Поиск:mission one

Digging 80s pop obscurities has long been part of Emotional Rescue's mission statement and the unearthing of this cover of the Talking Heads classic by the little known, Italian new wave band Politrio for a limited 7" press is a worthy addition.
Formed by guitarist, songwriter and producer Giorgio Canali alongside Massimo Sbaragli and Roberto Zoli for the short-lived project. With just one album released of new wave, pop rock, it was their contribution to an Amnesty International benefit LP that spawned this excellent version of Byrne, Franz and Weymouth penned classic. Coming out of the CBGBs scene of post-punk downtown NYC, the song, released on their aptly titled 1977 "77" debut album, has gone on to become one of the defining songs of it's time. Further enhanced with their mesmeric performance in the 1984 Stop Making Sense film and album, it has been ripe for reinterpretation. Politrio's version keeps and captures much of the original, but with their own swing, rhythm, Italian-English vocal delivery, rock guitar, bells and keys. While remaining instantly recognizable, this is a unique version, with the straightened drumming giving it some added punch and kick.
This is backed by a systematically cool, delicate but additional re-edit by the Berlin based Italian duo Dama and Budino aka Double Wave. Rising names in the Berlin scene they are part of the Oscillator collective, label and parties and can be heard at some of the best parties right now.
Letting the instrumental interplay of funky, slap bass and rock guitar have more time to shine, the edit builds and drops, dubs and builds again to the vocals and lyrics known so well, offering an alternative sing-a-long for the more wonky DJs and dancers out there.

Polish producer CYD joins the ever impressive E-Missions with six leftfield cuts in 'Disassemble Yourself' EP.

Launching in New York last year, the first three E-Missions releases came from co-founders P.Leone and Caiazzo. Since then the label has relocated to Berlin, developing its roster throughout 2018 with quality releases coming from Tred and Rush Plus that further cemented the label's growing reputation as one of the most interesting labels to emerge in recent years. Joining the roster now, CYD aka Karol Kazmierzewski has been making music under various aliases for the best part of two decades and has developed a versatile yet distinct sound as a result.

Swelling synths and grainy effects open the release in 'A Warmness You Can't Touch' before moving into the downtempo beats and scintillating melodies of 'Halcyon Dreams'. Up next, 'One Winged' ups the energy with crashing percussion, twisted effects and serene female vocals, making way for a layered composition complete with echoing atmospherics titled 'Hidden In The Forest'. With its dystopian aesthetic, 'Initiation' is the most ominous on the package, whilst 'Not So Shallow' incorporates chopped samples and quivering chords for a hypnotic conclusion.

Here at Death & Leisure we are on a continuing mission to surprise and experiment, and so with our new release we present something very special, Blackmoon1348 and The Tibetan Monks of The Tashi Lhunpo Monastary. This project sounds like nothing else, it fuses heavy drone guitar sounds with traditional tibetan throat singing and live instrumentation.

BlackMoon1348 in collaboration with the Tibetan Monks of the Tashi Lhunpo Monastery (Tibet/ India). 2017 BlackMoon1348 embarked on a cultural experimentation of cultural diversity in the arts, forming a collaboration of ancient Tibetan ceremonial practises and instrumentation with sub-harmonic drones and industrial soundscapes. The music amalgamates sacred mantras that date back to the early teachings of Tibetan Buddhism practised in the Tashi Lhunpo Monastery, with heavy detuned western instruments, synths, and electronic music for the first time in recorded history. The Tashi Lhunpo monastery was once home to the Panchen Lama who subsequently 'disappeared' under the oppressive Chinese rule of Tibet. A handful of the Tashi Lhunpo monks were fortunate to escape into exile and have since re-built the monastery in Mysore, South India - now flourishing with over 400 monks practising within the monastery. Tibetan Buddhism is an outlawed ancient tradition within Tibet - monks, nuns, and Tibetans cannot openly practise their heritage and traditions, forcing Tibetans to inhabitable plateaus, with such areas are now under 'Chinese Re-development', the land being stripped of natural resources for China's ever growing economy and totalitarian rule. Tibetans face persecution for as little as owning a Tibetan flag, or picture of the Dali Lama, with such actions landing you in jail, tortured, poised, and/or being released just before the point of death. It is important for us to remember and celebrate the traditions of the Himalayas and its sacred, peaceful practises.

The music was recorded live in one take at Flesh and Bone studio in Hackney for NTS Radio's Black Impulse show. Engineered, mixed, and mastered by Oliver and Owen at Flesh and Bone, capturing the raw, ethereal essence of the collaboration and ceremonial sounds buried deep within the Himalayas. This was the first time in history for such collaboration of tradition, ideology from Adeline Rozario and orchestrated by David Kerry of BlackMoon1348 who created this music to diversify and bring together ceremonial instruments, diversifying the metaphysics of transcendence through ceremonial Tibetan practises.

It is important to understand that BlackMoon1348 are not attempting to change the fundamental meaning or belief of the Tashi Lhunpo Monks, or assume to have a deep-rooted understanding of the ancient traditions of Tibetan Buddhism, This is our understanding of Tibetan culture and practices as truly and honestly as we see and feel it, and our attempt to spread this beautiful, sacred, culture, and keep it alive within today's society.

Liberation through hearing.

"The Room", Fenster's fourth album and their first release on Altin Village & Mine marks the beginning of a new chapter for the band. After releasing three albums, a feature length film, and touring extensively throughout Europe and North America since 2012, "The Room" serves as an entry point into their sonic evolution. The essential characteristic of the band is transformation - within and between genres, albums, and songs. Their sound is a window framing psychedelic, groovy, hypnogogic, playful pop.

Fenster is Elias Hock (Germany), Jonathan Jarzyna (Germany), Lucas Ufo (France) and JJ Weihl (USA). Their mission in creating this album was to compose and arrange every song together in a room. It is an experiment in collective creativity that pushed all of them to transcend their individuality and create something together which is greater than the sum of its parts.

The songs were tracked live in a house where the band ate, slept, and played together. Often the songs were recorded without implementing a click track. They were intent on finding and locking into a human groove—one open to imperfection—while still maintaining a tightness between them. They wanted to make the songs feel alive—as if the listener were present in the room with them in the moment of creation.

The album's title track "The Room" opens the record like a rollercoaster ride. There is a tension in the first bars that ties us to earth, a minimal riff that guides us to the first chorus where we feel we are slowly lifting into the air—and by the time we reach the second chorus it has exploded into a space far away from the planet's gravitational pull.

The band's use of juxtaposition is not just a way of channeling a vast library of musical genres and concepts, it is a means of expression. Combining tender pop melodies with kraut-beats, disco grooves and psychedelia frees the band from any one sound and creates a genre all its own.

This playfulness is especially vibrant in songs like "Rhythm A" and "HAHA lol" which deconstruct and fuse together disparate moments of explosive rock, tender harmonies, percussion made of splashing water, voices from a radio, and electric piano. Even "Feel Better", a sparkly pop ballad is cracked wide open by a long trippy interlude that appears unexpectedly within an otherwise classic structure.

The cover art, created by the band's own Lucas Ufo, invites us into a room in the shape of a human skull. If one looks "out" the window in the picture, one finds oneself looking in to an infinite portal of rooms within rooms. The record plays a lot with this idea of perception. In "HBW", the relationship between the bass and the drums creates the feeling of an infinity loop. The lyrics lend an enigmatic tint to the landscape of so called objective reality v. perceived reality: "I was a phase — you were going through — said I was the one but there is no one — there's only the sun — that gives shape to the moon"

The record starts with "The Room" and ends with "Two Doors". Maybe one door is an exit, and one leads to another room... who knows The song has something mysterious and expansive, like a digital ocean flooding the room, carrying everything away. The whole process of making a record is about capturing a moment in time. This is the record they made - in this point in time, all together, in a room. The last words of the record roll out with the waves: "What you leave behind for someone else to find — Two doors inside — neither one is right"

Tracklisting

Takashi Kokubo - A Dream Sails Out To Sea (get At The Wave) (lagrec003)
Recorded In 1987 As Promotion For A Luxury Air Conditioning Line, Takashi Kokubo's Balearic Gem A Dream Sails Out To Sea Gets First Ever Official Release From Lag Records, Complete With Previously Unheard Music.

Originally Only Available As A Sought-after Promo By The Name Of Get At The Wave, Takashi Kokubo's Mini-masterpiece Of Halcyon Mastery Finally Re-emerges For The First Time Since 1987 With A Remastered Vinyl Edition Courtesy Of Uk Label Lag Records.

A Dream Sails Out To Sea (get At The Wave) Comes Not Only With A New Title, But Also A Brand New B-side As Taken From Get At The Wave's Original Recording Sessions. Never-before Released, The Epic Ocean Breeze Makes The Perfect Companion For The Sonic World Kokubo Created With His Original Release, Imbued As It Is With The Same Serene Sense Of Understated Beauty.

The Original Story Of A Dream Sails Out To Sea Is As Interesting As Kokubo's Own Backstory As A Musician And Sound Artist. Originally Composed To 'soundtrack' A High-end Air Conditioning Line From Japanese Electronic Giant Sanyo, The Album Was Meant To Transport The Consumer Into A Paradise Far Away From The Heat And Hurry Of Urban Life. One Listen To Something As Splendorous As Underwater Dreaming, And It's Mission Accomplished.

Takashi Kokubo Meanwhile Is A Musician Whose Work, Without Many Knowing It, Has Perhaps Touched The Most Lives In Japan. Composer Of Environmental Music Such As Nationwide Phone Alerts To Warn Of Oncoming Earthquakes, And The Fruitful Jingle Of A Standard Contactless Payment, Kokubo's Oeuvre Also Includes Anime Soundtracks And Works In The Avant Garde Realm.

It Is With Kokubo's Blessing And Original Masters That The Lag Records Release Has Been Made Possible, With A Remastering Courtesy Of Jerome Schmitt At The Airlab. A Dream Sails Out To Sea (get At The Wave) Also Comes With New Artwork By Ella Mclean In A Standard Sleeve On Clear Blue Vinyl Lp.

Silicone Soul welcome the return of old friend Justin Robertson as he brings his much- loved Deadstock 33s project back to Darkroom Dubs. Last spotted on the label only a matter of weeks ago with 'Infinite Interchange' on the 'Darkroom Dubs Presents Summer Love' collection, here he builds on the momentum with two more singular missions deep into the timeless analogue abyss. What's more, they come covered with a print of one of Justin's very own hand-drawn pieces. 'Dr. Spectro On The Frontier' marks the start of this new Deadstock trip. Celebrating the lesser spotted DC super villain who could control people's emotions with a brazen line or two of sinewy acid; what starts off dark and gnarly gradually unfolds into a much more emotional narrative. Watch out for the harmonic riff that rekindles feels of raving fields and a salvo of chords towards the climax that genuinely will control your emotions.'The Music Is Madness (To Those Who Cannot Hear It)', meanwhile, is more than just a poetic title. Already a summer anthem at A Love From Outer Space, it's a roomy, cosmic affair that's laced with layers of trippy textures and chugs at a cool 120. It's one of Justin's classic signature smouldering sessions; what ostensibly seems forlorn and introspective is actually coded with deep hope and positivity. You'd be mad not to hear it.You'd be mad not to stay tuned too... For the first time in Darkroom Dubs history, this release and all this year's vinyl dispatches will be released digitally as part of an end of year compilation, 'Tales From Underground Vol. 1' and will also feature an exclusive Silicone Soul remix of Rigopolar & Cannibal Ink's 'Thousand Years Before'. And to round the year off The long-awaited new single from Silicone Soul themselves.

2022 repress

currently the rediscovery of long forgotten japanese electronic, jazz and new age music is at a peak like never before. but although many re-issues already flood the record stores around the world: the large, diverse musical culture of japan still got some gems in store that are really missing.

for example, it is still quiet around the the work of japanese bass player, new-age and ambient musi-cian motohiko hamase. when the today 66-years old artist started to be a professional musician in the 1970's, he quickly gained success as a versed studio instrumentalist and started to be part of the great modern jazz isao suzuki sextett, where he played with legends like pianist tsuyoshi yamamoto or fu-sion guitar one-off-a-kind kazumi watanabe.

he also was around in the studio when legendary japanese jazz records like 'straight ahead' of takao uematsu, 'moritato for osada' of jazz singer minami yasuda or 'moon stone' of synthesizer, piano and organ wizard mikio masuda been recorded.

in the 1980's hamase began to slowly drift away from jazz and drowned himself and his musical vision into new-age, ambient and experimental electronic spheres, in which he incorporated his funky medi-tative way of playing the bass above airy sounds and arrangements.

his first solo album 'intaglio' was not only a milestone of japanese new-age ambient, it was also fresh sonic journey in jazz that does not sound like jazz at all. now studio mule is happy to announce the re-recording of his gem from 1986, that opens new doors of perception while being not quite at all.

first issued by the japanese label shi zen, the record had a decent success in japan and by some overseas fans of music from the far east. with seven haunting, stylistically hard to pigeonhole compo-sitions hamase drifts around new-age worlds with howling wind sounds, gently bass picking and dis-creet drums, that sometimes remind the listener on the power of japanese taiko percussions. also, propulsive fourth-world-grooves call the tune and all composition avoid a foreseeable structure. at large his albums seem to be improvised and yet all is deeply composed.

music that works like shuffling through an imaginary sound library full of spiritual deepness, that even spreads in its shaky moments some profound relaxing moods. a true discovery of old music that oper-ates deeply contemporary due to his exploratory spirit and gently played tones. the release marks another highlight in studio mule's fresh mission to excavate neglected japanese music, that somehow has more to offer in present age, than at the time of his original birth.

Ahead of the release of his new album Book Of Life, Erased Tapes will re-issue Stories, the first in a trilogy of vibraphone solo albums by Berlin-based composer Masayoshi Fujita. This quietly exquisite album is like a book of illustrations, evoking scenes of natural beauty and poetic poignancy that combines climactic crescendos laced with electronic detail and luxurious melody. Stories is the beginning of Masayoshi's mission in bringing the vibraphone — a relatively new invention in the history of instruments often kept in the background in orchestras and jazz outfits — into the spotlight. Having trained as a drummer, Masayoshi began experimenting with the vibraphone, preparing its bars with kitchen foil or beads, playing it with the cello bow or using the other end of the mallets to create a more ambient texture of sound. Focussing on the vibraphone in this way sets Masayoshi apart, dedicating his artistic life to celebrating this fascinating and often under appreciated instrument and making his take on ambient and modern compositional styles a unique one.

Daniel Lopatin Aka Oneohtrix Point Never Lässt Seinem Hochgelobten Neuen Album "age Of" Die Limitierte 4-track-ep "we'll Take It" Folgen. Der Titeltrack Ist Als Albumfavorit Gleichzeitig Die Neue Singleauskopplung, Die Übrigen Drei Tracks Sind Bislang Unveröffentlicht. Eine Editierte Version Von "trance 1" War Übrigens Teil Des Radiosignals "a Message From Earth" Zum 40-jährigen Jubiläum Der Golden Records, Die An Bord Der Beiden Voyager-missionen Mit Klängen Und Bildern Von Der Erde In Den Weltraum Geschickt Wurden.

While notorious in the Chicago streets, RP Boo's music had been unfairly confined to a few white labels and self-released mixtapes until his two archival Planet Mu LPs Legacy and Fingers, Bank Pads & Shoe Prints introduced broader audiences to his sonic history, some of it fifteen years after it was first recorded. I'll Tell You What! is the next step in his mission, and the first time he's released an album of contemporary material. The title, a favorite maxim of his, welcomes listeners to sit down and let him narrate in the unforgettable abstract fashion he's known for. He explores familiar motifs such as the cosmos, movement, and opposition, using densely interwoven vocals, unpredictable percussion, and evil humming bass as his tools of choice. RP Boo's music doesn't follow the traditional rules that most compositions do. Layering decades of samples from yesteryear to the present over his commanding vocal cut-ups, he transports the listener to their own realm of the space-time continuum. The main difference between this record and his prior work is now we hear Boo tell new stories about preaching his gospel outside of Chicago, from his experiences frantically touring the globe over the last five years. The words 'things ain't been the same / since I hopped the plane' are repeated on top of engine sounds and rumbling bass on Flight 1235, a glorious paean to his new jet-setting adventures. The spirit of competition runs through RP's veins as much as blood does, something you can't unlearn when you've been making music for Chicago's footwork circuit as long as he has. The local culture has served as a shelter from the violence that has plagued the city, pitting kids against each other with their feet rather than weapons. On At War Boo reminds us 'we are at war in the streets', a double meaning to both the mayhem in this world and the sweetness of rivalry on the dance floor. Another battle-themed track Cloudy Back Yard, one of the spacier moments on this album, is an abstract on the state of footwork's home. Chicago remains the backyard of this artform even though it's left the porch and traveled to new neighborhoods worldwide. Back at home though, competition among the DJs and dancers continues, and as the man himself says, 'with all this hate, there's smoke, and it's cloudy'. I'll Tell You What! throws more than a few curveballs into the mix. Footwork has always borrowed from hip-hop, and many vocal tracks are almost condensed raps, dating back to the street chants pioneered on Dance Mania Records in the ghetto house days. On Bounty, Boo grabs the mic and brazenly lays down a full-on verse of terror over a thick atmosphere of his signature sweltering low-end and erratic Roland R-70 patterns. While he's most famous for his confrontational battle anthems, his melancholy moments are just as powerful. You get the best of both of those worlds on U-Don't No, with soulful samples finishing his own cocky sentences, one of the most elegant tracks RP has made to date. Deep Sole closes the record out, with the words 'It's always beautiful at the end' looping over waves of hypnotic synthesis, confidently looking death straight in the eyes.

Helsinki's We Jazz Records Presents "y-otis", The Debut Lp From Berlin-based Swedish Saxophonist/composer Otis Sandsjö, Joining Forces With Keyboardist Elias Stemeseder, Bassist Petter Eldh And Drummer Tilo Weber. The Album Is A Forward-reaching, Multilayered Collection Of Eight Originals Penned By Sandsjö And Produced By Sandsjö And Eldh. What You Get Is A Form Of "liquid Jazz", Born In An Era Where The Understanding Of Jazz As A Musical Language Has Evolved Way Beyond The Concept Of The Previous "modern". Informed By Hiphop And Electronic Music, "y-otis" Is Pure Jazz In That The Quartet Stays True To Its Constant Mission Of Creating A New Form Of Musical Communication. Sandjö's Circular Sax Riffs, The Album's Rich Production Touch, And The Chopped-up Jazz Form Creates A Musical Concept Which Stays Melodic And Beat-laden While Being "free" Right To The Edge Of Avantgarde. It's As If The Music Is Sampling Itself, Constantly Keeping Ahead Of The Curve In The Musical Lineage Of Jazz.

Otis Sandsjö (b. 1987) Hails From Gothenburg, Sweden. He Is Known Previously For Example For His Inspired Work On Singer Lucia Cadotsch's Globe-trotting Trio Formation "speak Low", Also Featuring "y-otis" Co-producer And Bassist Petter Eldh. Elias Stemeseder Was Dubbed One Of The Top 15 Young European Musicians To Watch By All About Jazz In 2017. Tilo Weber Ranks Among The Most Creative Young Drummers In The Scene. Stemeseder Is Currently Based In New York, While The Remaining Three Musicians Here Live In Berlin. Live On Stage, The Band Performing The Material On The New Release Is Called Y-otis.

The mighty Casey is up to bat once again for Love Notes from Brooklyn. This time, though, it's a more complete three track artist EP on offer. The music, of course, encapsulates everything that's great about Casey's sound: the lush pads, the crispy percussion, the emotional strings, and the dance-floor destroying basslines. Alternative Faction utilizes one such dancefloor destroying bassline to create a real fist pumping moment in the title track; That Time of Year uses a wriggly acid synth line over the aforementioned emotional strings, and to great effect; and New Mission ends the EP in a unwavering fashion; with heartstring-tugging, terk jerking, emotional pads over an acid line in signature Casey Tucker fashion. Dare we say yet another classic both artist and label's catalog

Warm return once again... One of the most consistent and influential agencies to have operated in the 2000s, the collective continue to develop their original agency, events and record label, and things are heating up very nicely. Following soul-arresting releases from Elliot Lion and Face + Heel comes this four-track odyssey from Belfast's Lunar Orbit Rendezvous AKA LOR. Ready for take-off

Our mission is set with 'Mystery To The Viewer', but what is the main mystery Is it the gravity-defying thrust of our engines or the identity of the anonymous (yet well spoken) narrator Listen closely for clues amid the heavy pulsating chords as we break away from the earth orbit and plunge deeper into the stars.

'In This Detail' sees us hurtling further and further into the dark unknown. There's a deep chilling aesthetic at play here as LOR makes his 808s weep with the loneliness only a long-stay astronaut can sympathise with. In perfect contrast, the isolation is balanced by the direct and vital 'Oriole'. One of LOR's earliest projects, updated with all the skills and techniques he's learnt on labels such as Exit Strategy and Cin Cin, it's a vital composition that rises and rises as we engage hyperspeed through the cosmos. 

Finally we land back on our home planet to the marching momentum of 'White Light'. Almost stately in its pace and rhythmic stride, things suddenly take a turn for the intense as a warping bass siren triggers a much darker direction and a series of spasmodic kicks and heavily shelved filters. Welcome home...

Helsinki's We Jazz Records presents "Y-OTIS", the debut LP from Berlin-based Swedish saxophonist/composer Otis Sandsjö, joining forces with keyboardist Elias Stemeseder, bassist Petter Eldh and drummer Tilo Weber. The album is a forward-reaching, multilayered collection of eight originals penned by Sandsjö and produced by Sandsjö and Eldh. What you get is a form of "liquid jazz", born in an era where the understanding of jazz as a musical language has evolved way beyond the concept of the previous "modern". Informed by hiphop and electronic music, "Y-OTIS" is pure jazz in that the quartet stays true to its constant mission of creating a new form of musical communication. Sandjö's circular sax riffs, the album's rich production touch, and the chopped-up jazz form creates a musical concept which stays melodic and beat-laden while being "free" right to the edge of avantgarde. It's as if the music is sampling itself, constantly keeping ahead of the curve in the musical lineage of jazz.

Otis Sandsjö (b. 1987) hails from Gothenburg, Sweden. He is known previously for example for his inspired work on singer Lucia Cadotsch's globe-trotting trio formation "Speak Low", also featuring "Y-OTIS" co-producer and bassist Petter Eldh. Elias Stemeseder was dubbed one of the top 15 young European musicians to watch by All About Jazz in 2017. Tilo Weber ranks among the most creative young drummers in the scene. Stemeseder is currently based in New York, while the remaining three musicians here live in Berlin. Live on stage, the band performing the material on the new release is called Y-OTIS.

Sun yellow vinyl, comes with download.

Airplay: Worldwide FM

to Me, Sounds Have Always Been More Interesting Than Words,' Says Agnes Obel. i Love It When The Voice Becomes An Instrument And You Almost Forget It's A Human Voice.' Never Is This More Apt Than On This Beautifully Programmed And Bewitching Selection Of Music.

Agnes' 2010 Debut Album Philharmonics Went Platinum In France And Belgium And, Unsurprisingly, Quintuple Platinum In Her Native Denmark, Where She Also Won Five Danish Music Awards (equivalent To The Brits) In 2011. The Follow-up Aventine, Released In Late 2013, Was Imbued With The Same Measured Calmness As Her Debut. It Went Platinum In Belgium And Gold In Denmark And France.

For The Mix You Have In Your Hands It Feels Almost As If Agnes Has Scoured The World Looking For Kindred Spirits - Or Kindred Songs. There's A Quietude About It All, The Antithesis Of A Rush Hour, Like A Frozen Lake On A Sunday Morning. This Is Aided By A Veritable Cornucopia Of New Obel Material, Including A Haunting Reading Of Danish Song 'glemmer Du', Inger Christensen's 'poem About Death' Set To Original Music, And An Agnes Original, 'bee Dance'.

Among Them, There's The Enigmatic Jamaican Singer Nora Dean Who Weighs In With The Hypnotic And Slinky Duke Reid Production, 'ay Ay Ay Ay (angie-lala)' And The Sparse, Sardonic 'party Girl' By Michelle Gurevich, So Good It Inspired The Eponymous French Movie. There Are The Plangent Voices, The Bulgarian Folklore Choir, Nina Simone, Ray Davies And Agnes Herself, Ringing True. Somehow, Ms Obel Makes Even Makes The Electronic Tracks Bow To Her Needs As With Yello Whose 'great Mission' Is More Martin Denny Than Underworld And Cult Greek Composer Lena Platonos' 'bloody Shadows From A Distance' Pulses Gently Rather Than Throbs And Can's Recently Rediscovered 'obscura Primavera', Unusually Hushed.

"i Was Surprised At How Much Time I Ended Up Spending On This. I Collected All The Songs Together With My Partner Alex And We Just Spent Time Listening To Records, Trying To See What Would Fit Together. Some Of The Music I've Included Here Is On Mixtapes We Made When We Were Just Friends As Teenagers. Each One Of The Tracks Produces Stories In My Head." - Agnes Obel, February 2018

Since '87 a 13 year old Jan Svensson AKA Villa Abo has been the back bone of Swedish electronic experimentalist group Frak and behind one of the biggest inspirations for Butter Sessions, Borft Records. As always, Jan keeps pushing the boundaries on this 4 tracker.

' Kicking it off, 'Just a 309' is a stripped-back rough and ready house track in true 90's Borft style.
On 'Mission Just Pam Pom' we are blasted with space zaps and bizzaro chords melted together with an irresistible beat and SFX from tomorrow.

The weird-o-meter is stepped up a few notches on the B Side with the sluggish yet hypnotic burn on 'Separated Together'.
A bonus collaborative effort on 'Pony-Flute' by Jan and another Frak member Duo J encapsulates us with a dramatic introduction of flute like synths and dark atmospheres taking us into the underworld...

UK Dub legend Vibronics brings you a new vocal & dub album that celebrates women in Reggae & Dub. 'Woman On A Mission' is a new release featuring 8 female vocalists on 8 brand new Vibronics tracks. The album presents time-honoured Vibronics associates, Boney L (recording for the first time in 10 years), Nia Songbird, Vanya O and Saraléne , alongside first time collaborations with Trilla Jenna, Nanci Correia, Nish Wadada & Sis I-Leen. Each track vocal track effortlessly glides into an extend dub mix that showcases the sonic skills that Vibronics is known for.

Shlomi Aber presents his third album 'Linear Equations'. The ten-tracker LP closes the ten years celebration of the label and follows his 2010 album 'Chicago Days, Detroit Nights' on Ovum Recordings. Through carefully crafted EPs on NonPlus, Figure, Be As One and more recently Odd Even and Drumcode Ltd, Shlomi's sound has continued to evolve and refine with his Linear Equation album. The LP opens up with 'Interior', setting the tone for an introspective journey that will take you from the dub infused techno of 'Echo Mission' and 'Fractions' to the acidic trip of 'Midnight Spooks' and 'Mod3333'. Hypnotic techno on 'Eimeon' and 'Fall Into Wonder' flirts with broken beats on 'Installer' and climax with the floating percussions and anthemic pads of 'State Of Sorrow'.

* The Timespan was a regular artist on the famous Kniteforce subsidiary label, Remix Records. One of Luna-C's many aliases, The Timespan has always been on a mission to make simple, effective hardcore. This EP takes that formula and applies the years of knowledge gained since 1994 to make something that sounds...almost the same as it would in 1994. Only better. Full on pianos, running break beats, happy vocals, hip hop snippets and hectic stab patterns, this EP was made almost entirely on hardware rather than software. The result is that it contains not only the ideas of the old skool, but the warm analogue soundscapes from that era. It also features a 'revisit' by label mate Cru-l-t of the Timespan's classic track 'Music' - an updated and rebuilt from the ground up version of that tune.

Club / DJ Support
Billy Bunter, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker and many others

The next chapter in Shaw Cuts comes from Russian duo Poima, who celebrate their debut record 'Twin Blades of Doom' - a fierce revenge mission and hunt after the infamous Ghost gang.
The pursuit opens with 'Triglau', its linear machine groove levelling a fraction of the Ghost Gang. Heads roll on a crimson floor.
Teaming up with mysterious masked warrior Inland, 'Triglau' morphs into a hypnotic trip. Pushing drum rhythms and swirling pads combine with nasty noise elements, propelling the hunt.
The remaining enemy members are already hatching their next evil move. On the way to Lu He Village where the Ghost Gang plans its next assault, analogue break-beat punches and swinging percussions weave a menacing tapestry of sound, crushing the 'Bones' of rogue creatures in its path.
Serbian slayer Regen arrives in force for the final showdown at Qi Dou Town where the Ghost Gang plans a huge heist. Armed with atmospheric pads and a soaring drum crescendo, his interpretation of 'Bones' ends the Ghost Gang tyranny in one fatal sweep. And the saga goes on...

That we live in a world changed is beyond question. Since 2015's Zenith, Berlin-based songwriter Molly Nilsson has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political landscape and imagining a better world. For an artist who has so successfully created her own environment and gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings, engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into the internal language of the solo auteur. Imaginations is not escapism, it's a kaleidoscope and an alternative view, an agent of change.Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson's best songs a collision between the political and personal. Though potentially a love song, there's a glowing anger in the lines I want your ruin, I want destruction, I won't be through until we mend this...' this is rapturous transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel and this is no different... Who else could write a song about privilege (Let's Talk About Privileges) and make a heart-rending chorus of It's never being afraid of the police, it's expecting every thank you, every please.' The artist's vision on this album is perhaps more forceful than the emotionally fragile moments of previous album Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there's overt anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there's also seams of optimism sewn into the album's genetic code. Any revolutionary will tell you that anger alone achieves nothing - Nilsson's mission on Imaginations is to offer some alternatives we can hold close. Not Today Satan is a song about accepting love as the agent of change, Don't be sad, but do get mad at all the small men who act so tall, in the end they always fall, there ain't no sin in giving in to love, that's just how we're winning the fight.' Love can be visceral, a weapon with which to fight the power.On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism about the future when we need it the most. New boys, new girls.. give me your smile and I'll give you mine' Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we're never alone in the process.

'Y.O.U' is an emotive album of tripped out ambient hip hop instrumentals by FROM, written and recorded in the mid 90s under Trevor Jackson's infamous production persona The Underdog. Originally planned as a vocally-led, song-based project that should've surfaced between his production for The Brotherhood's legendary British hip hop album 'Elementalz' in 1996 and his acclaimed debut PLAYGROUP release in 2001, for multiple reasons it hasn't seen the light of day, until now.
Only Available as a ultra limited edition Vinyl and CD release, the LP consists of 11 tracks. Dream-like synth lines, ambient melodies, blissful guitars, raw beats and soft, fractured vocals draw you into a hallucinatory 12bit world. Drawing on Jackson's progressive and jazz rock influences as well as psychedelia and early electronics, the album closes with 'Belladonna'- a piano-sampled homage to the east coast golden age hip hop pioneers. NB: The CD features a longer version of 'Veratrum' not available on the vinyl version. All created on an Akai S950 mono sampler (limited to only 20 seconds sampling time), an Akai MG1212 12 channel mixer (which recorded on Betamax style tapes) and primitive outboard gear, Jackson honed his skills from his bedroom, where he produced the majority of his output at the time. With a huge collection of obscure vinyl, he dug deep into uncharted territories for samples and sound clips
- using material no one knew about (or would think about touching) in the mid 90s. The Underdog's initial releases were on Jackson's own Bite It! recordings label, which was started in 1991. A unique platform for UK hip hop with a visual aesthetic and ethos more akin to ECM and Factory
than other rap labels, its mission was to push artists beyond musical and cultural limitations prevalent at the time.
Home to artists like The Brotherhood, Scientists of Sound, Little Pauly Ryan and Lewis Parker (who later signed to Massive Attack's Melancholic label), Bite It! became a great success;
finally British rap had artists and releases that looked and sounded as good as their revered American counterparts. In 1993 Richard Russell (who had just started running XL recordings) asked Trevor to remix House of Pain, resulting in a top ten record, which helped launch Jackson's musical career via further remixes Massive Attack, Run DMC, U2, The Cure and countless others. Off the back of his remix success, The Brotherhood signed a deal in 1994 with Virgin Records. Their 'ELEMENTALZ' album was produced by Jackson and is still lauded by many as one of the finest British hip hop albums of all time.
Jackson continued to remix and produce as The Underdog until managerial issues forced him out of the project he'd been instrumental in instigating.
Soon after his close friend and manager tragically passed away - which when combined with the UK hip hop scene becoming increasingly volatile and the moral demise of rap culture in general - convinced Trevor to hang up his hip hop hat for good.
After leaving The Brotherhood he started Output Recordings. Internationally and sonically diverse, it gave Jackson a free reign to do as he pleased, with genre twisting releases from the likes of Fridge, Four Tet, Sonovac, Colder, his own PLAYGROUP project, The Rapture and LCD Soundsystem. With a non-compromising attitude, strong DIY aesthetic and consistently groundbreaking releases across its ten year life between 1996 and 2006, it became one of the most important and respected independent labels in the world.

With its sixth release NEW YORK TRAX continues the mission of highlighting the jewels of the New York underground. Liquid Asset is a Philadelphia-born Brooklyn-based hardware virtuoso who has made a name for herself by virtue of appearances on labels such as E-Saggila's Summer Isle Brooklyn's own Primitive Languages
Jacktone and Acid Etch where she has recently delivered a furious 7' split with Isabella. Liquid Asset built her own 808 and 303 clones by hand. The modified 303 is particularly audible in the opening track of the record Ephemeral Nights' where she did not waste time on an intro and went straight to creating a sonic pandemonium by blending an airhorn sound with frenzy acid basslines and a hardcore-leaning 909 kick. Contact' is a merciless creature of the night with its relentless dark groove building up throughout this composition cannot easily be classified as a representation of any particular genre. Controlperception' opens the B side. Here Liquid Asset plays with a cheerful acid line over a dreamy landscape often punctured with bleeping sounds. Finally in Forgetmenot' two opposite sounding basslines intertwine creating a minimal yet very capturing composition to close this one of a kind record.

Marco Bailey's 5th full-length album, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show.

By maintaining a consistently high-quality output that does not merely ride the wave of current trends, multi-faceted producer Marco Bailey has managed to survive through decades of mercilessly shifting adjustments to popular taste in dance music. From his beginnings in the late '80s spinning eclectic sets comprised of everything from punk to old school hip-hop, to his present interest in pure unadulterated techno, the Belgium-based DJ and producer has won over audiences with his keen knowledge of how to squeeze the greatest physical and emotional impact out of a few well-placed elements, along with his instinct for seeking out the most innovative and resilient kindred spirits (his impressive number of professional friendships includes artists as diverse as Markus Suckut, Jonas Kopp, Alex Bau, Edit Select, Speedy J, Steve Rachmad and many more). These combined talents have led to his formation of several different labels: MB Electronics in 2001, the 'limited edition' label MBR in 2013, and lastly the new Materia Music label begun last year. His similiarly named event series, Materia, has also been a truly worldwide 'state of the art' summit for advanced techno artists.



The full-length personal releases by Marco Bailey, which stretch back to his mid-'90s period as a trance producer, have been gracefully arcing and anthemic affairs composed of individual tracks that follow that same blueprint. He is now about to drop his 5th full-length album overall, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show. Of course, an epic running time alone is not the marker of a great audio experience, but an epic running time in which one loses track of time completely is - Bailey accomplishes this feat by never rushing the payoff; by organically building up each track until listeners are fully immersed in his alternate universe.



This skill can be heard on banging, sweat-saturated tracks like 'Ash', 'Genetix' and 'Hasai,' but also on comparitively gentle pieces like 'Klauth' (which straddles the line between disciplined electro and something more dreamlike and weightless), or the blissed out 'Suoh,' which feels like a fresh snowfall in audio form. Low-key cuts like 'Rex,' driven by echo FX and other windswept sounds, form natural counterparts to busier tracks like 'Ruth,' with its spring-loaded sequencer attacks, or 'Reboot That Device,' which is ingeniously driven by a psychedelic organ whose sound evolves with various filter settings. Minimalist vocals are occasionally injected into the mix - i.e. on the 'The Darkness' - to impart a subtle message of constant, ongoing expansion into unexplored galaxies without and within. It's as good a definition of the artist's musical mission as any.

Solar Phenomena is a brand new label on an exciting astral crusade. The take-off pilot for our virgin mission is none other than decorated Polish producer Echoplex. One of the country s first breakthrough international techno artists, his body of work dates back almost 20 years While often taking us 20,000 light years forward. This is no exception.

The Solar Experience provides uplift. Like any deep dive into the cosmos, take off is gentle but picks up speed as more interlocking details weave like a blur of stars in your shuttle window. Expect turbulence as Anywhere jettisons the rocket and submits mercy to the acid asteroids with a broken beat jumping at every angular bump.

Hyperspeed prevails with the Detroitian-toned technoid stampede Your Place . Momentum sustained by an insistent sense of urgency as more elements hammer into the mix, it s complemented by an unforgettable remix from A Made Up Sound. His only remix of the year, it s a dense and wonderfully fuzzy weave of planet-bouncing rhythmic elements and alien textures that takes you well beyond the point of no return.

Elsewhere we glide deeper into the cosmos with shiny, gliding and ultimately hopeful The Sun Just Shines , we re sucked deep into hypnotic black holes on the warping bass and broken drums of Memorabilia before activating landing procedures on Match Made In Heaven . Soft chords acting as a parachute, the glistening arpeggio providing the deep oceanic landing spot, it s the ideal end to an accomplished debut celestial adventure. Who knows where Solar Phenomena will take us next

Dark Entries and Serendip Lab have teamed up to release 'Prototech', the first vinyl retrospective by German electronic trio Hypnobeat, recorded 1984-86. James Dean Brown and Pietro Insipido formed Hypnobeat in 1983, but it was the addition of Victor Sol only a few months later that found the project reaching, as Brown puts it, "the desired level of technical sophistication." In time, Tobias Freund also lent his talents (and equipment) to this loose-fit sonic scheme, where the protagonists sought a new, electronic manifestation of mankind's tribal music roots. Two cassette releases surfaced - 1985's "Huggables", and "Specials/Spatials" the following year. By this point the Frankfurt-based group had already explored fiercely mechanical creative expression through various configurations of hardware and personnel, revolving around core ingredients such as the TR-808, TB-303 and MC-202. The project lived on in spirit as Brown activated Narcotic Syntax in the 90s. While a more modern, digital concern, rooted in the Perlon label family, NS still channeled the Hypnobeat concept of a "new tribalism", not least on their "Provocative Percussion" double 12" released in 2006. For all the punky veneer, there are instances where these tracks reach staggering levels of sophistication, not least on "Slash! Buffalo Eats Brass" with its intricately programmed 303 lines and nimble beats that sound a far cry from most machine music made in 1986. Prescient "Can God Rewind" is also dazzling in the complexity of its percussion and the richness of its synth lines in C as they throb out a bastardised version of acidic Disco straight out of the rhythm collider. Elsewhere, some tracks are more primal in their execution. Visceral opening track "The Arumbaya Fetish" was a cathartic venting of Brown's least favourite sound on the 808, the iconic cowbell, while the astounding proto-Acid miniature "Moon Jump" places limber 303 lead lines in a hail of thunderstruck patterns. "Kilian" has a stripped down quality that speaks more to the industrial era that Hypnobeat was conceived in, and "Mission In Congo" is a raw, reverb-soaked drum workout that captures the percussive-obsessive nature of Hypnobeat perfectly. Six of the seven tracks selected on this collection were primarily powered by two 808s. "I am amazed that the release sounds like we really had a plan back then..." states Brown, but this accidental magic is in fact the raison d'etre of Hypnobeat. They weren't the only ones prefiguring the next big revolutions in electronic music in the mid 80s, but there certainly weren't many artists stumbling across modes of expression that sound so relevant today.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring cave engravings by Pietro Insipido of an archer and animal printed in a wallpaper pattern style designed by Eloise Leigh. Each copy includes an transparent insert of an x-ray photograph from 1984 of Romulus Cœurque holding the circuit board of a BOSS DR-55 rhythm machine.

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.

For the fourth release Shaw Cuts lines up five shaolin commanders who created their own interpretations of Farron's Death Duel EP: Marco Zenker, Russian duo Poima, Roger 23 and Simo Cell. These heavies form the Shelter Clan whose mission is to cover Ah Chi's back wherever he goes.
Marco Zenker gives 'We Don't Make No Sense' his signature machine funk that decimates challengers in one swing. Ah Chi can always count on Marco's sword.
Poima from Moscow rival with sabers, severing those who dare to cross their path. Their version of 'Tangency' is lead by a dirty break-beat drum combo blazoned by cosmic synth melodies and warm machine derangement.
'Centro' on the B-Side gets heavily grimed by veteran Roger 23 whose axe is as heavy as his remix style in general. Beware of Roger!
Armed with tonfas, Simo Cell layers 'Par 2' with a complex and fresh-sounding groove, causing lethal devastation to enemy combatants.
Ah Chi is well-shielded by his companions and still unbeaten to this day. Trust in the Shelter Clan!

Following two staggering contributions from The Analogue Roland Orchestra and 2030 that illustrated to boundless sonic possibilities for the label, Deep'a & Biri return to their Tel Aviv-based Black Crow label with a pair of powerful, emotive techno cuts in the style for which the duo long since become admired. For a long time one of those admirers has been Detroit techno founding father Derrick May, who has been on a mission to push the new 12s A-side, 'Basic Cycle', into instant classic territory through his unwavering commitment to making the track a highlight of his sets. May has been far from alone, with the track being one that D&B have been asked about, if not outright begged for, over the past year or so. It finally becomes available to techno fans worldwide in January 2017, backed by the pummelling rhythms of 'OverDrum', which itself has the potential to turn heads and drop jaws all by itself.

RAWAX proudly welcomes Mr. Lamont Norwood aka Dj Di'jital to the family! A true pioneer from Detroit!

Truly an old school Techno Bass jewel, DJ Di'jital has been a key player in the development of what some call the "Second Generation" of Detroit Techno. Having released on classic Detroit labels like Metroplex, Direct Beat, and Twilight 76, there is plenty of good reason why his name and his work have become so legendary over the years.

Influenced by early groups like Kraftwerk and Parliament, it was no surprise that the 80's fusion of Electronic Music, Funk and Hip Hop that brought about the Electro Funk sounds, would have such an impact on him. As a kid, Lamont Norwood aka DJ Di'jital became acquainted with the idea of mixing two songs together using tape decks, which while being limited, still gave him the drive and passion to pursue a career as a professional DJ. Over the years he played many different house parties and underground clubs, even spending some time as a Cabaret DJ.

Throughout this time, Di'jital became an incredibly skilled turntablist, quickly gaining the reputation of being a formidable force behind the wheels of steel. The year 1996 would prove to be quite a momentous one for Norwood, not only signing to the already well established label Direct Beat, but also becoming the official DJ for one of the label's finest and most important artists, Aux 88. Having already released his first EP, "Prototype", on Direct Beat, this would become a great opportunity that would help seal him as an icon of what was now known as the Detroit Techno Bass scene. Over the next few years,

Di'jital continued recording for Direct Beat, releasing some of the greatest and most unique Techno Bass classics to date, even doing a few remixes for some of Aux 88's most well known releases like "Electro/Techno", "I Need To Freak", and "Break It Down". Hit EPs like "From The Mind Of The Master", and "360 Degrees" became instant classics, still very sought after to this day. He also had some of his songs appear on some of the various Direct Beat compilations that were released between the years 1996 and 1999 like "Xperience De Bass II", which released "Radar2Bass", one of his most notable works, as well as the all time collector's album, "Techno Bass: The Mission".
Perhaps what may have been one of the biggest signs that his career was becoming exactly what he had hoped for, was the opportunity presented to him to remix Aaron Carl's classic "Down", which was released on the iconic Metroplex Records in 1998; Something that to any Detroit native would have been an honor and a milestone, given the reputation and level of success and influence that Juan Atkin's imprint had on the Detroit Electronic Music scene, as well as the global Electro/Techno movement.

Between the years 2000 and 2002, there was a small hiatus in complete EPs or albums being released by DJ Di'jital, although there were 2 different tracks released on the labels Bipolar and Studio iK7. In 2002, he went on to sign to another of Detroit's legendary imprints, Twilight 76, where he released 2 EPs, "Bass Programmers", and Di'jital's Revenge". In 2005, already a veteran and having amassed the necessary skill and knowledge needed to be a true beat warrior, Di'jital was now ready to join the resistance...Underground Resistance that is! Featured on the Interstellar Fugitives Vol. 2 compilation ( also later released as a 2xCD/DVD set ), Di'jital also released on the Electrocuter EP, which featured the previously released "Bang", as well as "Track 19".

In 2006, already well into the digital age ( no pun intended ), Norwood would release his first set of downloadable works, starting with an album called "The Prototype", on Twilight 76, which was completely unrelated to his first EP which was also called "Prototype". Recently, Twilight 76 has also released what is so far a 2 volume set of battle cuts dubbed "Electro Battle Tools".

The only known material that is known to be in the future for DJ Di'jital at the moment is a remix of Morphogenetic's "Techno Bass Is Back!", which was originally released as a free download to members of Technobass, but will soon be released on a 12"/Digital release that will launch the site's own label "Techno Bass Music". There will also be a follow EP by Di'jital, so stay tuned! Over the years, DJ Di'jital has proven to be an unstoppable force in the Techno Bass scene, tirelessly working to push the boundaries of Electro forward with his futuristic and visionary beats that have unleashed mayhem across the globe, not just in his published works, but also in his incredible DJ acts, where one can truly witness one of the few actual turntablists in this style of music. Expect more in the future as Di'jital's revenge continues to spread across the globe with his out of the ordinary approach towards Techno Bass music.

The 4th release of ON A MISSION RECORDS is a double pack with not less than 7 original tracks and 2 interludes from label bosses JEF K and RHYTHM&SOUL... As original House Music lovers, they are reaching the whole spectrum of their inspirations throughout the years and send it directly to the dancefloor... The LP was done between Madrid and Paris in the last monthes of 2015... JEF K is one of Paris old-school legendary DJ and producer since 1992 and is also running the famous House label SILVER NETWORK... RHYTHM&SOUL is one of Madrid's House Music leaders and also runs the almighty Deep House label SLOW TOWN... House Culture !"

Just This is a Milan based label collective.
Just This is the expression of a social, metropolitan and underground movement we are living and going through all together.
Our Mission is to give room and importance to Art and Music which are still evolving day by day.
Just This is aimed to frame these changes, which are going to be the picture of today and the future memory of the cultural movement of this age, throughout a series of messages, images and sensation drawn inside the audience.

Furthermore, thanks to the energy, the happiness and the magic charm of our parties and events, talented and unique artists, from all over the world, use their way to interpret music to communicate people the real core of this change:
the future is changing...

Just This 's first Various Artists aims to the research of a mix of sounds by producers from different countries, to a journey into a variegated world. Melancolic vibes, deep ambient athmospheres.

The Ep is composed by three tracks. The first one, Perù, is a fine production born from the collaboration between Tom Trago and Pisetzky, a blowing wind from overseas, a shiny path into a flashing jungle, a merge of their different styles that combine in a magic theme.

Eduardo Della Calle - Mondo8 Is a constant beat that hits straight to the point with an hypnotic melody and raw vibe

Kelpe - Dry Riser -  expressing his own unique unclassified genre, it grabs you into an unspringy flow bringing the listener to a vintage ambient atmospherest

Following contributions by DJ Deep and DJ Hell, Tresor Records are proud to present the third instalment in their Kern mix-series, this time headed by Berlin based producer Objekt, his first release following his 2014 debut album Flatland for PAN. In keeping with the series mission of showcasing a more personal approach to mixing Hertz describes his process as such;

Kern Vol. 3 is made up of tracks that I know I will play and love for years to come. Some of these records have been in my bag for years; others are almost as new to me as they are to you. A handful are by lesser known artists whom I admire and who I think deserve wider recognition. Planned, recorded, embellished, reworked, tweaked and chiselled away at over a period of 6 months, the mix was gradually carved out in a way that makes use of new and old techniques alike, presenting itself primarily as a DJ mix but settling in a sweet spot between live recording and studio trickery. The tracklist spans styles, decades and BPMs in an attempt to craft a mix that's unpredictable and compelling in equal measure - one that draws from the more adventurous corners of my club sets, but above all, one that's a pleasure to listen to.

Clocking in at 75min across 36 tracks, Kern Vol. 3 delivers on Objekt's promise, stitching together everything from the playful breakbeats of Beatrice Dillon's "Halfway" to Kirk DiGiorgio's classic techno "Nebula Variation" and the lightspeed IDM of Aleksi Perälä and Ueno Masaaki without missing a beat. A descent through ambient bliss, thundering cello drones and vocal contortions (courtesy of Anna Caragnano, Yair Elazar Glotman and Senyawa's Rully Shabara respectively) give way to the stoned haze of Sensational vs Sotofett and metalwork of Machine Woman and Skarn, rounding up a highly eclectic and adventurous mix which also includes previously unreleased tracks by Bristol's Shanti Celeste, rising Brooklyn producer Via App and accomplished electro technicians Clatterbox and Polzer.

The first release on new Berlin-based label Per Musica Ad Astra is Mick Clarke's 'Zusammen!' LP, the follow-up after many years to his debut solo release 'Games' on German label Blubberlips in 1979. A pioneer of UK electronic music, Mick was also in legendary synth-wave band Naked Lunch, and apart from producing music under a few different aliases over the years he also finds time to run the Flight Recorder label and is a regular programmer on Intergalactic FM, hosting both the Radio Oscillations and Magic Waves shows. The music here is very much in the spirit of the label's kosmische/space Berlin-school agenda, both reflecting his earlier work and exploring new territory simultaneously. Lush orchestrations and beautiful synth pads contrast against hypnotic rhythms and delicate melodies, and while the label's mission might be electronic listening music' tracks like 'Red Bird' and 'Mistral' are surely DJ material too. The latter evokes a sound similar to vintage Basic Channel, while other parts of the album flow through sonic territories as diverse as Tangerine Dream and the Berlin school of ambient, Warp Records' classic 'Artificial Intelligence' series, deep electro and even atmospheric Italo as well. The record comes in a beautiful sleeve with notes from the label, and comes free with a nice space insert! Definitely not one to miss!

"It's the year 2024 and the planet Perth is under attack!!
The boys of SENATE Corp. are its only hope!"
Good Company Records returns for 2016 with two blasts of sci-fi Techno from the twisted minds behind last year's 'Gangstalker' cannonade for Lobster Theremin sublabel Pacific Command.
Strike one is the unrelenting, caustic hardcore of Pugilist Dub, strong enough to melt away even the toughest exoskeleton.
Into the centre hole & through the other side, it's Forza Rays - a dystopian electro stormer that will haunt your working week.
"Mission report: The Discoid invaders never stood a chance."
Select with extreme prejudice, and play without mercy: Just don't forget your gloves.

Trani has been representing the Detroit sound in Italy for some years now, with releases on Minimal Soul Recordings, as well as his own Pushmaster Discs (a label that has also hosted the likes of Ilario Alicante, Myles Sergé and Percyl). His latest outing will be his first full-length, an album inspired space travel, that continues to push Detroit sounds, as well as venturing into some jungle rhythms.

DJ FEEDBACK
early support from
Jeff Mills: I like the Alien Pattern Track!
Robert Hood: nice tracks from Mattia.
Dimi Angelis: Like this! Thanks!
Marcel Dettmann: Thanks.
Thomas Hessler / IMF: Nice one! Thank you!
Darko Esser aka Tripeo: Excellent album, right up my alley!
John Heckle: Thanks, some stuff I really like on here.
Marco Zenker: Sounds really dope! Thank you.
Jonas Kopp: Great stuff, will check carefully! Thanks.
Ben Sims: Plenty of great moments here, nice to hear some Detroit/real techno flavours on an album. Thanks!
Milton Bradley: Very nice tracks, 'Traffic 2 Traffic' is my fav.
Truncate: Downloading, thanks.
Donor: Really looking forward to giving this a good listen after download. Thanks.
Marcelus: Wow that's pretty... Very nice one, great tracks and the all thing makes sense, congratz!
Ben Gibson: Looking forward to having a proper listen to this.
Zadig: Really into electro stuff here, and 'Alien Pattern' is also great. Thanks.
Radio Slave: Great sounds here.

We here at L A MISSION like to whip out our politics in public. We kinda get off on it. And so we're especially excited to slip you B EANER' s first solo outing on the label . From track titles to sound samples to magazine articles to packaging, this record / magazine / performance package highlights im/migration, the brown experience, and stripped identity. La Mission knows from brown. The collective is run by a crew of devastatingly handsome deviants whose racial identity is, well...it's complicated. We've lived our lives being neither white enough nor brown enough to fit neatly into racial categories. And so we took some time out from our usual exploits (like our MultiDirectional Playground Tire Swinging' orgies and Elected Candidate/Dead Pig/HungerGames slashfic) to focus on brownness. People started talking about cultural appropriation' when Miley Cyrus started twerking. We couldn't throw shade fast enough. But cooptation and exotification runs rampant in all genres of music-including dance music. We here at La Mission feel pretty fucking awkward about it. We've seen queerofcolor culture turned into whitedudebro business ventures. And as brown folks with stripped and fragmented identities, we're never sure of what culture is ours to use and abuse, anyway. Can we honor our own roots if they're messy and broken When we're inspired' by the music of other cultural groups, is that solidarity or stealing Nothing we have is whole. We can only work with the fragments we have at hand, well aware that there's unfinished business... BLACKMOUTH is the live version of the classic soul/disco sampling house tune. Take the work o f o t h e r s w h o c a m e b e f o r e y o u a n d t u r n i t i n t o a d a n c e a b l e j a m . G O T B L U E S u s e s t h e w o r k o f a b l i n d 1930s blues bongo player to form a weirdo repetitive rhythm tool: another example of using a forgotten artist for one's own gain.

Gone with the flow - after a little break the German musicians Julius Steinhoff and Abdeslam Hammouda revived their musical adventures and left all electricity untouched this time. For their new acoustic project the duo has chosen the alias Tonight Will Be Fine - a name that is familiar to those who followed their work in the past years. As Steinhoff & Hammouda they used the name for their first 12" on Smallville Records, the worldwide acclaimed house and beyond label and record store that Steinhoff co-runs. Now they reheated the phrase and chose it as the alias for a bittersweet acoustic singer/songwriter project. Their wonderful, captivating new musical venture came into life due to happenstance and old ferventness. After their trips into house music the duo parted geographically. Hammouda moved away from Hamburg while Steinhoff strengthened his label Smallville, built up a global DJ career and produced acclaimed house records on diverse labels - solo" and with his buddy Dionne as Smallpeople. In all the time Steinhoff and Hammouda never stayed out of touch, bound together through deep friendship.

At some point they met again for musical missions and started to record music that had nothing in common with their prior work. Steinhoff re-activated his self-taught guitar abilities and entered the studio of his friend Lawrence in the back of the Smallville record store to capture some steeldrums and vibraphone sounds. Hammouda brought more instruments like a banjo, a violine and tablas and they just started to record sketches and songs. Hammouda's musical backround leads to a widespread range of influences while growing up, before he got into producing hip hop and electronic music. For Steinhoff, the transformation from an electronic music producer into a singer/songwriter wasn't that new too, as his first musical steps have been routed in band music. Until his late teenage years, when he discovered house and techno, he played drums in a local indie group in Freiburg and for Tonight Will Be Fine he now also freed his old drum kit from cellar dust.

After the duo felt that their musical communication elevates into something more profound then a session thing, they provided themselves with additional instruments like new guitars, claves, an accordion, a piano and more. Initially the songs were very rough and sketchy. Musical ideas that did not have a real song structure. Then we started to arrange the tracks and added our voices and lyrics.' both reveal. Their charming singing covers almost the whole album with a characteristic sense of deep winking melancholy. Their lyrics are exercising the possibilities of words and are inspired by life, the world and all the those questions a human can ask in his time on earth. At some point both started to show their new songs to some friends and they liked it and encouraged the duo to move on. Somehow one of the tracks landed in Toshiya Kawasaki's mailbox. He instantly fell in love with it and asked if they would like to do an album for Mule Musiq. They did what was asked and after some reformatting and reinventing Tonight Will Be Fine originated 13 songs full of sweeping acoustic guitars, airy rhythms, piano melodies, gloomy accordion emotions, touching voices and a bunch of other exotic instruments, done without the help of electronics. They all form Elephant Island' - an incredibly inspirational place where impressionistic lyrics dance gently with kinetic acoustic music that comes out of plain jamming fun. The melange of a structured song base and free improvisation injects all songs a loose feeling. And shows two handsome fellas carving out their own musical utopia. It is a warming one, full of hope and musical freedom powered by an unabashed instrumental playfulness.
nstrumental playfulness.





É a5 | soliloquy

Following a summer of fifth birthday celebrations, Tom Trago's Voyage Direct label returns to action with a brand new 12' from Amsterdam scene stalwart Simon Weiss.
Although a new member of the Voyage Direct family, Weiss is no newcomer to the scene. He's previously delivered high grade EPs for Rush Hour, Deepermotions and Home Taping Is Killing Music, and his contribution to First Mission, Voyage Direct's fifth anniversary compilation, was one of the undoubted highlights of that set.

It's that track - the gloriously positive 'Tele-Vision', and it's cyber-house fusion of darting synthesizer arpeggios, Detroit-influenced percussion, and thrusting acid bass - that heads up Weiss' first EP for Voyage Direct.

Dutch veteran and longtime friend of the family Dexter turns in a stunning remix, putting a well-placed boot up the backside of 'Tele-Vision' via speaker-shaking sub bass, kaleidoscopic electrofunk motifs and thumping techno rhythms. It's a stunning re-make, and one that takes Weiss' fine original to even greater heights.

Flip the record for two previously unheard Weiss productions. First up is 'Ghost', a supernatural house shuffler full of alien synths, wayward melodies, intergalactic electronics and crunchy drum machine hits. Weiss flips the script slightly on 'Super Sub', pairing his now trademark vintage synthesizer refrains and tumbling electronics with a heavyweight, bassline-driven groove. It's a sweet and evocative track, but critically also packs a punch.