Buscar:minimal house

Cynosure returns with OHMS, a playfully uplifting collaboration from Mike Shannon and Ohm Hourani. The three-track EP features two originals laced with twisted drums and slippery synths, equally fitting for intergalactic exploration or a beachside sunrise. The original tracks’ intimately minimal production is complimented by a remix from Akufen of elegant deep house, making for a record that is both contemporary and classic. “Hightower PSA" slips out the gate with a carefree ambling baseline over a slow, swelling tide-like pad. Breezy, pulsing synth stabs pull the groove together while precise, quick hats and snares weave around buzzing tones like alien chatter. “Nova In The Sun” moves into steadier and darker territory: the bass hops between a stark kick-snare, with hats tastefully drizzled on top.

But when singer Ilhem’s sultry voice cues subtle hand drums and squiggly echoes, the track transforms from a slick minimal affair into a soulful throwback. “Nova In The Sun (Akufen’s Aldo Nova In The Sun mix)” takes the female voice of the original and jumps right in with an upbeat staccato piano and swirling violins. A full-blown house arrangement ushers in lush strings, electric piano chords, and loosely fitting open hats and snares, all conspiring to bring a splash of joy to any peak-time crowd. On the whole, OHMS deliver a versatile EP that swaggers with a smile.

Early Days maps out Nine Circles interpretation of Cold Wave and Minimal Synth. Unbelievably the tracks are mostly from a brief time period, ’80—’82. Alienation and uncertainty course through the 2LP with heavy Yamaha chords, metallic machine beats and brittle vocals.

Nine circles was formed in the early 80s by Peter Van Garderen and Lidia Fiala. In 1980 there was a band called Genetic Factor. This band split up when their three members got girlfriends and they started to make music together with their girls. So at that time there were 3 bands living together in one house.

One of the couples were Peter van Garderen and Lidia Fiala. Lidia had been writing lyrics since she was 15 years old. Nine Circles was born. Within 2 years they wrote about 60 songs.

Also living in the house was Richard Zeilstra, who had a job at the VPRO radio, hosting a show called „Spleen“ where he gave New Wave bands a chance to play. He asked bands to send tapes to him and the best bands had the opportunity to play live at the radio and also got the chance to be on the „Radio Nome“ compilation. Peter and Lidia sent their tape to him and were the only ones from this house to be on the show. Richard knew their music was special. Nine Circles never played a live show on stage, only one concert live at the radio which is also featured on this LP.

Two years later Peter and Lidia split up and Nine Circles disappeared. In 2009 Lidia’s son googled her name just for fun and found a lot about the band Nine Circles. Lidia was surprised, she never knew how popular Nine Circles have been over the years. She got herself on Facebook and since then she got in touch with many people and decided Nine Circles should come back! Peter was not able to join the band these days, he had a different life but he was supporting Lidia and liked that she enjoyed doing music again. Peter still had all the old recordings and sent Lidia a lot of the music they made together back in the days. The best tracks are collected on this 2LP.

Together with Per-Anders Kurenbach Lidia revived Nine Circles. They recorded new material (released on the album „Alice“) and played live until Lidia had to stop playing live for health reasons in 2016. Nevertheless they‘re working on a follow-up album called „Emerge“ which is planned to be released in 2020 and hopefully Lidia will be able to go on stage again soon.

Being heavily influenced by the house sounds coming from the U.S. past and present it should not come as a surprise that Red D‘s WPH imprint is launching a new 12” series on which his favorite producers from Detroit, New York, Chicago and beyond get to shine in all their glory. A whole slew of Detroit and New York friends of the label have already confirmed to take part in this series, so good things await us!

But to kick things off we are extremely happy to present label boss Red D’s collaboration with Reggie Dokes, who has been a WPH regular since the very early days. Reggie Dokes and Red D a.k.a. RD² team up for three tracks full of electronic soul and analogue dirt, ranging from the ethereal beauty that is ‘Sharing Angels’ to the minimal dance of ‘Beyond Borders’ and the tribute to their respective cities of birth ‘From D To Shining D’. To complete the E.P. Reggie contributes the solo track ‘Birth Day’, bringing his trademark deepness to the table.

Time will tell if there was a better way to start this new series on WPH, but we are pretty happy with this one as it is. Stay tuned for more and enjoy!

Lefto: ‘Sharing Angels’ & ‘Birth Day’ are my favourites!

Red Rack’em: ‘Beyond Borders’ & ‘Birth Day’ for me. Loving the chords and choppy melodicness of them.

Satoshi Fumi: I really love ‘Sharings Angels’ & ‘Beyond Borders’. Timeless tracks!

Fabrice Lig: ‘Sharing Angels’ is magnificent!

"3x12" - Vinly Only.

The second instalment of minimood's multidisciplinary fusion series features Die Wilde Jagd with an extensive rework of the neo-romantic ’Morgenrot’ as well as a vast array of diverse remixes by Ancient Methods, CV313, Luigi Tozzi, Roman Flügel, Rude 66, Steve Bug, The KVB, Vactrol Park, and Variant. This gatefold 3x12" vinyl only release is visually enhanced with intricate hand-drawn artwork including inlay by Dusseldorf based artist Susanne Giring. Written and recorded by Sebastian Lee Philipp with his Uhrwald Orange studio collaborator Ralf Beck, ’Morgenrot’ originally appeared on Die Wilde Jagd's debut album in 2015.

For this release, Philipp and Beck re-visited the song: the ensuing ‘Fangschuss Version' enjoys an augmented arrangement, additional instrumentation and a haunting guest vocal by New- Zealand based singer Nina Siegler. In Philipp’s words, the 'Fangschuss Version' constitutes “a venture to capture the spirit that has been guiding this fusion release - a desire to explore the concepts of friendship, time, distance and memory. An attempt to unveil fragments of the unseen and to reveal the surge of a distant remembrance in an embracive listening experience." 'Morgenrot' subsequently gets a highly varied remix treatment by a range of carefully selected artists.

While Vactrol Park navigate the original audio material into beautiful ambient territory, Ancient Methods showcase an epic masterpiece of enchanting medieval-vibed techno. The KVB turn the track into a dreamy cold-wave trip and Rude 66 dives into a dark, primetime, anthemic dimension. For Roman Flügel, it’s a slow, organic, starry-eyed approach and Luigi Tozzi transforms 'Morgenrot' into hypnotic & loopy, minimal, deep techno. The rework by Steve Bug plays with the original's melody and a danceable kosmische-infused house cut emerges.

The final two remixes are both crafted by legendary Echospace Detroit mastermind Stephen Hitchell: absorbing deep trips into mesmerizing dubtechno by CV313 and into foggy lo-fi ambient by Variant.

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.

Rich NxT heads to FUSE to deliver his ‘Suburban Skool’ EP this November, backed by fellow London favourite East End Dubs on remix duties.

An artist that has remained a central part of the London electronic music scene for over a decade, FUSE residentand NxT records boss Rich NxT is an artist that embodies the sound of the city’s evolution throughout the years, taking influences from all pockets of the scene - from drum’n‘bass and jungle through to the minimal and tech house sounds that later took hold of the blossoming after-hours circuit.

Having touched down on the label earlier this year alongside East End Dubs as the pairing released the impressive ‘The Four Slip’ EP, whilst also recently providing two collaborative cuts on label boss Siragusa’s latest ‘A Decade Of Rave’ LP project, November sees Rich return to home turf to deliver his second solo EP on the label of the year, with Eastenderz head East End Dubs also returning to provide an energy-fueled remix on the flip.

Opening proceedings, title track ‘Suburban Skool’ offers up a trademark slice of rolling house music as slick percussion arrangements meet bumping bass stabs and scintillating electronic melodies swirl around old school rave samples, whilst the slinking ‘Rex Press’ keeps the energy high as echoed vocals ebb and flow amongst bright lead lines, crisp drum licks, intriguing breakdowns and builds throughout. Shaping up the package, East End Dubs steps up to offer up a dynamic interpretation of ‘Rex Press’, utilising punchy kicks alongside soaring synth lines and driving snare rolls to impressive effect.

Fresh from the release of their third album ‘Autonomy’ earlier this summer, comes Autonomy Variations: four brand new perspectives from four exciting, innovative kindred spirits of the avant-pop duo.

South London’s Medlar breaks the seal. Following a series of incredible live collaborations with Dele Sosimi (Fela Kuti), he’s has turned ‘Autonomy’ into a minimal, percolating house track. Swapping the acid spikes for analog bleeps, Medlar’s signature can be felt every step through this vivid energetic stomper.

Fabric resident Anna Wall follows with another beautiful subversion as ‘New Politik’ is given a smouldering take. Moody, intimate, downtempo; there’s some serious late night HTRK-esque vibes to Anna’s twist.

Further into the remix trip we glide to find Dischi Autunno, Ombra International affiliate Curses pulling ‘Electric Light’ into the fringes. Taking the upbeat, crystalline pop of Penelope and Stephen’s original and flipping it into a stark postpunk Bauhaus-inspired take, Curses’ live bass and driving new wave beat shine a whole new light on the original and write it a whole new chapter.

Finally, brand new act, Isolating have the honour of closing the EP with industrial modular apocalyptic take on ‘Infinity’. A vast playground of contrasts, at points it’s dirty and pounding. At others it’s quiet and menacing. File under ‘Dystopian Techno.’

Four extensions on one of the most interesting electronic albums released this year, if you haven’t treated yourself to ‘Autonomy’ yet, you’d be wise to. DJ Mag stated it’s The Golden Filter’s best work yet while Clash called a it a bruising return. These remixes follow with complete forward-thinking consistency. Enjoy…

Reissue of this 1976 LP from Zambia. Deep minimal African music, lovely compositions over scarce drum machines and (fuzzy) guitars.. Beautiful music with a deeper message in the lyrics which is explained better in the long review below. Some words from the label. There is music that falls right into place, a perfectly articulated expression of a few distinct influences. Then, there is another kind of median music, something more mysterious, the result of time, place, technology, and alchemy. Zambian writer and musician Smokey Haangala’s Aunka Ma Kwacha (The Money is Gone) released in 1976 is an example of this more mystical metallurgy, falling somewhere between psychedelic Zamrock, US folk, Kalindula, and Sundown Beat (music played after dark) from Tongaland. The unique mix of languages on the album (Bemba, Tonga, Lozi, and English) also suggest this complex cultural crossroads. Underlying the whole album is the insistent beat of a simple drum machine, which was totally unheard of in Zambia at the time, and parallels pioneering experiments by Francis Bebey, Sly Stone, and Shuggie Otis, utilizing a technology which would later come to define dance music. Then there’s the album’s original artwork by Peter Kependa, done in style similar to the infamous Jamaican dancehall illustrator Wilfred Limonious, interpreting the album’s title and primary theme; the burden of financial inequality.

In this sense the album is political, but the theme is extrapolated and explored through its impact on personal life; love, marriage, social status, and diet. The album is full of cautionary tales, folklore and references to magic, aspects of Zambian culture simultaneously mystifying and alluring to outsiders, part of what attracted Western readers to Nigerian writer Amos Tutuola’s hallucinatory Yoruba folktales. After becoming a household name in Zambia for his music, writing, and television appearances, Smokey Haangala died at the age of 38, the very week his book The Black Eye was published, abruptly ending his brilliant and ascending career. We are lucky to have his inimitable work to remember him by, Aunka Ma Kwacha resting comfortably in the pantheon of re-visionary works by Rodriguez, Kissoon Ramasar, TJ Hustler, and William Onyeabor.

As we descend into winter and the end of 2019, an EP that, like the shorter, overcast days, is chilly and stark, yet accented with rays of sun that crack through the clouds, glints of starlight, full-moon rises.

These five tracks—six for the digital version—come from Eluize, a Berlin-based Australian gifted at simmering minimal yet acerbic house potions over low heat, patiently coaxing them to a slow boil. Mischievous, creeping concoctions that approach and build sneakily, as layer upon layer is looped, expanded, condensed, dropped out, and slid back in. Each is a beautifully musical piece, too, with as much evolving melody as hypnotizing groove.

An LPH soundtrack for nights that stretch on forever, lit only by blinking lights that break apart seas of heavy fog and slice between silhouetted bodies.

15 YEARS OF SEX TAGS MANIA! Established in Bergen 2004 and ran by DJ Sotofett & DJ Fett Burger the first 4-5 years as one of Norways only labels consistently releasing House & Techno on vinyl. Since about 2008/09 it's been operated by DJ Sotofett.

Skatebård's "Conga" has turned to be one of the most sought after releases from the Sex Tags Mania catalog with it's sparse pressing of about 2-300 copies – though most of the original stock was given away as the record gained minimal interest in 2005. The original record was cut with excellence by Lawrie Immersion – and pressed in his own plant – the now defunct Curved Pressings. MANIA 30 – the repress of "Conga" has as close to original sound as possible and it also carries a new B-side – the Crystal Bois live version of "Conga" from 2007, featuring Skatebård on male vox!

Time for another new face on Quintessentials: Goshawk! Been around with differnt projects for ages, this East Midlands lad has always been one of the finest exponents of eccentric deep house. Releasing tons of quality music on labels like Hudd Traxx, Boogie Café, DiY Discs or his co-owned Pressed for Time and Atjazz forthcoming, we simply couldn’t resist signing Goshawk. The „stricly bungalow ep“ offers classic house music and 110 slowdown tunes and is full of fun and vibes, rough yet smooth! „Never let me go“ is an uplifting, sexy vocal track, „why I sing“ is one of two slowdown tunes with a nice dosage of funk, „all I have to give“ is a rather dark club banger and „time is just a loop“ is a minimalistic slowish chugger. Yes, strictly bungalow!

Sam went into an almost psychotic state when making music. He wasn’t himself. He was immersed in the creativity to such an extent that it was almost like a psychotic trance. Here’s an example. He found all this giant kelp down at Western Port bay and he would bathe himself in it for weeks. He would replenish the water and put salt in the bath, but leave the kelp in there. I used to ask Julie, his partner and wife, “How’s everything going?” and she’d say, “Just go and have a look at the bath.” - Tony Rogers

Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

Wetlands is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation Midday Moon (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ Antipodean Anomalies, Midday Moon has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

Influential Spanish artist Coyu is stepping out on his own Suara label with a long overdue debut album entitled ‘You Don’t Know’ that is going to shatter all conceptions about him. Due for release this September 23rd, the 16 track affair showcases his broad range and takes in collaborators like Moby, Lazarusman, The Horrorist, Thomas Gandey and many more.

Coyu quickly rose through the ranks to become one of the most prominent names in underground dance music. The Spanish man famous for his love of cats has established his Suara label as a go-to outlet for the most essential house and tech tracks, as well as releasing his own expressive grooves on Cocoon Recordings, Diynamic, Bedrock Records, Turbo Recordings and MORE. Now he really stretches his legs across a fantastic full length album that goes way beyond the dance floor and shows many new sides to his sound. The artist has been working on it since 2012 and aims to show people that whatever they think about him is wrong.

Says the artist himself, “the album is named ‘You Don't Know’ because many people have a preconceived idea of who I am. Until now, maybe I wasn't smart enough to show them my roots, what I love and what I can offer to the music. I'm not just a DJ or a producer who can play or make grooves – I love many different genres and many different kinds of music. With this album I want to change that preconception.”

The album kicks off with a dramatic spoken word from legendary vocalist Lazarusman before exploring low slung and sleazy grooves on ‘The Three Chimney’, floaty light melodic and dreamy house on ‘Out of The Pain’ and more club focussed but just as dreamy fair on ‘We All Try’ with Mike Leary.

Proving he can do everything from poolside gems to peak time techno, ‘Fear Is Gunna Be A Player In Your Life’ is one to get you in a trance with its sonar like synths and rolling deep space drums. Thomas Gandey aka Cagedbaby then steps up to guest on ‘1+1’ which is a hands in the air piano anthem to pump the party, and ‘Wanna Do Right, Wanna Do Wrong’ is a techno cut with brilliantly energetic drum programming and a big, perfectly placed vocal sample.

Switching up the vibe is ‘I May Be Dead, But One Day The World Will Be Beautiful Again’ with none other than dance legend Moby. It is a heavenly track with break beats, angelic melodies and a celestial feel that leaves you refreshed. The second half touches on raved-up drum & bass, gurgling minimal techno and harder techno with mind melting acid synths. The Horrorist contributes to the banging ‘My First Pill’, while the techno journey continues with ‘Unite’ featuring Gabriella Vergilov before the album finishes on the fluttering ambient track ‘Insania’, with mad church bells and manic percussion all bringing things to a close in style.

This is a broad, adventurous album that covers plenty of music ground and takes you on a true electronic trip from one of dance music’s most accomplished names.

clear vinyl / vinyl only / incl. dl code

The Dynamic Reflection Limited-series returns with the release of "The Empty House on the Left", by Linear Search. A full album sprung from the exciting collaboration between techno veterans Linear Straight & Jeroen Search. Drawing from their immense collective experience, it's absolutely no surprise that this Belgian-Dutch power-duo have delivered an absolute monument for the minimalistic yet rich techno sound both producers are so well know known for.

DJ Richard's first release of 2019 sees him drop four invigorating electro tracks on Flexxseal titled "Eraser".

Emerging from the Providence noise scene, DJ Richard forges a path of disciplined selectiveness as a producer and DJ with his idiosyncratic style allowing him to make impressive, self-assured connections between 80s EBM, new beat and Italo disco, electro, techno and "post-minimalist" house. DJ Richard's feral approach evolved from the roots of his White Material imprint which quickly achieved cult status after early releases from himself and co-founders Galcher Lustwerk and Young Male.

As a solo artist, DJ Richard continues to push the boundaries of his talent and influences reflected in his two utterly distinctive and bewitching albums released in alliance with influential German electronic label, Dial. "Eraser" sees him join up with fellow American Christopher Joseph and his Flexxseal imprint as DJ Richard masterfully maintains his skill in propagating ephemeral and raw sounds with his aptitude for electronic body control.

"Critical Damage" kicks things off with resilient oscillations fused beautifully with angelic leads and thudding percussion reflecting a post-punk aesthetic while "Eraser" delivers tough, acidic swirls undulating beneath sharp, broken grooves and growling undertones.

On the flip, a slow, chugging drum sequence balanced with haunting modulations and machine-like vibrations that echo throughout take the focus in "His Threshing Floor" before "Casca's Theme" concludes the EP with meandering, robotic synth flutters and distorted bass resonations driven by hypnotic rhythms and world-ending atmospheres in this powerful electro cut.

Introspection Recordings is proud to present his new limited 300 copies series.

A four-track EP that practically oozes class, the debut offering from Italian label Introspection is nothing if not an auspicious one. Featuring four tracks from an evidently shrewdly chosen bunch of artists, Introspection001 takes on numerous different styles and sounds, with the end result one that's thoroughly uncompromising and always engaging throughout. Featuring the work of four Italian producers; E-dward!, Matthew Redden, Lorenzo Magnozzi and BCFHBH, it's a release that dazzles from start to finish.

We get going courtesy of Edoardo Scarpellini aka E-dward!'s 'Got It'. A firm fixture in discerning Italian circles, as a DJ he has played in practically all of his country's foremost nightspots, not least Cocoricò in Riccione, Spazio 900 in Roma as well as Tenax and Fortezza da Basso in Florence. Equally renowned as a producer, his sounds have brought him to a wide range of respected outlets, including Bosconi, Stardub and Apparel Music. A minimal track that's but a sum of a few parts, Scarpellini's contribution here is a dubby, weighty, emotional cut that's high on intensity throughout.

Next up is Matteo Salvadorini aka Matthew Redden. A native of Livorno, Redden's contribution here, the whimsical, curious strands of 'Melancholic Probe In A Sad Space' serves up a very different sound to what's come before. A nimble, microhouse-inspired cut that's both happy and sad while serving up a host of introspective vibes, Redden's contribution here is truly a joy to behold.

The B side kicks off courtesy of label owner Lorenzo Magnozzi and his track, the wonderful 'Acid Morning (Space Time)'. Another track on display here that's been suitably named, it's teeming with peak-time prowess, with its sporadic vocal stabs only adding to the sense of drama. A considerable move into a different sound sphere, it signals the EP's intentions with some prowess. Supported by a host of respected names such as Ricardo Villalobos, Dana Ruh, Raresh, Tobi Neumann and Nastia, his is a sound that defines categorisation but one that always follows a discerning script.

Born in Huntingdon in the UK but raised in Pisa, BCFHBH started his musical journey at the age of 11, meddling with his parent's vinyl collection, a move that would ultimately inspire a life-long love affair with all things electronic music. His deep house flavoured track, 'Kin' is a wonderfully deep number that harks back to the days when deep truly did mean deep. A classy, sophisticated and wonderfully restrained track, it signs off the release in some style.

A1: Madness blasts through the front door, armed with obscure effects and a gnarly acidic bassline. Severe Chicago percussion massacre in the middle, followed by a soothing synth finale. Cum on, you know that’s how Dj RFR does!

A2: Munich mesmerizers Rhode & Brown at their best sonic behaviour. May we call this acid trance wave?
Sure, ‘cos Boys Do Cry.

B1: Born in Romania, raised in London, now Munich’s her home. Oana Leca delivers a fusion of two of her most beloved styles- Minimal House vibes in a blue shimmering Detroit coat.

B2: No-holds-barred for Nik Wookward. The long time Munich affiliated producer drops a sneaky brain intruder. Minimal Deep House with a psychedelic twist, just what we like. So please don’t latch the club gate before…forever.

rRoxymore's long-anticipated debut album, Face To Phase, was born of her annual creative hibernation practice. Whereas her previous appearances for Don't Be Afraid - Thoughts Of An Introvert, Parts 1 & 2 - revealed inner worlds of saturated colour and natural expressiveness, she retreated into her studio at the turn of winter 2018 occupied with the idea of dismantling the dancefloor-centric pressure paradigm.


The resulting album, Face to Phase, finds rRoxymore methodically and mindfully stripping back to fundamentals: rumbling minimalist dub, sparse polymetric drums, boldy unpredictable melodic narratives and subtleties which hover out-of-reach or disappear into vapour. Forged by the spirit of club music cultures, Face To Phase favours deep listening; resisting the temptation to reflect on the past or project towards the future, it's an album that is firmly rooted in the contemporary.


Sparked by her own archive of field recordings, and produced primarily but not exclusively in the box, Face To Phase adds several facets to rRoxymore's already wide repertoire. The pensive and beatless opener "Home Is Where The Music Is" was inspired by her longtime friend Planningtorock, while "Forward Flamingo" is a spiraling dream-state of house music dissociation; elsewhere "Energy Points" remains anchored to the ocean floor, radiating heavy dub waves, "Passages" is a ghoulish skeleton of UK break beats, "What's The Plan" closes the album in a blissfully blunted fashion, while twisting, shape-shifting rhythms push and pulse "PPS21" into series of ever-evolving shapes and forms.


Through and in between the eight songs of Face To Phase, rRoxymore fortifies her status as a seasoned artist, grounded by over a decade of live performance and touring, collaboration, composition and experimentation. With a new live performance collaboration with a percussionist set to debut the LP at Atonal on 1st September, rRoxymore is primed to expand her reputation even further as one of the most vital and distinctive artists on the fringes of contemporary club culture.

Dreamteam pairing of Defaultman and Sapurra collaborate on this highly impressive 3 tracker for Poker Flat Wax. The two have collaborated frequently before, and with this vinyl only release, the juices are really flowing. 'Paperman' kicks things off - a slinky mid-tempo groover with an edge. The tight drums keep the rhythm ticking over while dub fx and a thick bassline add the drama and suspense. On the flip comes 'Groove Tutorial' - as fair a name as any when the programming is this good. The beat shuffles and chugs along, always staying fresh and interesting, while a minimal layer of other instrumentation adds depth. 'Lessons Cost' rounds off the EP, a full jazzy-house excursion that showcases the producers’ wide ranging talents and ear for rhythmic excellence.

“Requiem” is the name of the new Cold Beats Records release. The reference number 14 of the catalan label is written by L´Avenir, the cold synth side project of veteran electronic musician and sound artist Jason Sloan. Known throughout the space and ambient music scenes for his contemplative electronic soundscape work for close to two decades; Sloan founded L’Avenir in 2012 to explore his long time love of synthnpop and dark minimal wave music created purely from analog and vintage equipment. While still retaining the atmosphere of his solo records, the music of L’Avenir is rooted in the tradition of the minimal, analog, synthesizer music of the late 70′s and 80′s ( Fad Gadget, Depeche, Click Click, Chicago’s Wax Trax Records scene etc…). Growing up through the original scene while it was happening, it’s no suprise that Sloan’s music would eventually move in this direction. While releasing over a dozen solo albums and E.P.’s under his own name, Sloan has played live all over the US, Canada and Europe including the influential Live Constructions radio program at Columbia University, STEIM in Amsterdam and Philadelphia’s The Gatherings concert series, one of the country’s oldest continuing ambient and electronic music series. Sloan is a Professor teaching full-time in the Interactive Arts department along with being the founder and program coordinator for the Sound Art concentration at the Maryland Institute College of Art in Baltimore, Maryland. L’Avenir returns with Requiem, the fourth, full-length album for Barcelona’s Cold Beats Records. Requiem finds L’Avenir visiting themes of postmodernity, alienation and spiritualism while expanding the sonic palette far beyond his minimal synth beginnings. The music of L’Avenir has, at times, been compared to 4AD era Clan of Xymox or mid-period Depeche Mode. But while echoes of the former can be heard, L’Avenir brings a uniquely fresh perspective unheard in other bands of the genre. Requiem features eight new songs and is available on limited edition blood red vinyl. Requiem is L’Avenir’s sixth release was written and recorded between February 2018 and January 2019 in a Minimal Space, (Baltimore). Limited edition of 300 copies lacquered pressed on 140 gr. high quality red vinyl and digital album.

Max Duke's first LP “My Sins” is a journey between house and Techno via electronica, with a unique french house touch that forms an unusual and cohesive debut album. It’s the sound of the musical universe and the influences that have taken hold of the french artist. The album unfolds over the course of 11 tracks, each piece serving as a building block and the result of many months of Max’s work. It is the product of experimenting in the studio, seizing the mood of the moment and reflecting on life experiences. Each song has its own story and helps to complete and close the circle of this captivating musical journey. Guitar, piano and synths are his words in the story; the channel that perfectly transmits all the emotions and feelings bottled up in the album. The range of moods, tempos, impressions, sounds and rhythms oscillates between
downtempo and techno with hints of breaks and house.
Straight up dancefloor cuts like “Almost Done”, “Echoes” and title track “My Sins” rub shoulders with the closed-eye mind wandering soundtrack of “Covered”. “A New Reality” emerges as a tribute to 90s trance. The two sections of “Characters” explore an instrumental middle ground between almost orchestral and minimalism. “My Sins” is the work of an artist in constant movement and evolution who opens the door to his unique world in full. The album will be released 30th September on Redlight Music.

Gilles Aiken is not short of space in which to express his distinctive ideas about fusing dancefloor minimalism with a global palette. While his more streamlined house and techno fare is generally released under his Edward alias, Desert Sky has carried some of his wilder ideas with stunning results. The first few releases came shrouded in mystery on a self-titled label, but since then Desert Sky has landed on Assemble Music and Baby Ford's iconic PAL SL. Aiken returns to the latter now with a hefty album project that gives Desert Sky the appropriate room to breathe, and Aiken sounds free spirited and expressive through every inch of tumbling percussion, deft handclaps, spooked out textures and more besides. It's a heady trip through dusty samples configured in fresh, invigorating ways, ranking among the strongest artistic statements Aiken has made to date thanks to its worldly inspiration and otherworldly end results.

Ukrainian born and New York-based artist Matuss is delivering anotherinstallment of Absence Seizure. This time she is teaming up with
Norwegian but could be Berlin depending on the time of year
basslines that are pulsated by some intricate synths.


The Absence Seizure imprint is run by none other than Matuss herself along with Abe Duque and they focus on limited edition vinyl with a
nose for deep and meaningful house and techno. The last release saw the two bosses’ team up on Absence Seizure 11 to deliver some
pulsating beats and orgasmic synths. Expect a deeper cut this time around with the two artists verging more to the house side of the
electronic music spectrum on this project. Karina’s ‘Acid Meow’ is the first track on AS012. Karina is one of The
Zoo Project Ibiza core residents a player of all things vinyl with releases on the likes of God Particle and Cymawax. ‘Acid Meow’ has a
fearless acid-tinged bassline that gives the track a motivating drive. Reminiscent of 90s minimalism she’s kept the beats simple
putting all emphasis on the merciless acid sequence. Tip! Real energy to the dancefloor!


Matuss takes over the EP after the initial cut starting with ‘Travel High’. It has a long build to begin with these quizzical keys that
create anticipation. It discharges with an old school funky bassline that is slowly pushed. It’s accentuated by a ghetto vocal belting out
the title of the track and ends with some punchy percussions and bongo drums. She follows up with ‘Ninja Moves’. A more secretive and sultry number.
It tingles out a smooth bassline and revolves some nice chatter claps and snaps to add a certain silkiness to it. A bit of a floater
it has some beeping 80s keys on it that just add to the sway. If you want your mind to drift
you can get lost in this. Last but as always not least is ‘People Like You and Me’. The track starts with that fun festival horn that makes nostalgia exude out of
your prefrontal cortex. It divulges into these rolling clicks and toms that is carried by this dubbed bassline. Eventually
a bright and sunny synth emits light over the track as the vocals invite you in. The juxtaposition of the synth and bassline just work in harmony and
really make this cut hit home.

Since completing his two-decade-long hip-hop trilogy as Dabrye in 2018, Ann Arbor-based artist and Bopside label head Tadd Mullinix has engaged his arsenal of aliases with renewed heat. First came the debut of X-Altera, a new project flexing a wildstyle hybrid of drum & bass and deep techno. Now, he returns to James T. Cotton, a moniker which dates back as far as Dabrye and helped define Spectral Sound, the dance imprint of Ghostly International. While historically tagged as Mullinix’s acid house alias, JTC has always expressed with a more pliable sense of genre, freely fusing an eclectic blend of classic electronic sounds; helpings of Chicago acid, Belgian New Beat, and the leftfield techno stylings popularized both in Berlin and Detroit. With Indigo, Flesh and Fire, Mullinix moves closer to the latter city, adopting a bright, optimistic tone informed by minimalism and futurism.

"I have been more withdrawn and introspective on a personal level, in a positive sense, and I think that fact has made my creativity reach toward feelings about peace, positivity, fantasy, wonder, and openness,” says Mullinix.

The EP is packed, but still playfully ambiguous; a club-ready set built to max out mixing boards with spacious and nuanced melodies and motorized percussion. Five tracks, each with roughly five-minute run-times, offering all but a few breaths in a quest for highly operative dancefloor hypnosis. The record wastes little time locking in; on the first track, “Innerloire Rendezvous,” a dense square kick plows through a brisk four-on-the-floor routine phasing over harmonious synth stacks of rubbery fifths and sevenths. The title track splatters a lenticular static spray between thumping kick, billowy melodic swells, and staticky clicks, snaps, and claps.

Mullinix’s distilled musical vocabulary, developed by his many years in the game, gives the set a misty-eyed quality without compromising its contemporary merit. This is music, inspired by history but fiercely forward-thinking, that feels both subterranean and airborne; in the grind on the ground and soaring above in an iridescent super-charged fog.

key selling points: - Debut release on Spectral Sound - Past releases on Firm Tracks, Nite Owl Diner, Sweat Equity, FCR, Clave - Limited to 300 copies worldwide.

Masks is New York duo comprised of Max Ravitz aka Patricia (L.I.E.S, Opal Tapes, Ghostly) and Alexis Georgopoulos aka Arp (RVNG Intl, Mexican Summer, DFA, Smalltown Supersound). The aptly titled EP2 is (yes, you guessed it!) their second release, preceded by their Opal Tapes debut Food Plus Drug (II) — which gained support from Legowelt, Mount Kimbie and Boomkat — and a compilation appearance on esteemed Beats In Space 15 year anniversary 3xLP.

On paper, it might strike one as a strange duo. Ravitz’s work leans heavily on house and techno, but his recent work has been focused towards emotive melodies of IDM. And Georgopoulos has been busy creating minimalistic classical music for RVNG and most recently made waves with his critically-acclaimed album Zebra, which combined elements of 4th World and cosmic jazz.

All the tracks making up EP2 were made as live performances. No overdubs. Nothing "in the box". Just classic hardware and a strong vibe.

Opener "In This Room" is the sound of a NY summer sunset, pivoting on a hypnotic rotation of orange-hued chords. "Emotional Response" displays a different side of the group. Combining a 909 with a piano tug, it could provide that perfect soundtrack to a cathartic cry on the dancefloor.

On the flip side, "In Another Room" is dreamy techno par excellence, before sliding into an acid chugg for the ages. Bookworms smears the sun of "In This Room" into a 4am whirl, all purple lights and mountains of fog.

The cover artwork features the artwork of Sanou Oumar, a recent emigrant from Burkina Faso, West Africa. He graduated from the University of Ouagadougou in 2007 and moved to the United States to seek asylum in 2015. He currently lives in the Bronx and works in Harlem, New York. In 2018, Oumar had his first two-person exhibition (with Matt Paweski) at Gordon Robichaux in New York, and in 2019 (with Elisabeth Kley) at South Willard in Los Angeles, curated by Matt Connors.

Next up on Church, the London label turn to Germanys Julius Steinhoff. As a label head himself, Julius has crafted an undeniable sound that resonates deep within the underground scene, and one that fits well within the Church ethos.


The Forgotten Garden EP kicks off with the title track , a deep and moving house cut with a driving bass line taking centre stage alongside reverb drenched vocals. 'To Your Care' welcomes a sunrise triggering piano part, deep with orange is floats elegantly around an irresistible drum groove and rising bass line.
'So Very Close' again features the punchy bass line, trippy vocal snippets but with more of a rolling groove for the B side. 'Gonne Be With You Forever' takes its all a little punchier and minimalistic, carried by deep and emotive synth lines it closes the show in fine form.

From da Split # 1, 1st split EP of a big series on Increase the Groove Records. With ODEN & Fatzo and Kizoku and Luks on the B1. Mixing the worlds of Breakbeat, House, Minimal & Hip-Hop while being groovy and lively, this split EP will delight the curious!

Tea Room is a new vinyl-only record label from Moscow, Russia. It's mostly house and tech-house. First and last tracks of TE001 are done by Komey, transmitting sounds, lots of percussion and short, interesting sounds. Second one is a remix by Kresy, with beautiful chords and harmonic pads. Third track by Wyro was made in his original minimal style.

Crump returns to Chris Farrell's label with two deep, dubby and swung minimal house tracks

Tekvision Volume 1 was a stone cold classic, with Rolling Stone charting it at #3 in their top 20 EDM records of 2017. Two years on, Cornelius ‘Traxman’ Ferguson returns with the second instalment, featuring 7 exceptional new Footwork productions. Traxman is a bonafide OG, with a discography dating back to the halcyon era of Ghetto House in the late 80’s and early 90’s. 30 years on, Traxman is a revered figure in Chicago’s urban music scene, having presided over the evolution from Ghetto House to Juke and from Juke to Footwork culture. Originally released in 1989, Work Dat Mutha Fucker by Steven Poindexter is considered to be one of the most influential tracks from the early days of Ghetto House. Traxman remixes it brilliantly on this release, reworking the stripped back, minimalist drum beat of the original into an upfront Footwork pattern. This sense of continuity is equally evident on Let Me See You Naked feat. DJ Juicy, and Traxman’s remix of To Da Hoooz by DJ Deeon. These productions successfully capture the sexual energy and exuberance of Ghetto House, turbo charged at 160 BPM. Elsewhere on the record, Traxman explores different moods whilst always keeping the dance floor firmly in mind. The opening track It’s Lasting Bass lays an infectious vocal harmony over complex drum patterns and a fearsome bassline. Osaka opens with mellow, sultry keys before introducing a wobbling synth and diced up Orchestal samples. 4 Da Lyfe is a soulful and slightly more meditative track, with a vocal loop expressing solidarity and self-affirmation. Wildcard feat. Jana Rush, stands alone as the only track without a vocal element, instead utilising a piercing and insistent synth to create a powerful sonic intensity. Overall this is triumphant record, and a worthy successor to the original Tekvision release, proving once again that Traxman is an unrivalled exponent of MPC-driven footwork energy.

After the last press by Swoy, we're happy to scream that we've reached the 8th level with a massive release by the Italian crew Unknown Collective made by the mind of Fulvio Ruffert.


Fresh from a lot of vinyl release this year and here we can feel their capacity and flexibility in the studio. First track "Func" is a minimal - deep house influenced track with a cool bassline fit for heating the dancefloor. After the original version we have the remix from the famous French duo: Politics Of Dancing. They put their proper touch into the track by giving a rough sign to the bassline. On the B-side we find another original track; "Zolfo" is a Chicago-House-Acid track that remember us the sound of the big Brian Harden. The last but not the least is the collaboration with mister Earlydub: Loquace. This one is a massive and fresh work bringing you inside a tunnel without any escapes.

Dapayk & VARS show their full potential on their first album released on Ritter Butzke Studio.

For over two decades now „Dapayk“ is on of the driving forces of the international Techno- and Electronic scene. With projects like „Dapayk Solo“, „Dapyk&Padberg“ and cooperations with many well-known artists around the world the Berlin based producer always searches for new ways to express his creativity. Now in 2019 he is turning over a new leaf with „Dapayk & VARS“ where he creates a mixture of Deep House, Indie and Minimal Electro combined with the extravagant voice of VARS.

VARS as a young and aspiring artist who already had a lot of experience in Indie- Rock and other genres as a singer joins the group with his youth and uncompromising passion to take new paths regardless of what old habits dictate.

Together they create a distinctive sound that is bridging the gap between old and modern fashion, neglecting but still accepting genres and fuse what is different. Their album shows those concordances and discrepancies in a refreshing and thrilling way.

WRWTFWW Records is blissful to announce the expanded reissue of one of the most fascinating Japanese ambient/environmental albums ever made, NOVA + 4 by Yutaka Hirose. The double LP includes the album known as Soundscape 2: Nova, sourced from its original masters, as well as 50 minutes of never-released-before recordings. It comes in a beautiful gatefold sleeve, packed with liner notes from the artist in English and Japanese. NOVA + 4 is also available on double digipack CD.

Initially released in 1986 as part of the Soundscape series* commissioned by Misawa Home Corporation for use in their prefabricated houses, Yutaka Hirose's NOVA has grown to become a mythical piece of the Japanese minimalist/ambient/environmental scene of the eighties. Initiated around the enchanting landscapes of the two first tracks recorded for the project, "Nova" and "Epilogue", Yutaka Hirose's magnum opus serenely blends vintage synth with nature sounds, exploring soothing palettes and organic backdrops. For "Slow Sky", Hirose explains he "went for a pointillism-like sound, and tried to express a scenery of awakening, where the portal of a heart is opening up", while on "Humming The Sea", he "tried to compose a kind of music that expresses the daily, lazy life of child-like innocence in a summer vacation in some small town."

The bonus LP gathers four long unreleased pieces created around the same period of time for installations, described by Yutaka Hirose as "not music per se but rather sound sculptures", and including the haunting "Shadow Of A Water Droplet" which was recorded for an Ikebana exhibition.

All in all, NOVA + 4 is a transcendent experience of nature in the urban context, an oeuvre which, much like Midori Takada's Through The Looking Glass or Satoshi Ashikawa's Still Way, holds the power to appease the soul in turbulent times. As one inspired YouTube commenter once said when describing Yutaka Hirose's masterstroke: "I can't tell if the birds are singing inside or outside! Thank you!"

*The Soundscape series also includes Hiroshi Yoshimura's Surround album.

After releasing the single “Čista ljubav” back in 2012, Marinada
and producer Qwerty continued to synthesize the band’s rich
catalogue. This collaboration album features eight songs
where Qwerty utilizes his playful approach to dance music
strongly tying together Marinada’s truthful voice and sensitive
instrumentation. The two sides bring in a wide range of
influences into the mix: from retro techno-pop and new wave
to contemporary braindance and acid house. The electronic
sounds are wrapped around simple and repetitive lyrics that
are simultaneously clearly relatable (if you speak Croatian)
and fully mystifying. Marinada has been a truly productive
phenomenon on the Croatian music scene, putting out more
than 20 albums woven from lo-fi electronica, acoustic
minimalism and art rock. Besides the hometown, the band is
connected to Qwerty via the family tree: the brothers have
been making IDMy techno sounds since the late 1990s and
releasing music on labels such as Phthalo and Breakin’
Records.

birthportal presents its second release featuring tracks from Mr. Stiff.
Look deep into your chonchousness, textures and intricate rhythms coalesce within the essential realms of possibility. As imminent rigidness prevails over the mass psyche, those who understand to meld with the motion of experience reciprocate the most invariably. As we proceed we discover austere, perhaps absurdist, levels of techno funk and minimal jamage.

Techno, House, Minimal

Nikizi makes his debut on 38, Perpet's new sub-label. Minimal house & breaks.

Zru Vogue is a two man post punk avant-pop group from Palo Alto, California, combining the talents of Andrew Finkle and Rick Cuevas.

The band began in 1980 as a four member group: Rick, Andy, Tom Sanders and Nancy Miller. Tom and Nancy left the group shortly after the first single, "Nakweda Dream", was released by independent San Francisco label Adolescent Records in February 1981. Inspired by rave reviews and heavy airplay on alternative radio stations, Andy and Rick went back into the studio, now as a duo, to record some new ZRU tracks.

The self-tilted LP was released on the band’s Zero Risk Records in 1982. It contains eight compositions blending African tribal and Middle Eastern rhythms, avant-garde rock, minimal electronics, and funk-rock guitars.

The duo’s sound is inspired by the art and anti-art movements of Dada and Surrealism. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a replica of the original jacket, which features artwork by the group members, and includes the original 2-sided lyric sheet.

Point G remix by ,the new Point G project for 2019 features a very Serious 12 inch for the summer with two legends and two fresh youngsters on the A side “ Celestial” is getting remixed by New york City Legends Satoshi Tomiie , the Japanese Born who moved to new york to join the DEF mix crew along with Franckie Knuckles and david Morales Delivers a Minimalistic Bomb , a deep rollercoaster Jamed With Modular synth and all type of goodies FXs. A2 is “Can you “ Jay Ka remix who took a complete different angle , here we get a Dope funk trip , the prefect tool for Nu disco Strong driven set B1- The Classic Point G tracks “ Balea “ gets remixed by I Cube , The Mysterious French legend gives a super fresh reinterpretation of that bliss summers classic putting the Balearic feel somewhere else. A Must Have B2- Take Me - Siler remix , we know silver thru his label Pop corn records , he delivers here a Futuristic house vibe that s gonna put the Floor on Fire Point G records gives us a Serious Release for The Summer not to be Missed .

WE R THE ALIENS is a fresh new label based out of Hamburg and Berlin. The label marks the start of a new chapter for Wareika’s beat machine Jakob Seidensticker, former Square Room Hero Boronas, and American house import Snad. Together, they are Mothership. The maiden voyage begins with this clubby three-track trip. Groovy technoid cut “Dubby White” sets the course, evolving into the spooky yet driving minimal house track “Melting” feat. Zhiqi Song.
Finally, Smallpeople round up the release with an uplifting House Remix of “Dubby White” perfect for warmer days.
Join us in welcoming the Mothership; the alien invasion has begun.

Vor 20 Jahren startete Chloé Thévenin ihre Karriere mit Mixer und
Plattenspieler, bereits 1999 zählte sie zur Speerspitze der Pariser
Techno-Szene. Seitdem kennt man Chloé als technisch versierte und
groovig agierende DJ mit Vorliebe für Deep House und Minimal. In der
französischen Kapitale sind besonders die Batofar-Residency und PulpNächte im Rex in Erinnerung geblieben. Ihre Skills präsentierte sie einem
größeren Publikum auf Mix-CDs wie "I Hate Dancing" (2004) oder "Live
At Robert Johnson" (2008). Hinzu kamen regelmäßig eigene
Produktionen, die sie auf über einem Dutzend 12_ÇÖ_ÇÖes
veröffentlichte. Daneben brachte Chloé mit "The Waiting Room" (2007)
und "One In Other" (2010) auch zwei Großformate heraus. Dass es bis
zur Fertigstellung ihres dritten Langspielers sieben Jahre gedauert hat,
erklärt sich für Chloé durch die Wechselfälle des Lebens. Aufgrund
spannender Kollaborationsarbeiten und verschiedener
Kompositionsaufträge für Filme und Installationen blieb ihr zu wenig Zeit
für die Albumproduktion. Außerdem gründete sie mit Lumière Noire ein
eigenes Label, auf dem "Endless Revisions" als eines der ersten Werke
erscheint. Dieses gleicht einem elektroakustischen Soundabenteuer und
hat mit Tanzmusik nichts am Hut. Zwar mäandern immer mal wieder
satte Beats durch die Tracks, aber eben nur als ein Element unter vielen
anderen. Ein Album für den kontemplativen Hörgenuss