fresh contrasts in his works, and we have no exceptions here - all manner of dark-to-light, flacid-to-hard, and identifiable-to-WTF moments, sounds, and vibes abound. Lead-off piece 'Histories Vraies' brilliantly soundtracks the inevitable future moment when a season-premiere costumed viewing party for Game Of Thrones unknowingly gets their punch spiked with moon rocks and teleported right to the middle of Panoramabar at peak time. A2 jam 'Far Is The Field' counterattacks with the next level fusion of Sun Ra Arkestra-esque transmissions wrapped around a Humpty Dance-on-steroids Bassline, twisting and shifting away from the hands on the clock with beautiful ease - 'I am Music..' indeed. Finally, B-side long-burner 'Whatever's Inside' rocks a sultry belly dancer's theme song at an FM and modular synth Bazaar on Uranus, with G & the CD's patented sharp percussion fills ensuring that the resulting melted faces and hearts will still be set in motion by the all-important collective flexing of the Gluteus maximus.

This 2XLP album, EUROPA, is dedicated to and inspired by events in 2015 & 2016, which saw the spectre of global crisis come knocking at Europe's doorstep.During this time, more than a million migrants and refugees fled their homes in the Middle East, Northern Africa, sub-Saharan Africa and other conflict ravaged areas in search of a better life. For many, hopes of a future for themselves and their families lay in continental Europe.As already said about the preceding 12' single with the same name - One of the most well- trodden paths on this journey was the Balkan route, a trail leading through Turkey, Greece, and the former Yugoslavia.. This route was not without its dangers, and the dreams of thousands upon thousands were dashed by impassible security fences and discordant EU politics, as one by one they were turned away at borders, or worse, forcibly returned to their countries of origin.Europa was recorded during long jam sessions in Belgrade as the media spotlight started to dim. The city became the purgatorial destination for a large number of migrants, whose journeys had been cut short.
This double LP reflects the atmosphere of disillusionment and uncertainty about the future, which descended on the Serbian capital. Dark and melancholic saxophone playing on top of heavy kicks and Mediterranean percussions dominate the epic 17 minutes title track. The collaboration with Jerusalem in My heart continues the melancholic atmosphere, adding to it JIMH signature delayed baglama sounds, to create a 12 minute emotional journey, tearing away abstract concepts of 'longing' and 'home' with ever growing tension and magnitude. Genre-less, illusive and not easy to categorize, Tapan's debut album on Malka Tuti is an original soundtrack of a fragment in time and space, capturing a moment and transcending it musically for the rest of the world to experience.

Brilliant 70s material by Antonio Carlos Jobim - one of his key sets from the middle part of the decade that had the composer really deepening his approach to both singing and songwriting - moving past some of the more instrumental modes that he was using at the start of the decade! There's a richness to the songs that goes way past simple bossa styles - and the lyrical brilliance shows that Jobim hardly ever needed a poet or co-writer to help him hit the heights - as he really wins us over with his words as much as his music. Claus Ogerman produced, and gives things the right balance between fullness and space in the charts - which allows both a great focus on Antonio's vocal style - expressive, but very down to earth - and a few nice solos on Fender Rhodes too! Titles include "Saudade Do Brasil", "Correnteza", "Boto", "Ligia", "Valse", "Arquitetura De Morar", and "O Homem".

E.D.C wishes to explore electronic music through different universes where spaces, noises and textures are central to the creative process. His researches aim to experiment and think outside the box, allowing us to navigate through purposely-colored music and other worlds where Every Detail Counts.

In this first release, the reverberations in each track create a shaking outcome that warns about the upcoming epic adventure with the wind of indestructibility that the tracks blow in our direction.

Endless is the key to understanding the whole release. Electric from the first second, it explains the journey we are about to embark on. Dark and almost gloomy from the beginning, the break gives the impression of a light breakthrough, as if the way suddenly clears.

The City of Clones takes us to a heavy atmosphere, as if we were waiting in the middle of a fog for the untying of the plot, though the denouement remains uncertain.

When Nobody Cares is an experimental journey through unexplored landscapes, with the discoveries marching under our eyes, which contribute to create an experience of fullness.

Too Many Ifs reminds and completes the cycle. Chaotic on purpose, it unveils the encounter of an intriguing living shape.

Two of Hospital Record's most electrifying artists have formed an allegiance for a true coming together of titans. Bournemouth's Krakota and Sao Paulo's Urbandawn have combined their production talents to create the five-track 'Focus Shift' EP - a real drum & bass mash up of styles and sonic sequences.
The aptly named 'Coyote' is an absolute howler, unashamedly powerful and loaded with energy, distorting and plunging itself into new streams of audio chaos throughout.
'Laguna' fits with their alter-egos - sweet, pensive and majestic. Operating within a more classic Hospital framework, this rolling stroke of musical bliss will leave no party unsatisfied.
Sitting in the middle of this concerted creation is title track 'Focus Shift'. Informed by both liquid-funk and tech styles, it's gelled together with scathing bass riffs and high profile percussive chops.
'Epigram' has all the bassweight you'd expect from such a monolith collision of production powerhouses. Crisp and sinful, with a consistently militant atmosphere this song is pure depth, darkness and danger, with a genuinely intriguing sonic progression that renders this track as devastating as weapons grade plutonium.
Seeing the release home is 'Paladin'. An ardent dancefloor destroyer that fuses the power of the stepper with the groove of a roller, that even angels would find themselves bustin' a skank. Uplifting and powerful with cosmic subtleties in the low end twinned with sombre melodies and skittering drum-work all tempered in unison to create a certified banger.

Rick Lenoir and Larry Thompson aka Black Traxx dropped several volumes of their own brand of chopped up Disco sampling, deeper side of House. From 1991 through to 1994 the Black Traxx EP's were showing up in record stores, obviously giving respectful nods to other Chicago DJ's and producers the tracks included on the EP's contained a DIY spirit and rawness that were key ingredients. Lenoir, with the technical assistance of Gary 'Jackmaster' Wallace has revisited these classic releases for 2017 and the pair have turned in some special, exclusive extended versions of some of the highlights from the series.

Kicking off the first Black Traxx sampler is 'Climaxx', a stripped back, slow burning acid cut with more than a similarity to 'French Kiss' complete with ultra slowed down section in the middle. Far from a copycat, 'Climaxx' is it's own beast, a truly atmospheric track that tweaks in all the right places! 'Doctor's Housecall' is up next, a cut-up of Disco burner 'Doctor Love', a Chicago staple for sure. This is a brand new extended version of this jam, serious heat on this one, you all know the sample by now! Undoubtedly a nod to the legendary Ron Hardy and his mythical Muzic Box club, this one hits the spot.

On side-B we get a new version of 'Your Mind Is So Crazy' lifted off Volume III, this one's a pumping, breakbeat laced party starter. Vocal samples, synths and swinging drums all collide to form a real peak-time monster of a track, pure 90's style runnings! 'Retrospace' is the last track on sampler 1, it's a melding of Chicago House, breakbeat and bleeps. If you dig the sounds that emanated from Sheffield way back when, or the you're into the early hardcore sound pre-Jungle then this is the cut for you. Fast paced and funky, 'Retrospace' is a real hidden gem of a track, featured here in it's original form lifted from volume II.

This reissue has been realised with the full involvement of Rick Lenoir and Gary Wallace and is 100% legit! All exclusive extended edits have been made by Rick and Gary specifically for this release. Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2017 - You can't stop it!

2023 Repress

This the first time this title has been available on vinyl . At the risk of further labouring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music in 1996, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak, the sheer scope of their achievements is stunning — rarely are bands quite so productive, or quite so consistently amazing. Thank God is the BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36 .The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

Bewitching Avant-Pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Featuring members of Notwist, Jam Money and Joasihno.

In these dark and uncertain times, there's an ever-growing collective of peaceful, loving types, bound together by an understanding of one peculiar word: Tenniscoats. Aside from being the name of an influential Tokyo-based duo, it represents fun, artistic freedom, experimentation and - perhaps most important of all - inclusivity.

A Tenniscoats gig is rarely the audience watching the performers. Instead, Saya and Takashi regularly shun the stage in favour of any particular spot that takes their fancy, whether it's an empty seat in the auditorium or the roof of a neighbouring cafe. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in.

During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organising, but also to invite Saya & Takashi to a small apartment studio, together with Mat Fowler (Jam Money) and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days.

Tenniscoats are known for their collaborations - some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair and many others - so making good use of the time and friends available was natural to them. For me, timing is important,' Saya said. We met in season, and the song flowers are now blooming!' Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. Every morning we'd all share breakfast, chat and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich.'

While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains that, a melody would begin, and slowly, each of us - in our own time - would find our way into the music.

Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery.' Nearly everything was recorded live,' agrees Markus, playing and singing together in one room with piano, guitars, percussion and some keyboards.' The collaborators came from Germany, Japan, the UK, Greece and beyond. That sense of inclusivity is palpable.

From the tender beauty of Markus's River River' and Saya's Mikan' to the electro-Merseybeat of Tenniscoat's Nambei' and the half-crazed pianica-reggae of Shuti Man', the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time - a beautiful meetup that expands this community, happily, even further.

Jon Willks (Grizzly Folk)

Gilles Peterson says: "If a Cuban record had come out on Sleeping Bag Records in 1982, I think it would've sounded a bit like this. It's an eccentric middle ground between Latin-styled pop and disco".

Reissued from the Spanish version of this awesome Cuban records with a unique picture cover. Probably one of the best 70's Areito releases, for sure ahead of his times. The entire record minus two tracks of 10 total are all upbeat with afro-latin breaks, dope choral vocal arrangements and chunky bass and conga lines, but don t sleep, the lower bpm songs are great mellow gems. Gilles Peterson says: "If a Cuban record had come out on Sleeping Bag Records in 1982, I think it would ve sounded a bit like this. It s an eccentric middle ground between Latin-styled pop and disco".

Abschaum is a rock band from Lyon, incredibly good, which is trying to keep the mystery on their identity. Sacha met them last year when they played an improvised concert at Heart Of Glass, Heart Of Gold, a festival in the middle of France, and felt under the charm of the energy of the band... Few months later they recorded this LP, and what the fuck !! This was just mindblowing !! Macadam Mambo is presenting here one of its best release, in the influence of bands such as Can, Amon Duul 2 or Alain Bashung...
Abschaum will be on tour from october till the end of the year, so if you have the chance to see them playing don't miss it!

Limited to 75 Tapes

Hippie Priest returns to Argot to release his second album, See It Through. Having made great strides at dialing in his production and strengthening his songwriting since the release of Gaia Variants in 2016, the young Champaign-based producer focuses his sophomore longplayer around a narrative approach. 'See It Through is a day in the life of a lioness", says Hippie Priest, 'Beginning with the soft ambience of waking up in the morning, leading up to an intense hunt in the middle, and into evening revelry and eventual slumber". The album's 11 tracks cover a large stretch of sonic ground to tell this story. Its glowing opener, 'Umbrella Keeper' gives way to widescreen stompers 'Thorn' and 'Quicksand' that clear the way for more contemplative moments like 'Crystal' or 'Cherry Blossom". One can't help but imagine a dramatic hunt while listening to 'Are You Okay' or carnivorous displays on 'Desire". Even tender scenes are possible with closers 'Tanuki' and 'Tired Lioness", gorgeous movements in which Hippie Priest's melodic profficiencies shine brightest. Vital Sales Points: - Second album from the up-and-coming young producer from central Illinois

Repressed !
The Argentinian team brings the power of their knowledge back to our imprint with this split EP, a six track musical journey from drones to heavy kicks, with a bunch of intelligent techno in the middle.

The release starts with Jonas Kopp's "Grey Area", a floating intro exploring the deepest frequencies in the sound spectrum. Next comes "Intelligent seeker", with grooved synth toms, sharp hats and a naive oscillating sequence that runs free in the arrangement. Profound and aggressive at the same time.

The following number is "Akut": dry kick, reverberated and panned continuous sequences, spiced with classic 909 workout.

Pfirter provides his intro with "Another Dimension", a dreamy ambient piece to warm up for what comes next: "Euritmia". Based on distorted kicks and sequences, "Euritmia" creates an obsessive rhythm that grows alongside the white noise washes during the whole track.

Closing the release is "Rising", which starts with a cleaner beat approach, and once again works with white noises and modular lines to create tension and expectation. Micro percussions run along the groove, nicely adding spice to the hypnosis.

Panorama Bar resident Nick Ho¨ppner gets to Work on his second solo album on Ostgut Ton, connecting the territories of House music with the ease of Alt-Pop.
Work as in labor. An axiom that fuels the capitalist system just as the Techno/House scene economy says that one needs to keep oneself busy to make a living. As a musician, things are complicated of course. It's a long way from the romantic idea of creating music simply for the sake of art to becoming a full time musician. Those who have accomplished this feat often find themselves in a professional loop of writing the music, producing it, promoting it (with an info text like this), releasing it and then hopefully selling it. After leaving his full time job as Ostgut Ton's label manager in 2012, Nick Ho¨ppner went fully freelance, focusing on his musically diverse, deep and dynamic DJing in and outside Berghain's Panorama Bar, but more importantly spending more time in the studio. The result was his critically acclaimed debut album Folk (Ostgut Ton, 2015), various 12' releases and remixes, and now his sophomore LP, Work, which, more than ever, lays out his refined production skills and his talent to work the machines until they reveal their inner ghosts: nine new songs that now dodge the dance floor, then fully embrace it.
Work as in body of work. A record is more than the sum of clocked up hours at the studio, but the result of an artistic-creative process. On Work, Ho¨ppner shows his everlasting lust for musical detail, his increasing technical skills and compositional finesse. Work is a very personal, soulful and deep record that breaks through the usual club/dancefloor narrative by documenting Nick's interest for hybrid sounds and combining elements from varying musical genres. Work's lead single 'All By Themselves (My Belle)' is a very atmospheric, intimate and steadily unfurling IDM piece with ethereal synth and vocal pads; on the album it's contrasted by 'Clean Living' with Tram 78, a modern Ho¨ppner club classic: powerful, kick-heavy, muscular, cheerful and uplifting. It's a very personal track resulting from a recent reencounter with an old friend. Having spent countless hours together in Berlin's clubs in ever changing states of mind a decade ago or longer, things have since changed for both towards a more - clean living'. Connecting to this musical vibe 'In My Mind' follows with a slightly darker tone putting emphasis on bassline, percussion and squeaky sound detailing. 'Hole Head' pays tongue-in-cheek homage to Nick's love for UK club music, when a dashing melody of synths and vibraphone is matched with clattering breaks and syncopation. The dubby, mesmerizing 'The Dark Segment' not only impresses with its hypnotic synth figurines, but also by morphing to a shuffling Jazz rhythm towards it's middle part; 'Forced Resonance' uses Oberheim synth brass stabs to dramatic effect; the percussion- and clap-laden 'Fly Your Colours' comes with an irresistible piano melody atop an energetic kick; and finally the album-closing, shuffling but rhythmic, noisy yet bluesy 'Three Is A Charm' featuring the duo Randweg on clarinet, cajo´n and acoustic guitar is a coherent departure heading towards Indie Pop territory. It sees Nick collaborating with acoustic instrumentalists for the first time in his ten-year- spanning Ostgut Ton release catalogue.
Work as in artwork. Staying in line with the Folk album, the visual companion for this record comes from German collage artist Frank Bubenzer. As with the artwork at hand, Bankentsunami, and his other works, Bubenzer cuts up print magazine advertisements and recontextualizes them into new motifs, removing all human depiction from the source material, here as a commentary on the world of business, big money and the banking crisis.
Work as in work it. As a slogan 'work' has always been one of the genre's most utilized paroles, coined and put on wax by pioneers like LNR, Blake Baxter or Steve Poindexter, to name a few. Not only calling for the crowds to get moving on the floor but also to fully express themselves and their unique individuality inside an all embracing environment. A mindset rooted in House Music that has been an integral part of Nick Ho¨ppner's identity as a DJ and producer from the beginning and all through his decade-spanning residency at Panorama Bar. Work it!

(2x 180 gr LP in a gatefold sleeve with download card) The debut album of Talamanca System, aka Gerd Janson + Mark Barrott + Philipp Lauer. Their past is your future!

On the white island, between Ibiza Town and the infamous fish shack high up on a rock next to a bird sanctuary, you will find the beach of Talamanca. Plagued by too much seaweed, anchored middle-class yachts and joggers, it is also surprisingly the spiritual home of a correspondent post-Balearic group. As luck would have it, a remix request by Mark Barrott bedded the International Feel boss in a trio with Philipp Lauer and Gerd Janson, alias Tuff City Kids. A highly sought-after 12-inch later ("Balanzat"), as well as fantasies of getting together to work on more material, led to a fruitful and effortless studio session on the non-Balearic outskirts of Frankfurt am Main.

The outcome of that meeting forms the homonymous debut album of Talamanca System. A documented vision, or a sunburned imagination of a day and night spent on said island, during a moment in time that probably never was or will be. Still summed up best by dungarees, long hair, yellow sunglasses, espadrilles or that famous picture of people grouped around roofless Amnesia's pyramid well, it is the food of the Balearic gods. But, dear nostalgia, stop right here! Even though Talamanca's debut flies the Balearic flag, it is not about turning back the clock, but rather about a past that could be the future. Dusted, danceable, driving, dreamy and dapper at the same time, this is an album for the club, the car, the beach, the (coke)float and the fountain.

Coined by the colourful and respective talents of the three individuals behind Talamanca, you will hear nine tracks ranging from up to downtempo, piano house smashers that would have deserved the prefix Italo-, percussion rituals captured by a group of Zoo animals on the loose, soundtracks for dusk and dawn, hushed vocals, rites of ambient passages, powerful synth ballads and vamp choirs. If this album were a car, it would be a Citroen 2CV remade by Tesla.

We've said it before and we'll say it again: their past is your future!

After a first release by Dub-Techno father Brendon Moeller, Submersive Records is back with a various artists ep. The Paris based label, launched in 2016 by Process B, is now introducing 3 artists who were invited to present 3 different visions of the label's musical identity, completed by a Albert van Abbe remix. The ep starts with the first appearance of french duo Bevel (Positive Clearance & Process B). Slow yet electric saga, 'Hob' swings between atmospheric, industrial and deep techno sounds. A perfect introduction to the label's roots. Elements come one after the other while holding a certain incisive vibe and giving birth to a track that can fit in both warmup or peak time sets. 9beats, young producer from Lyon, explores a more melodic side with 'Through An Interstellar Cloud'. Used to dive people into his spatial universe through his tracks or analog live sets, 9beats's travel is a good transition from ambient to techno.We said Techno Isolated Lines will not contradict and brings us straight in the middle of the night. Saturation, noises and modular variations are confronted to some melodic slackening, making this track a great immersive weapon.Invited to one of Submersive's label night at Batofar in 2015, Albert van Abbe closes the ep by giving us a completely new version of Bevel's Hob. We easily recognize the original track's lead, mixed this time with raw classic drum jams. Somewhere between Electro & Techno the Remodel version of Albert van Abbe overwhelms by its effective authenticity.From Brendon Moeller to the young and promising Techno scene, this second ep pursues Submersive's mission into the Techno abyssal depths.

1983, in the history of synths, is a key year. During the January edition of NAMM (the most important music fair in the US), indeed, MIDI - the standard protocol for electronic instruments interaction - was introduced to the world. Until then, programming and making synths work together was something practiced by a restricted elite of 'wizards", explorers armed with cables and analog patches, who could create new sonic worlds - but totally temporary, not replicable. Real superheroes of sonic synthesis, scientists of filters who, nowadays, are highly considered by musicians all over the world, after decades of forced exile. In Italy, the seeds of this tradition were planted in RAI's Laboratory of Phonology (in Milan), in the middle of the 1950's; later, pioneers like Piero Umiliani, Federico Monti Arduini (aka Il Guardiano Del Faro), Marcello Giombini, Giampiero Boneschi and Fabio Borgazzi (Fabio Fabor) introduced electronic music in pop. Fabor (together with Antonio Arena) is the protagonist of 'Superman", an album of library music released by the World label (owned by Minstrel group) in 1984. Borgazzi, born in 1920, lived through the whole saga of Italian easy listening music (from big orchestras to the digital revolution), always keeping up with the latest styles and trends. So it's not a surprise, here, to see him using a LinnDrum and the first Japanes synths; and it's perfectly natural to find some electro-funk touches

There was a time when to die was something slightly different from what it is today. Back in the last days of the middle age, some hidden monk was concerned about how to die properly, according to the catholic standarts of that era, so he wrote a book that was a cornerstone in that period.
This has been the leitmotiv and ispiration in the concept that drives this album, the Ars Moriendi book from 1415, a book that gave some clues about how to die properly, avoiding lack of faith, despair, impatience, avarice or spiritual pride, all those actually track titles in this compendium.

Album starts with Impatience a short atmospheric drone sets the path to post industrial mayhem, based on a continuous and obsessive metallic sequence that drives the angst over a dirty rhythm workout until the textures go on top after several bars.

Rules of behaviour breaks the beat into metallic hits as starting point, then more percussive layers add to the main beat until the dark pads take over mixing hate with beauty on a grey canvas.
Despair return to adrenaline, icreasing the tempo, running unstoppable on a relentless sequence with skeleton beats as a driver.
Speculum acts as a sequel from the first track, same sequence different rhythm, extending the anxiety feeling but with a cleaner groove, again a few elements make everything run smoothly no fillers, just tension.
Lack of faith keeps on with the beat as fundamental component, based on a cemented kick and breathing components that grow during the running time.
Avarice returns to harsh kicks and martial sincopation having distortion as the main element until Fm percussions shine on top.
Spiritual Pride is the adrenaline shot in this album, obessive dry sequences, harsh kicks and razor hats in a direct floor burner.
Closing the travel, The search for identity goes underwater: cavernous landscapes and absence of brightness with a pulsating sub frequency doing the low end, while drones and obscure sound design make the rest.

The totality of the many in one: Cologne Tape, an on and off gathering band from all over the world, did not call their second album "Welt" without reason. The collective incorporates the nucleus of the label Magazine and consists of the artists Ada, Barnt, Jens-Uwe Beyer, Jörg Burger, John Harten, Philipp Janzen, Mario Katz, John Stanier and Axel Willner. All members live scattered between Berlin, Cologne and Hamburg. They meet rarely and abruptly, but each of them always has the feeling that something relevant needs to be done. The ensemble's name represents a city and the musical recordings that are made in it.
Their "rst release, "Render", marked the start of the label Magazine in 2010 and found the way into DJ sets by famed artists like Dixon with music, which does not necessarily have the dance#oor in mind. Subsequently, little, absolutely sublime pieces of Cologne Tape appeared in the public.
Sometimes in the middle of a Magazine mix for London's online magazine Dummy, or on compilations like "My Heart's In My Hand, And My Hand Is Pierced And My Hand's In The Bag, And My Heart Is Caught" a double-vinyl sampler for an exhibition by British video artist Phil Collins.
And now, after six years of more or less overwhelming silence, "Welt" arrives and brings the world eight musical arrangements, all of which answer to the same name and only differ numerically in their title. They were performed and recorded at the Dumbo Studios in Cologne as part of a happening, during which the nine Cologne Tape members gathered in a room to play a solemn concert for themselves without a given frame.
Un"ltered emotions, which were later, re"ned with drums and synth sounds by John Stanier and Axel Willner and then arranged into a dramatic story arc under the direction of Jens-Uwe Beyer. Furthermore some of the recordings feature friends of the collective such as Mexican artist Rebolledo, the guitarist Burkhard Mönnich and the singer Isis Lace, who all happened to be close by and joined the band spontaneously during in their musical ritual. Now the recordings of their time without time will see the light of the day.
They all tell - together and alone - stories of deeply felt musical
experiences, which quickly become profound experiences too for those who listen to Cologne Tape, when they play the grand piano, synthesizer,vibraphone, organ, drums, guitar and more while celebrating afreewheeling ceremony. Panoramic music that enables the listener to enter a world of sounds and rhythms, which all re#ect in depth what Cologne Tape is as a band and a piece of art.