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The Sound Of Young Jamaica - More Early Cuts From The Vaults Of Studio One 1959-63

This is the second collection to bring together many of the visionary producer Clement 'Sir Coxsone' Dodd's early recordings made with Jamaica's most exciting young artists and musicians who helped define the world of reggae music over the decades following Jamaican Independence. These recordings were made when Sir Coxsone ruled the dancehalls of Kingston in the late 1950s and early 1960s with his number one Downbeat Sound System, where songs were tested out on dub plates at a dance to see a crowd's reaction - the most popular of which were then released commercially. Featuring early material by Roland Alphonso, Don Drummond, Tommy McCook (all of whom would form The Skatalites), Toots and The Maytals, young singers such as Bob Marley and The Wailers, Delroy Wilson, Owen Gray all captured in their formative days. The music here spans a wealth of styles - Jamaican rhythm and blues, jazz, gospel, proto-ska, Rastafarian - all of which were drawn upon to create the future sounds of Jamaican reggae that Sir Coxsone and the artists featured would soon create at Studio One which opened its doors in 1963. This collection is released on heavyweight triple-vinyl plus download code and double CD with slipcase. Sleevenotes and text is by the author Noel Hawks.

Already played & supported by Laurent Garnier, Patrik Skoog, Marko Nastic, Jamie Behan, Patrick Lindsey, Martin Landsky, Ramon Tapia,

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records' softer, more melodical and experimental side. Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time!

Maik Richter was born 02.02.1987 in Karl-Marx-Stadt / Chemnitz / Germany. He lives in Switzerland since 6 years.
In 2005 Maik Richter gets his first appearances as Live-Act... Professional Music Production is the order of Maik R. The project is going to professional song composition but in which live performance will remain further a component. The sound of Maik R budges to minimalistical domains - the contrary to beginning of its musical representation. Gentleless and deep pressure sounds are significant for Maik's musical interpretation - the music should be stimulating you for dreaming. For new inspirations Maik R. leaves himself by other artists and external influences (e.g. society, nature) to enrich.

Known from his debut on Orbis Records, Grg is back with his typical warm & analog sound, we appreciate very much!
Born and raised in the GDR, today East Germany, Grg started making music in '94 using analog Equipment.
early 1995, he already played live-sets with 2 friends as Ensemble Acid Paul and later as "grg" on his own. He released on TeKknik Experimental and EAP records.
Still producing with the amazing MPC3k, he never focused on one single Genre. "it's just Electronic Music" he told us. A modest guy.

This EP contains a full side of each Artist.
The A-Side, by Maik, shows you how beautiful and wide dub can be. If you're fan of dreamy dub, you'll love this for sure!
The B-side is a melodic beauty. No words needed. Grg pur sang!
"Leidenschaft" is very dreamy soundscape based on smooth dub rhythm. Gentle, Subtle. Amazing. An ideal track to open or close the dancefloor. A secret weapon for laid-back moments with friends and a good glass of red wine.
"Klangbaum" feels like a statement. Deep, Dark, Swiss dub. Great stuff if you like the deeper side of dubby tracks.
On the B-side, "Chroma": a track that starts as a very basic yet surprising arrangement evolves in a very clean and sharp gentle melodic danceable track. Works on the floor as well in the background having dinner with openminded and electronic enthusiastic friends.
The second track "Fuer Pe Mi" could be categorized under trance, but it isn't. It's just an amazing track full of warm feelings. A track Grg wrote to celebrate the love between his and his wife. We're very honored he's willing to share this track with the rest of the world. Big respect.

Jeremy Greenspan & Borys' second 12" on Dan Snaith's Jiaolong label. Recorded in Hamilton at Jeremy's studio. This release sees the two attempting to make Dance music without payoffs; creating tension without release. This is "new age" music for the neurotic.

DimDj has no control over his life. Machines, records and noise boxes took over years ago. This is more than confirmed by this 5-track journey from acid techno to the old-school electro and further to Kuno's dystopia, who delivers a complete acidic rework over PTN1.

All tracks produced by DimDJ.
A3 - Vocals by Trenton Chase
B1 - Remixed by Kuno
B2 - Additional synth work by Wirenightmare Music

We've had our eyes on Obas Nenor for a while and after his disco-meets-Detroit affair on 'Mahogani', and some great releases on his newly started own label 'Nenorian music' and 'Sol Power', we're happy to share his work for Heist with you. 'The Ceaper Buing EP" features 4 original cuts and a remix by Swedish "Mr. Tophat" that navigates somewhere between really weird, and really groovy. If you've seen any of his studio videos, you'll see he's has a great mix between live instrumentation, and sampling on his MPC, and each track on this EP has so many great elements working together, that it will be hard to pick a favourite. "The doors" has a great filtered funk loop going on with some roughed up disco percussion, whereas the Tophat remix twists and turns the original into somewhat of a tribal(ish) drum workout that is probably best enjoyed in a really really dark room. "Glimpse of light" has some really interesting sampling going on with a feel that is almost 'rock', but gets more and more disco with some lovely synth work as the track progresses. As a counterpart to the first part of the EP, 'Wacky' slows things down to give you a summery, afro inspired track that we forced him to send us after we saw a short clip online of him jamming away on his Korg x-911. UV lights is a somewhat special track for us that you wouldn't expect on Heist at first, but makes for a great addition to our musical world. It's perfect 'hands-in-the-air' end of the night material, with a serene and emotional vibe that is really hard not to love. Altogether, it's a great EP that we're really happy to share with you. Sincerely yours, Lars & Maarten

When Kompakt came across Amsterdam-based Harm Coolen and Merijn Schotte Albers aka WEVAL back in 2014, we were blown away when we heard their slow-burning, darkly emotive tracks.

Their debut EP 'Half Age' on Atomnation featured painfully intimate and surprisingly kinetic electronic chamber pop that convinced us they were a perfect fit in Kompakt's family. Following two widely acclaimed EPs for Kompakt and playing numerous festivals including DGTL, Reeperbahn, Iceland Airwaves and Piknic Electronik, we now see the two tackle their self-titled debut full-length WEVAL. What you have before you is not a mere collection of tracks, but a complete listening experience with organic flow, emotional heft and a narrative thread.
Smitten with WEVAL's uniquely personal and catchy approach to producing dark electronic music, it didn't take much to win us over... and so came WEVAL's acclaimed 2014 label debut EASIER EP (KOMPAKT 318), followed by the bold and beautiful 2015 offering IT'LL BE JUST FINE / GROW UP (KOMPAKT 344) which saw the two soundsmiths digging deeper into the granularities of electronic funk than ever before. However, Harm and Merijn's music - while astonishingly fully-formed even in its earliest stages - always seemed destined for more, a bigger format, more space to explore the nooks and crannies of their rapidly evolving sound cosmos. Simply put, they needed to think about an album and their beloved living room studio wasn't cutting it anymore.
An old school building became WEVAL's new home, repurposed to house small creative businesses - but in the summer of 2015, it was abandoned most of the time, with everybody out in the sun while our heroes turned the building's attic into a sweet spot to make some noise, have 24-hour access and lose track of time. And apart from a sketchy tenant being evicted, the occasional soccer game with friends and live gigs across Europe, there really was no interruption to the focussed vibe. It's not like they were looking for distraction anyway: "working on the album all by ourselves in this bloody hot attic was all we had on our mind", the artists admit. And they decided that their album shouldn't sound too clean: "We try to find the beauty in imperfection. It makes things sound more human".
Weval draw their inspirations from no single genre of music but a cumulation of music that inspires them. The results present an astonishingly coherent vision - cuts like the dramatic THE BATTLE, bass growler I DON'T NEED IT or the trippy epic MADNESS share the same DNA of zestful nostalgia, a knack for immersive sound-sculpting and that certain kink in the groove. They also feed on deeply personal experiences and moods, as exemplified by the haunting electronic ballad YOU'RE MINE, the carefully layered, polaroid-tinted JUST IN CASE or the beautifully voiced closer YEARS TO BUILD. And sometimes, it's just an old, out-of-tune piano that stands in the hallway: "Whenever I'd pass by it, I couldn't resist playing it", says Merijn, "so Harm decided to start recording and it became an integral part of YOU MADE IT (PART I)". No doubt about it: this is WEVAL's most powerful and organic material yet - which means a lot, considering the amount of skill already on display in their small, but weighty portfolio.
(de) Als sich 2014 in Amsterdam Kompakts Wege mit denen von Harm Coolen und Merijn Schotte Albers aka WEVAL kreuzten, waren wir sofort Feuer und Flamme für ihre schwelenden, emotional aufgeladenen Tracks. Ihre Debüt-EP "Half Age" auf Atomnation präsentierte intimen und überraschend kinetischen, elektronischen Kammer-Pop, der wie angegossen zu Kompakt zu passen schien. Nach zwei vielbeachteten EPs auf dem Label und einer Reihe von Festvialgigs (inklusive DGTL, Reeperbahn Festival, Iceland Airwaves und Piknic Electronik) nehmen Weval nun mit dem gleichnamigen Release ihr erstes Album in Angriff. Und legen dabei nicht einfach nur eine Ansammlung von Tracks vor, sondern kreieren eine komplette Hörerfahrung mit organischem Flow, emotionalem Gewicht und einm roten Faden.
Angetan vom einzigartig persönlichen und mitreissend düsteren Klang WEVALs brauchte es nicht viel um uns zu überzeugen... und so kam es 2014 zum gefeierten Labeldebüt EASIER EP (KOMPAKT 318), gefolgt vom kühnen und wunderschönen 2015er Release IT'LL BE JUST FINE / GROW UP (KOMPAKT 344), für das die beiden Soundtüftler tiefer denn je in die Granularitäten des elektronischen Funks abtauchten. Nichtsdestotrotz - und obwohl sie schon von Anfang an ausgereift klang - schien die Musik von Harm und Merijn auf dem 12"-Format stets bestimmt für mehr: mehr Freiraum um auch die äussersten Winkel ihres rapide expandierenden Soundkosmos zu erkunden. Sie mussten schlichtweg zum Langspielformat wechseln, und ihr heissgeliebtes Wohnzimmerstudio konnte da nicht mehr mithalten.
Ein altes Schulgebäude wurde schliesslich WEVALs neues Zuhause, umfunktioniert für kleine Kreativunternehmen - doch im heissen Sommer 2015 stand es zumeist leer, da alle draussen in der Sonne badeten, während unsere Helden im Schweisse ihres Angesichts das Kellergeschoss in ein lärmfestes Aufnahmestudio verwandelten. Mit Studiozugang rund um die Uhr liess es sich bestens die Zeit vergessen. Und abgesehen von der Räumung eines zwielichtigen Nebenmieters, dem gelegentlichen Fussballspiel mit Freunden und natürlich Live-Gigs in ganz Europa, gab es auch keine Ablenkungen vom hochkonzentrierten Kreativfluss. Ablenkungen, die das Duo ohnehin nicht suchte: "ganz allein in diesem verdammt heissen Keller am Album arbeiten war alles, was wir im Sinn hatten", geben die Künstler zu. Und sie entschieden sich, dass ihr Album nicht zu sauber klingen sollte: "Wir versuchen die Schönheit im Makel zu finden. Es lässt die Dinge einfach menschlicher wirken."
Weval beziehen ihre Inspiration nicht aus einem einzelnen musikalischen Genre, sondern eher aus einer Akkumulation von Musik, die sie inspiriert. Die Ergebnisse zeichnet eine beeindruckend kohärente Vision aus - Aufnahmen wie das dramatische THE BATTLE, der Bassknurrer I DON'T NEED IT oder die Trip-Saga MADNESS teilen diesselbe DNA aus schwungvoller Nostalgie, einer Schwäche für immersive Klangschnitzerei und einer gewissen Delle im Groove. Sie nähren sich auch aus zutiefst persönlichen Erfahrungen und Stimmungen, wie zum Beispiel bei der eindringlichen elektronischen Ballade YOU'RE MINE, dem vorsichtig geschichteten, polaroid-gefärbten JUST IN CASE oder dem wunderschön gesungenen Schlussakt YEARS TO BUILD. Und manchmal ist es nur ein altes, verstimmtes Klavier, das im Flur herumsteht: "Immer wenn ich dran vorbei lief, musste ich darauf herumklimpern", erklärt Merijn, "also wurde es ein zentraler Bestandteil von YOU MADE IT (PART I)". Kein Zweifel: dies ist WEVAL's stärkstes und organischstes Material bisher - was durchaus was bedeutet, wenn man das Talent bedenkt welches bereits in schmalen, doch gewichtigen Portfolio der Band steckt.

Mammal Hands are a trio of like-minded musicians: Nick Smart piano, Jesse Barrett drums and tabla, and Jordan Smart saxophones. Floa is their second album for Gondwana Records and in the 18 months since their debut, Animalia, they have carved out a growing following both here and abroad for their hypnotic fusion of jazz, folk and electronica: winning fans from Bonobo and Gilles Peterson to Jamie Cullum. Landmark live performances have included shows at King's Place in London and the RNCM in Manchester, as well as a barn-storming debut at the Montreal Jazz Festival. Drawing on a rich well of influences from Sufi and shamanic African trance music, Irish and Eastern European folk music, to Steve Reich and Philip Glass and more contemporary electronica influences, their music is built around deceptively simple sounding ideas that are lent power through the use of repetition and rhythmic loops. They have been compared to both Portico Quartet and GoGo Penguin for the way in which they navigate the choppy waters between contemporary dance music and jazz. Floa (an old Norse word that means to deluge or to flow) is the sound of a more confident, experienced band: one that has grown together naturally through touring and gigging and through mammoth writing and rehearsal sessions where all three bring rhythmic, improvisational and melodic ideas to the table. Floa was recorded at Gondwana's home from home, 80 Hertz Studios in Manchester, reuniting the band with producer Matthew Halsall and features some of the Gondwana Orchestra strings who played on Halsall's acclaimed album Into Forever. Together they have crafted a wonderful sounding record, the richness of which perfectly illuminates the band's music. Artwork is from Gondwana's in-house design maestro Daniel Halsall whose artwork of symbols created from older symbols perfectly illustrates the creative ideas that drive the band's music.
The release is supported by an extensive UK tour including dates in Norwich, Bristol, Brighton, Manchester and beyond. The band support Matthew Halsall at St John's Hackney on May 26th and have their own head-line show at the Jazz Cafe, Camden on 31st May. Confirmed airplay from Jamie Cullum BBC Radio 2, Gilles Peterson 6 Music, Radio 3 Late Junction, BBC Scotland Jazz House, Jazz FM, John Kennedy X and full servicing to all specialist and online radio stations. Reviews from The Guardian, Mojo, Record Collector, Jazzwise, Nos Magazine, Nowthen and local press. Online support from AllAboutJazz, Quietus, Access All Areas, Bebop Spoken Here and beyond.

Favorite Recordings proudly presents this new official album reissue of Shine the Light of Love by Googie & Tom Coppola: A beautiful soaring soul album sublimely produced with a sweet LA groove!

Thomas Wilkinson Coppola (aka Tom Coppola) is a pianist and arranger, known for being a principal member of the funky prog-jazz group Air (not to be confused with the French duo). He began working as a musician in Manhattan in the 1960s, where he met Carolyn Brooks (aka Googie Coppola). If they only released one self-titled album with Air in 1970, and Shine the Light of Love as a duo in 1980, these two amazing talents have collaborated with artists such as Herbie Mann, Lenny White, Flora Purim, Ray Barreto or Jeremy Steig to name just a few.

Shine the Light of Love was also released in 1980 on Columbia, after the couple left Air to become born-again Christian. A real lack of promotion from the label caused the record to disappear, however it was, in many ways, years ahead of their contemporaries. Googie's vocals are an absolute delight - with a Minnie Riperton-esque sort of feeling - and the overall album's got some nice jazzy touches and a sublime, sophisticated approach to the overall sound, while never falling into commercial.

An underrated masterpiece that definitely deserved more attention, which is why Favorite Recordings is deeply honored today to present it in a fully remastered version, housed in a fine gatefold sleeve including original notes.

The Far Out Monster Disco Orchestra is Far Out's in house Brazilian disco super group. It features the arrangements of Azymuth's late Maestro José Roberto Bertrami and the legendary Arthur Verocai alongside a host of other Brazilian musical icons. FOMDO013 is the latest in a series of vinyl only 12" remixes and edits on Far Out. Previous producers providing their re-works to the series include Theo Parrish, Marcellus Pittman, Mark Pritchard, 4hero, Isoul8, LTJ Xperience and more.

he second time around: fred p aka fp-oner is back on mule musiq with another record that demonstrates the many cosmic qualities of his deeper shade of soul.
it is the second part of a trilogy that features his detailed sonic landscapes that are full of mystery and power. while his last fp-oner album 5' was leaning more to the jazzier, relaxed and atmospherically side of his artistically deep house expressions, the runner-up grinds even deeper into spherical worlds that enhance deep meditative highs.
they are not made for club use only. in fact all eleven compositions work also massively without big speakers. again the new york city native that is working on his very own music for almost 20 years produced a journey inwards that is compelling, mesmerising and enchanting.
you find cosmic dust in it as well as dark entropies, percussive power, sweet seducing melodies and rolling bass power that shakes your inner and outer profoundly. the tracks are listening to names like awakening co creator', alternate reality' or adjusted perception' and the album title 6' stands for a meaning,
that fp-oner describes like this: 6 represents the number of man and his or her limitations, weakness and imperfections.
this body of work examines and looks towards one awakening. adapting to a new way of being creating an alternative and reaping a higher state of mind and being. enhanced by love and serenity, satisfaction and joy.'
all tunes are produced around the world, as he is a guy who never stops feeling in sound. that is why he caries his studio around to get up in the middle of the night or right in the morning after a sweaty party to transfer his emotions directly into sound. the result is massively powerful music with slow, intimate passages for treacly melodies, stirring synth-lines and little rhythmical quaintness.
an almost lyrical house journey that works like a musical sculpture in which organic machine grooves float along keys on air. the evolution of the each track is impeccable and their power grows with any new listening session. fp-oner himself characterizes his art like that: 'my music is designed to enhance deep meditative, or altered states, to allow the listener to personally connect to the creator of all that exists in the universe.
my music style is to first create a foundation using cyclic, polyrhythmic music, then build several layers of improvised leads and rhythms that allows you to transcend time and space... we have memories of past lives that reverberate in our hearts like echoes from ancient caves'.
there is nothing more to add, except that those who do not know fp-oner so far should know that he danced in his younger years in legendary new york city clubs like the red zone, sound factory or tunnel to dj sets of larger-than-life selectors like david morales, frankie knuckles or danny tenaglia.
during those nights he learned that sometimes less is more. and that he should rather listen to your heart and soul, then to the susurrus of the music market. most of the eps and albums that he produced under his other monikers like fred p or black jazz consortium have been released via his very own label soul people music, which exists since more then ten years.
as fred p he also dropped 12inches on jus-ed's underground quality imprint as well as on toshiya kawasaki's mule musiq label. for the latter he now is working on a trilogy under the fp-oner alias. this little paper introduces the second part of it. the final one will hit your heart and soul in an unwritten future. whatever circumstances of life will be around by then: you can be sure that fp-oner will transfigure them into a dynamic emotional and spiritual terrain.

Soul Jazz Records' new 'Studio One Dub Fire Special' brings together 18 heavyweight dub cuts, all recorded at 13 Brentford Road in the 1970s.
Featuring a stellar selection of dub cuts to classic and foundation songs recorded at Studio One with music from the legendary in-house bands - The Sound Dimension, New Establishment, Soul Defenders and Brentford All-Stars - featuring the likes of reggae's finest musicians - Jackie Mittoo, Leroy Sibbles, Cedric Brooks, Freddie McGregor and more.
These fresh dub sounds employed the mighty mixing desk skills of The Dub Specialist, aka Clement 'Sir Coxsone' Dodd, Sylvan Morris and Scientist to full effect. Studio One Dub Fire Special features our latest chapter of raw, stripped-down bass and drum sounds direct from Studio One, 'the University of Reggae'.

Released as CD with slipcase and heavyweight 2xLP vinyl (with free download code).

Powerdance is a collective formed by Luke Solomon and Nick Maurer formed as a reaction to bland soul less dance music that seems to infiltrating nightclubs the world over.
Luke and Nicks comradely stems back many many years to their association with the Classic Music Company - a label formed by Derrick Carter and Luke.
Nick Maurer was one half of the then prolific Greens Keepers.
This EP for Optimo Trax features the wigged epically funkoid gem "Mysterious Space Plane", who doesn't like songs about space On the other side is the modern hyper jacking "More Fire". Alongside these are a reprise of "Mysterious Space Plane" and a bonus beats of "More Fire" for those djs who like to / are able to get creative with their mixing.

This is the new digitally remastered 2015 expanded edition of Soul Jazz Records' biggest ever selling release, 100% Dynamite! Ska, Soul, Rocksteady and Funk in Jamaica.
Since the album's original release nearly twenty years ago, 100% Dynamite has become a cornerstone of reggae: eighteen killer tracks that show the influence that American Jazz, Funk and Soul music had on Jamaican Reggae.
The proximity of the West Indies to the USA meant that many Jamaican musicians were influenced by American styles of music whilst at the same time defining new styles of their own such as Ska, Rocksteady and Dub.
100% Dynamite features some serious Jamaican funk by Jackie Mittoo, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and Lennie Hibbert. Also included here are heavyweight Reggae versions to Soul classics by Marlena Shaw's 'Woman of the Ghetto', Aretha Franklin's 'Rocksteady', Syl Johnson's 'Is It Because I'm Black', William DeVaughan's seminal 'Be Thankful' and more.
100% Dynamite also features revolutionary tunes such as Johnny Osbourne's 'We Need Love', Sound Dimension's 'Drum Song' and Lloyd Robinson's 'Cuss Cuss', songs that helped define a unique sound for Jamaican music in the sixties and seventies. These influences went both ways - check Brentford All Stars massive 'Greedy G', the basis for Boogie Down Productions' 'Jack of Spades', or Willie Williams' 'Armageddon Time', later covered by The Clash.
This new expanded edition features seminal tracks from the greatest Jamaican producers - Clement Dodd, Lee Perry, Winston Riley (Techniques) and many more.
The album is available as CD, heavyweight double vinyl (+download), plus digital.

- A collect phone call is a form of communication based on the understanding that the receiver pays the cost of the message sent
- A collection agency buys debt at a fraction of its balance based on the reduced likeliness of the debt being recouped
- To collect is to gather, to source and to inventory


18+ return with their thirteen-track second second album, 'Collect', which explores the duo's aggressive evolution as musicians. Frequently radical and genre-defying, together Justin and Samia have produced their most ambitious and powerful work to date. On 'Collect', the duo explore the relationship of public vs private in a more invasive style, exemplified by the sampling of phone calls and personal field recordings intertwined between tracks.

Recorded collaboratively between Justin and Samia's respective Berlin and Honolulu residences, the album is a product of their physical geographical distance and autobiographical individual growth: the fragmented meeting of displaced minds, reflecting on the way we now interact in a variety of contexts, from platonic, to professional, to economic.

25 years old, born, raised and based in Berlin, but all at home in the club. Nitam's debut Retold EP (U-TON 06) already set the tone in 2015, and here we are three catalogue numbers and 14 months later with his second 12 release on Unterton taking a similar line as his debut four-tracker did: new varied sonic themes with an overall fresh sound. Although still being young of age, Nitam outlines once again his interest in dance music from the late 80s and early 90s, presenting himself schooled by classic Detroit House as well as Chicago Acid House, but all without limiting himself to a restricted pallet of styles or catering towards musical expectations.

A1 starts off gently with Keen Insight' and its almost romantic, dreamy and hazy vibe - a mellow, melody-driven and emotional listening piece in the vein of Nitam's initial track Retold'. The following Perception' on A2 is a more functional and club-enabled cut, taking shape with an Acid-informed bassline, moaning syth pads plus claps and percussion here and there.

The flipside begins with Influx' featuring a springy, muffled yet muscular kick alongside a rising synth line. What at first feels like a tool track soon evolves into a more complex song format once the sustained string and oscillating melody kick in. The EP is rounded off by the eponymous Cancellate' and its almost Dubstep-like, placid rhythm progression and drive while being dominated by ceremonial synth pads and wraithlike keyboard speckles.

U-TON 09 once again shows the versatility of Nitam as a producer, a talent that is also being reflected by his ever-increasing interest in DJing.

Michigan's ambient and soundtrack specialist John Beltran introduces a new LP that will be co-released by Delsin and his digital only label Dado Records. Entitled Through the Blinds, it features ten tracks by Blair French (who also appeared on his Music For Machine compilation on Delsin last year) and will be released on January 18th 2016. Blair French aka Dial.81 is an experimental producer and visual artist who won an award for his score of Detropia--a documentary about his home city of Detroit--and now makes his ambient debut. As you would expect of such a project, it boasts suspensory and near spiritual pieces of ambient music with angelic chords and glassy textures. There are also more frosty cuts that sound like a chilly Autumn walk, tracks that feature emotive neo-classical piano pieces and suggestively rhythmic compositions that sooth your mind. The second half of the record touches on church like passages of synth heavy sounds, strikingly sad violins and lo-fi arrangements that sound, one hopes, a little like what you might hear as you pass from this life to the next.

Killekill catalogue number 025 is a jubilee release:
It's KILLEKILL MEGAHITS II !!
But it's not only a jubilee release. It's also milestone and turning point in the Killekill history, because with this release Killekill closes one chapter, and opens up another.
We are constantly getting too many demos full with good music in way too many different styles to squeeze them onto one label. So finally we have come to the point where we will start a line of new labels with different profiles to give ourselves the opportunity to feature even more daring artists and release whatever we like in the most suitable outfit for it.
So far, there is this compilation, which has been carefully compiled for your pleasure. Label regulars such as Cassegrain & Tin Man, Furfriend, Alex Cortex or Eomac have delivered high quality stuff of all kinds, but we are also introducing a lot of artists who will feature on the coming labels:
Umwelt with his epic and dramatic electro, who will release an album with us later in 2016, Dez Williams with his genre-crossing sound which works on every dance floor plus Power Vacuum's Bintus who delivers his portion of electro/acid madness on Record 1.
Record 2 features the legendary Detroit Grand Pubahs, who present their electro outfit Techmarine Bottom Feeders, The Fool's Stone, which is a new project by Hard Ton, electro legend Adriano Canzian and italian queer artist Brigida plus London's underground hero Jerome Hill, who lets it jack and roll with his Memory Machine.
On Record 3 Kamikaze Space Programme surprises with some bell-driven percussive techno and what can we say It is with great pride that we include the acid techno epos by none other than the legendary 'Prince of Techno' Blake Baxter.
This compilation is a trip through a big musical universe. Enjoy!

140-gram 4xLP, heavyweight package including CD. One time pressing of 500 copies worldwide. The follow-up to highly acclaimed Sailing Off The Grid album

"Expect the story of life as a self-reinforcing structure that never reaches the perfect balance. The concept behind the album is to bring awareness that the balance is an illusion and that's why it's called 'At The Turn Of Equilibrium'. Petar Dundov

Petar Dundov, a stalwart of the Croatian scene and a fine purveyor of sophisticated melodic techno, has been a prominent and respected name within underground dance music for over two decades. Throughout his career, the gifted Croatian has achieved much praise and recognition through releasing no less than four acclaimed artist albums ('Sculptures 1-3' in 2001, 'Escapements' in 2008, 'Ideas From The Pond' in 2012 and 'Sailing Off The Grid' in 2013) and performing at some of the world's best clubs and festivals such as, I Love Techno (BE), EXIT (RS), Awakenings (NL), Berghain (DE), Womb (JP), Air (NL), Fuse (BE) and Space Ibiza (ES).

The inspirational eight-tracker, 'At The Turn Of Equilibrium', is Dundov's fifth long-player and encompasses all of the inimitable production qualities of his previous albums whilst exploring a broader set of moods and themes, delivering what feels like his most accomplished work to date. Dundov explains, "This time, in addition to using more sound textures I introduced parts with classical instruments like piano and strings. As the album is about life and how it evolves, from purely a physical body to a thinking person, the songs are sequenced from faster, simple-rhythmic, cyclic, body moving tracks to slower, more complex layered, beatless mind tracks."

The album's impassioned opener, 'Then Life', commences the release by taking us on a captivating journey of complex melodies and soothing ambient textures. The album continues by showcasing a wealth of hypnotic masterpieces such as the dark and slow-burning 'The Lattice', the thought-provoking 'Before It All Ends' and the Kraftwerk-esque 'Midnight Orchestra'.

Other highlights include, the Vangelis-influenced up-tempo groover 'Mist', the lush ambient soundscape 'New Hope', the uplifting and emotional 'Missing You' and the hugely stimulating synth-driven melodic work-of-genius 'Everlasting Love' which concludes the album.

'At The Turn Of Equilibrium' is a very absorbing and imaginative album that's been driven by Dundov's eternal quest of translating sound into emotion. Developed like a well-constructed DJ set, the album has not only been designed to invoke personal insight for music to be the catalyst for understanding but also make sense as a listen, highlighting Dundov's unparalleled talent, depth and versatility as a DJ/producer.

Our next release is by a young Brussels based artist that will be a new name to most of you.
Foreign Material has been into music since his youth. After studying percussions at the Conservatory and graduating in history, his interest in dark atmospheres led him to techno music. The spirit of his music is a mix of ancient myths and futuristic visions. Conceptual music, both mystical and cosmic, with a link between past and future. Here's what he had to say about his EP:
"'Omega System' is a journey to deep space and beyond, to the unknown destinations allowed by the mythical and mysterious Omega relay that's been turning around Omega's red sun since ages. But beware, the path that you will follow is dangerous and nobody ever came back. Some say that you will find death. Others that you will find great treasures. But some wise people think you will finally find Truth."
On remix duties are label friends Hiver, also known for their residency at Milan's Dude Club. Whereas the original tracks are more deep and floating, the Hiver remixes will be of high interest to many a dancefloor, you can trust us on that one.
First pressing on marbled vinyl.

DJ FEEDBACK
Early support from
Sven Väth: Nice spacey sounds !
Len Faki: awesome deep down grooves! beyond omega system are great. thX Len
Ame (Kristian): thanks
Marcel Dettmann: thx
Nick Höppner: I'm really into Hiver recently. Remix 2 is beautiful, will play for sure!
Locked Groove: great stuff
Baikal: remixes are nice especially 2
Pablo Bolivar: Serious tracks here, Hiver remix 2 is my pick!
Bruno Dietel (Radio Fritz / BLN.fm): Hiver Remix 1 is my favourite!
Tomaz (22tracks): love both hiver mixes
Deg (Fuse club): Thanks Tom !

HVNX is a new Hivern sub-label focused in concept EP's and mini- albums from artists in the label's orbit. The series will be a platform for more adventurous sounds, with a special accent in techno and hard- ware jams. Every release will include a photocopied inlay with a mood board of the artists' inspiration for that release.
Bep Kororoti is a mythical ancient astronaut worshipped by the tribes of the Amazon Jungle. It's also the name chosen by Alejandro Rodri´- guez aka Kresy for his new side project. The music on this 12' mostly comes from hardware live jams recorded in one take, which translates into the primal energy of the tracks. Constructed around raw drums, decayed tones, corroded synths, acid bursts, ritualistic chants and an overall toxic haze, it's music that sounds primitive, menacing and intri- guing all at once. Just as the tales of ancestral visitors from outer space that inspired it.
All the releases of the series will come wrapped in a special sleeve designed bi Hivern's in-house designer Arnau Pi.

With their next carefully curated release, the Opilec Music label begins to shine a light on the roots of Italo with the reissue of an ultra rare and obscure synth Italo disco track by A. Avenue from 1984.

This is a special Record Store Day 2016 release and of course, Opilec Music has remastered the original vocal and instrumental versions and here include I-Robots reconstructions and two Flemming Dalum's reworks.

This is a track many labels wanted, but only Opilec Music have been granted official rights to this cult re-release. Originally released on Discover Records, this is the only EP

A. Avenue (aka Dario Ancona and F. Feleppa) ever put out and it now fetches high prices on Discogs. Once you hear the music, you can understand why: The lovably naive and innocent vocal version is seven minutes of cosmic and psychedelic grooves with perfectly retro melodies and pixelated chords that take you into outer space.

Mid tempo drums are full of funk and drive and the two part vocal—one crisp and clean, one filtered and dehumanised—really lend the whole thing a special robot feel that is second to none. As well as a stripped back instrumental, there is a fine I-Robots Reconstruction that is quicker and more driving.

The vocals are also more prominent, soaring up top above reflective synths and rainy xylophone style melodies. It is a real Italo disco gem that is followed by a spacious and tripped out version from Danish DJ and producer Flemming Dalum, who has been devoted to Italo all his life and works with labels like Mothball, Bordello A Parigi and Disco Modernism.

He also layers in more cowbells, punchy drums and claps that refresh it for a modern club, and buy the EP digitally and you will get a second Dalum edit that is the deepest of the lot - 100% true to the original.

This reissue will make many record collectors and Italo disco fans truly happy, and is just the start of some brilliant new projects to come.

Pomalo, means 'take it easy' in Croatian Dalmatia region's slang, is the latest addition to the Burek/Barba family.

A 12" by CL Dawkins titled 'Affirmation Of Love' comes as a wonderful postcard from Detroit. Written and produced by Alex Israel, remixed by Amp Fiddler, and with a vocal contribution by Lavell Williams, the record features three different generations of Detroit artists.

Alex Israel, here debuting his CL Dawkins moniker, is a mechanical engineer and synth aficionado with a deep respect for soul music.
Since 2011, Alex has released a string of successful releases under his real name on labels such as Creme Organization, Stilove4music, Night Gallery and W.T. Records.

In tune with the mood and title of the label, Alex delivers two mid-tempo jams which are hard to ignore. 'Affirmation Of Love' is a soulful tune that works equally as the last song of the night, in your living room, or at a boat party.
Mr. Williams, whose vocals envelop the song, is vice president of the Detroit Sound Conservancy, an organisation deeply involved with Detroit's musical heritage education.

CL's second tune on the record is 'Blue Falconry', an instrumental with a subtle synth line reminiscent of Alex's previous work threading through the whole length.

Finally, Amp Fiddler contributes his take on the vocal cut. Fiddler's career connects the worlds of George Clinton, Sly and Robbie, Prince, and Brand New Heavies to artists like Moodymann, J Dilla, Theo Parrish, and A Tribe Called Quest.
A one-man musical hub, and an artist whose impressive biography would take up more space than we have here, spins the title with a dancefloor edge while retaining all the things we love about the original, a soulful Detroit house take that leaves a lasting impression...

During their European tour earlier this year, Canadian duo Jokers Of The Scene stopped over for a couple of days at Club Bizarre studio in Northern France. The two pair of producers locked up and came up with Betaville and Breakwater, two killer lo-fi and spaced out tracks. Betaville is a fuzzy dream that will make you dance in slow motion with your head in the clouds. Boasting a strong melodic and nostalgic feel, it unfolds its warm analog synth pads, old school sequences and drum machine to psychedelic effect. Imagine Boards Of Canada wanting to make you dance.. Even slower is Breakwater, a dirtier, chunkier track that ditches the softness of Betaville in favour of a more 'in your face' bass line and all together rougher attitude. It chugs along to old fashioned beat box claps and percussion and quirky synth melodies. Lastly Betaville gets the Timothy J Fairplay treatment of being violently pulled apart and chucked in all corners. Reminiscent of early Chemical Brothers music, a heavy beat slaps over agressive drugged up analog sound effects while a repetitive, haunting melody screams on top and reverberated vocals whisper in your ears. Scary.

Anenon is Brian Allen Simon, an artist and the founder of
the Non Projects record label. Constantly shedding the non-essential in search of a deep and individualized core, Anenon's music feels potent and refined, yet still raw. His work reaches audiences through speakers and venues where music is given serious consideration. An experimental artist using contemporary tools, Brian mines the intersection of electronics, jazz, improvisation and spiritual atmospherics.Simon has performed internationally throughout Japan, Europe and North America, sharing the stage with the likes of Morton Subotnick, Julia Holter, Laurel Halo, Baths and many more. He is a distinguished entrant of the 2011 Red Bull Music Academy and has guest lectured at CalArts. Alongside multiple LP's and EP's released on Non Projects, Simon has also released songs on Ghostly International, Innovative Leisure and Brownswood. October saw Anenon's debut on Friends of Friends with the 'Camembert' EP, an effort that will be followed with the 'Petrol' LP in 2016. Born out of a series of improvisational sessions with friend and collaborator Jon-Kyle Mohr, Anenon's 'Petrol' is an album about his native city of Los Angeles, but not the Los Angeles you know. It's a city built as much upon the frenzied kinetic energy of its freeways as its moments of thoughtful, early morning solitude. In Anenon's mind, an Angeleno is 'one who understands the beauty of distance and the consistencies of irregularity' and those juxtapositions can be
found throughout 'Petrol', a spacious album that needs to be lived in to be believed. Those juxtapositions extend to the sonic makeup of 'Petrol', from the tactile bliss of opener 'Body' to the album closing title track's climactic bombast. Out March 4 on Friends of Friends, 'Petrol' is the culmination of years of work and a deeply refined sensibility,
a combination that seems to fit both label and artist like a glove.

In the years since the release of Adrian Younge's Something About April, he has been coined America's black genius: the evocation of analog vestige in a digital era. His majestic music has garnered him reverence, likened to Ennio Morricone's best work and the Beatles' tenacity to create new sounds. Fortuitously, Something About April has made an indelible impression on modern vinyl heads and producers alike, being sampled by DJ Premier, Jay-Z, Common, 50 Cent and more. The Something About April brand is an axiom to the modern 'Breakbeat' and Linear Labs is happy to announce its successor: Something About April II. Recorded with Younge's collection of rare instruments, Something About April II advances his musical paradigm with enterprising concepts and grander compositions — it synthesizes the boundaries between dark American soul and classic European cinema. With effervescent conviction, Younge executes with an array of entrancing vocalists: Laetitia Sadier (Stereolab) and Bilal perform duets on 'Step Beyond' and 'La Ballade,' reminiscent of Serge Gainsborg and Jane Birkin; Raphael Saadiq blends 'Black Jazz' vocals with psychedelic soul on 'Magic Music;' Israeli star, Karolina, delivers haunting chants over concertos like 'Hear my love' and 'Winter is Here;' Loren Oden croons as if the apparent ghost of Donnie Hathaway created one last love song, 'Sandrine.' Younge is the experimental spirit of the modernist vanguard, looking at the past to create the future. What this album extrapolates, from vinyl culture, will become further magnified by its sampling down the line. Something About April II will replace the former as a holy grail for producers and collectors alike.

The BTRAX records label is back after few years off, and we are sure that new EP will not disappointed you. We are very proud to put out 1 stunning track made by one of the label artist : Camille Rodriguez from Paris - France.Electronic music drives his life for over 10 years now, he has developed his own style incorporating all his influences. He is passionate about the live, and create that way with synthesizers, sequencers, BAR and samplers... He likes pushing himself sweating behind his machines, improvising at every moment, keeping control of every sound in order to play more intuitively, getting a better communication with the crowd...
'Andalusian 2.0' comes in two guises, the Original Mix which delivers some perfect techno keys and claps over its stomping techno beat, giving it live performance style flavor. The Traumer Remix takes it into darker warehouse territory but still retains the warmth and groove. Kaine's Remix delivering some tough dub techno workouts that still have just the right amount of funk and groove.

The Roundtable & Northside Records are pleased to offer this long awaited and special Record Store Day reissue of this highly collectible Australian rare groove LP.
If you can imagine the gathering of a group of Australian session musicians channelling the sounds of Herbie Hancock Headhunter's and Marc Moulin's Placebo, recording an album out of hours at a TV studio and then releasing a privately pressed hard hitting jazz funk record then what you have is Arena, one of Australia's most revered and scarce rare groove records.
This was the name given to a pick-up group of session players led by Ted White, a veteran of the British big band jazz scene (an associate of Ted Heath and Basil Kirchin) who had immigrated to Australia in the 1960s to work in the burgeoning television industry. This one-time studio project (recorded only to test out the facilities for a new studio) barely yet thankfully saw an LP release in 1975. Pressed in minute quantities only with limited distribution, the album was subsequently forgotten and obscured by time, only to be resurrected in the 90s by DJs and collectors seeking out lost and rare records.
The album has since become one of the country's most celebrated and collectible jazz funk recordings and has proved to be a pivotal point in Australian jazz, marking a shift from the modern jazz and R&B sounds of the previous decades to the cross pollinating electric jazz funk of the 70s. Characterized by the heavy use of electronically treated saxophone, psychedelic guitar, Moog and spacey Fender Rhodes, the album is a classic of the genre.
While acknowledging the often compiled and sampled breaks track, The Long One, the complete album offers much more, exemplified by its complicated and obsessive jazz rhythms, abstract and middle-eastern horn lines and pulsing electric funk.

Incl. Trus'Me Remix! Early supported by Loco Dice, Ame, Marcell Dettmann, Ben Sims, Ben Ufo, Fred P, Dj Tennis, Reboot, DVS1, Kevin Saunderson, Marco Carola, Truncate, Osunlade & many more..
Abstract Theory is back with a great new EP from Italian bangers Dirty Channels in team with the talented Eternal Entropy, who built up two ghetto house inspired bombs. The package includes a solid techno-dub Remix from Prime Numbers boss TRUS'ME and a lovely deep version from Francesco Bonora & Marcello Arletti.
After music from Terrence Parker, Boo Williams, John Tejada, Tony Lionni, Mike Shannon and Vince Watson, with this new release Abstract Theory confirms to be one of the finest italian labels to watch this year.

Modelisme is proud to welcome the french talented and prolific artist Anaxander we use to
see on labels as Pokerflat, Tasteful Nudes, Quintessential, Local Talk to name a few..
House - Techno moods have no secret for him, and for this 30th release on the label, he
delivers a surprising and solid EP based on House Music mainly.
B1 - « Turn Out » is a great boogie house track, plenty of Disco Funk influences built on a fat
groove with a slight mainstream vocals.
B2 - « Party Track (Midnight In Malmousque Mix) » is an exceptional Slow Deep House
Techno with a slight Soul Electro Funk touch, solid and floating, warm bodies and sunglasses
ready to make dance under early sunrise or smoked club dance floor inside.
A1 - « Party Track (Kai Alce Remix) » remixed by one of Deep House fathers Kai Alce,
NDATL label Boss and author of numerous Eps on Track Mode, Mahogani Music, FXHE,
Deep Explorer.. This superb remix is in classical Deep Chicago House vein, close to some
Glenn Underground works, Jazz Funk influences and subtle grooves.
Already Supported by Jimpster, Ooft, Kelton Prima, Grego G, Jee, Mugwump, Hardrock
Striker, Oyvind Morken, Dj Steef, Jona Saucedo, Michael Zucker, Hydergine, Kriss
Liferecorder, Dawad & Mokic, Virgo Music, La dame Noir & more...

As one of the first Dutch musicians to establish a vital connection between Detroit and Amsterdam, Orlando Voorn has long been recognized as one of the Netherland's most original and inventive producers in the world of electronic dance music.

Voorn began djing at the tender age of 12 and went on to win the Dutch DMC DJ Championships in 1986 with his own characteristic blend of hiphop and electro. Towards the end of the eighties he acquired his first sequencer, packed away his turntables and turned his hand to producing.

Up next to bat for the Astral Black label is Glasgow's Bushido and he looks set to hit his debut 4-track EP straight out the park. Over the past 18 months Bushido's playful, dance-hall infused take on UK club-music has built a steady reputation, with his soundcloud page showcasing a blaze of radio rips lifted from 1xtra, Rinse & NTS. His Beach Stage set at last years Outlook Festival was picked by The Daily Street as their personal highlight and his collaborations with label-mate DJ Milktray & contributions to releases from Liminal Sounds & LuckyMe's 14/15 advent calendar have picked up DJ support from the likes of Hudson Mohawke, Mssngno & Nina Las Vegas as well as press from the likes of The Fader & FACT.

On 'Grandmaster Cash', Bushido turns in 4 sweltering, hyper-tropical, club tracks - the arpeggiated cowbells & vocal chops of opener 'Palm Trees' sounding like you've hit the jackpot on a fruit machine. 'Palm Trees' has become a firm favourite in sets from the likes of Mr Mitch & Murlo and its clear to see why. The sino-centric 'Cherry Blossom' is up next, it's half-step breakdowns offering some mild respite before culminating in an arsenal of pan-flute chops & triplet hi hats. The mavado-sampling 'Just Us' rings out at the top of side B, a stripped back offering of anthemic vocal-chops, 808 kicks, sub bass and rim shots. Finally, leaving the B'more bounce of Boxed-favourite 'Jersey' to seal the deal.

DUBWAX is proud to present the LP of Star_Dub called "A space in Between". He caught our attention after releasing strong dub techno ep's on his own STARDUB Imprint in the last 4-5 years. In 2015 we signed him for DUBWAX and he delivered the "DUBADU FILES" EP (DUBWAX005). Now it's time to present a overview about his productions in LP format. These days its hard to stand out between all those "basic channelish" Dub copys artists so we are more than happy that there are a few guys like him out in the scene who deliver their own interpretation of modern dub tech music. More infos soon!

WEvery artistic scene is lead by their artists and kept alive by their fans, but mostly by its talents, who can look outside of the box and have a great relationship with their crowd. Junior C is a great example of how this theory comes true for a DJ and Producer.
Junior C is a very versatile artist, who consolidated his career in three columns: Technique, Feeling and Crowd-Reading, Important skills that added to his strong musical taste made him able to adapt his sets to many dance-floors, from underground to mainstream without loosing his musical identity.
As a producer, he got a lot of attention by his latest tracks Relax' and Sweet Acid Talk' released by Impact Records, produced in partnership with Wehbba and Propulse. Both tracks in just a couple of weeks hit the top 20 in tech-house at Beatport receiving compliments from: Sven Vath, 2000 and One, Karotte, Hector Couto, Joseph Capriati and many more, afterwards Sweet Acid Talk' was the best seller of Ibiza Underground 2013' released by Toolroom Records.
In this EP he has worked with H.O.S.H., Gui Boratto and Gunjah to create new approaches of his latest single Coming Over' and the result are 3 different interpretations of this dance floor timeless song, full of groove, lush harmonies and organic undertones. It doesn't take much to imagine this EP owning dance floors in the months and years to come.
Engineered to perfection by label head GUI BORATTO, it's an exciting step for the imprint and the project alike.
it's an exciting step for the imprint and the project alike.

2024 Repress

'Moonlight Music & You' was the second-ever release on Theo Parrish's now legendary Sound Signature label. This welcome reissue makes it available for all once more and reminds us of the early quality of Parrish's work back in 1997. 'Music' has swirling and humid pads, curious melodies and dusty, stripped-back deep house drums. It's a beautiful place to get lost. 'Moonlite' then picks up the pace but keeps the grainy, lo-fi feel with eerie chords and subtle vocal musings adding to the atmosphere.

˜Acabou Chorare™ is the second album from Novos Baianos, or ˜New Bahians,™ who formed in Bahia, Brazil, in the 1960s. They are considered to be one of the most important and revolutionary groups in Brazilian music. ˜Acabou Chorare™ ž which translates to šNo More Crying› ž was originally released in 1972 by Som Livre after the success of their first LP ˜É Ferro na Boneca™ in 1970. It charted at No. 1 in a Rolling Stone Brazil™s Top 100 Brazilian Albums Ever chart. šPreta, Pretinha› placed 20th in the same publication™s list of the greatest Brazilian songs of all time. The unique sound of this record is a result of the fusion of samba, MPB, rock ™n™ roll and bossa nova, and strong influences from Jo–o Gilberto, who frequently played with the group, and bossa nova legend Gilberto Gil.

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

+ Downloadcode!

The first Late Night Tales release of 2016 is a very special project by Sasha.

Imagine listening to music inspired by Frahm, Richter and Steve Reich, but made by one of the UK's leading house and techno DJs. Away from the hubbub of the club, the craziness of Ibiza, there's a contemplative side to everybody. Forget the beats and the sweat and the billowing anthems; this quiet, undulating, at times pastoral piece is less about songs and anthems and more about texture and atmosphere. 'Scene Delete' is a side of Sasha you've never heard before. I love post-minimalist modern classical, I love to listen to something completely different that's quite hypnotic as well. It almost purges the system.

About three years ago, my collaborators David Gardner and ThermalBear and I wrote a song called 'Bring On The Night'. I sent it to Ultraista and within a few days she sent it back with this amazing vocal on, with Nigel Goodrich playing keyboards. We tried to do club mixes but we just couldn't get it right. So it sat there doing nothing.

Tracks like this kept building up, until finally last summer my frustration boiled over. We'd made so many tunes that I couldn't remember the names of half of them: What was that thing with a bass sound and a string line It drove me mental. At the same time as we were logging these tracks, I was listening to the Jon Hopkins' Late Night Tales and I thought a lot of the music we'd been working on was in the same vibe. So I sent the music over to Late Night Tales and they really liked it.

Initially, I thought we'd just do a Late Night Tales compilation with maybe a few pieces of my own music. But as we went through everything we'd worked on in the last two years, we realised we had about 50 pieces of music. So we started editing and compiling: 'Scene Delete' is the end result.' - Sasha, January 2016

Think of 'Scene Delete' as somewhere between a mix album, an artist album and a gentle stroll through the soundtrack in your mind. Make sure you switch off the lights before you enter.

The last part of the dancer's trilogy: With Border One's 'Throw' Ressort Imprint closes it's triplette on the definition of modern Techno's different sound colours. And it's getting more and more playful.

Border One might be a new name popping up here and there recently but the young Belgian DJ and producer is by no means a newbie to the scene. Knowing that it is no wonder that his debut on Ressort Imprint sounds very sophisticated and mature as his three original drafts show a very classical illustration about his passion for Techno music.

The title track 'Throw' starts of with a playful yet unobtrusive melody and shows the Ghent-based producer's ability for shifting moods with very subtile yet effective measures. 'Morphosis', on the other hand, gives a real club momentum while 'Tube' is succeeding with topping itself bar by bar. All of this is rounded up by a big room take from one of our favourites, being Thomas Hessler. It is save to say: We will hear a lot about Border One in the future.