Suche:n sync

Koryu Budo Records is a new techno label based in Madrid. This is their second release, as for the first release, it will only be released on vinyl (300 copies).

This EP named ‘The Last Gift’ has been written and produced by HD Substance, the Spanish producer, DJ, journalist, owner of SUBtl recordings and teacher at The Bass Valley. 2018 marks his 30 year anniversary in electronic music and he keeps on playing techno all over the world, releasing techno in a constant basis, teaching techno at The Bass Valley, writing techno for Beatburguer, Clubbingspain, Pole Group or Falling Ethics and releasing other people’s techno in his own label SUBtl.

The EP opens with "No Body Cares", a complex and timeless track, an orgy of analog psychedelia, the sequences that seem extracted from old clocks are mixed together to offer a hypnotic and enveloping sensation.

In second place, we find "Red Lady", pure and raw techno that is nourished with a devilish bass line, that immerses us in a sinister and dark universe. Direct simplicity.

"Red Lady_Sarcoma version" follows the line of the original track, though the main bass line disappears and in its replaced by syncopated sounds that take away some of the aggressiveness of the track but nourish it with more groove.

A work of great maturity, which shows this producer as one of the great names of techno.

Following the release of their short film 'The Awakening' and its accompanying single, Lost Souls Of Saturn share the first remix in 9 years by revered musician James Holden. Over thirteen minutes of crisp, stratospheric elegance, Holden’s rework is both slightly mad and simultaneously blissful – like a trance-state reached through frenzied, spiritual ritual.

“I believe in serendipity: if the universe presents you with something that seems right, you should go with it”, says Holden. “When this record hit my desk was one of those moments. Recently I'd been thinking a lot about rave utopias, the pan-global fantasy painted by the early days of Future Sound Of London etc, and listening to LSOS's Jodorowskian ceremonials I felt like they'd caught the same winds. And so, although I thought I'd finished doing remixes for this lifetime, here it is; some kind of dream of a memory of a rave, the spookiness of the original slightly eclipsed by my warm feelings about Seth's good energy!”

The original version of ‘The Awakening’ begins as a serene ambient spacecast, before an ancient alien rite of tribal frenzy starts to emerge through the phosphorescent stardust – sonically somewhere between Demdike Stare and classic Orb, by way of Don Cherry.
Primarily LSOS are Seth Troxler and Phil Moffa, plus further opaque participants congregating to combine music, imagery and storytelling into an inextricably linked whole, all wrapped-up in a philosophy of their own making.
Attempting something creatively that’s above-and-beyond, LSOS explore new ways to open doors of perception and challenge the reality vs. simulation paradigm, whilst capturing the spirit of Philip K. Dick, Sun Ra and the KLF within their music, live experiences and films.
These spiritual, psychoactive aural vibrations resonate for a long distance, all the way back to something deeper and more enchanting than the prosaicism of modern life:
“We have been sent synchronistic signs from a metaphysical plane. We are the glitch-seekers, exposing the Holes In The Holoverse. We are Lost Souls Of Saturn.”

Spread out over two 12"vinyls - this is the result from a two day recording session in Brussels by the duo of Beau Wanzer & Maoupa Mazzocchetti. 25 minutes of dance floor perversions that tackle an array of rhythmic forms. Sludgy synths, serrated percussion and viscous distortion goops over leviathan rhythms

Beau says, “We hooked everything up and just pushed play. We didn’t really discuss much about the process….it was very ‘spur of the moment’.” The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Each EP contains 25 minutes of dance floor perversions that tackle an array of rhythmic forms. Sludgy synths, serrated percussion and viscous distortion goops over leviathan rhythms

Alex Jann returns to Censor for the label’s second excursion into the unknown with three direct communications and a mix of the title track from Rotterdam’s Animistic Beliefs.

The EP’s title track Computoid.Transmission.X is a pulsating drum workout laced with dystopian pads, laser-cut leads, anxious bass lines and an evocative mutant vocal from an A.I. system gaining consciousness.

Animistic Beliefs create a darker texture in their Electric Eye Mix of the title track, sending the vocal and lead sound straight through the stratosphere via complex bass and arp phrases that filter and stalk around the lead bringing a deeper and more contrasting A2.

Firewall Culture comes as an intoxicating trip on the B1 with off-world FX, feral acid lines and a spacetime-defying style of vocal that haunt Alex’s work.

Jupiter Storms on the B2 ascends the EP to a higher plane with deep washes created from evolving pads adding space and movement to the final track of the release, all accented with glacial micro drops, syncopated beats and tight trickling synth sections. The release was mastered by Keith Tenniswood at Curve Pusher.

It all started with words, and a project for an art book with a CD, acronym for Corps Diplomatiques as a tribute to a special diplomatic elephant called Abul Abbas. A few mundane terms, picked randomly, then coupled with frequencies chosen in a spontaneous way for their presupposed properties or synchronicities, whether in space, orbital rhythms, color spectrum, or electro-magnetic fields. Those free associations became the foundation for a written composition, the reprogramming of recordings of computer improvisations, and a dialogue with the visual elements of the book. It is also based on the deconstruction of the first LP I did and its reconstruction under the auspices of echoes of a joyful brouhaha from a dreamed speakeasy, including the true voices behind the charade. The freedom is given to the listener to connect the dots and name the tracks according to their own state of mind, mood or interpretation. All further informations are in the book !

Sometimes, - despite today's high-octane, fast-track and hyper-hysteric music business - you come across things that seem so pure, perfect and poetic that it almost hurts. "Socialo Blanco" is one of these objects.

It appears understated at a first listen, startling at the second and totally enamouring by the third run. To lay it all out on the table: it sounds like a Music from Memory re-issue, looks like a Growing Bins Records discovery and feels like a flea-market-hippie-uncle-record-collection find.

Based on the language (coincidences and misbehaviour included) and direction of the classic EMS Synthi AKS and recorded by hand and directly to tape (no midi, no sync, no computer), it is at once out of time and out of touch with current sound aesthetics, but that only makes it even more contemporary (vintage) - like a great piece of furniture.

Unsurprising, if you know that Feater is helmed by Daniel Meuzard. Hailing from Vienna and having made a name for himself as a trustworthy and skilled studio equipment dealer and working closely with producer and studio engineer Sam Irl, the man has a knack for turning yesterday into today.

Already is his project's second album, "Socialo Blanco" is the result of all of this and some magical and effortless sessions. The voice of Vilja Larjosto from Finland and Ghana's Eric Owusu (Pat Thomas, Ebo Taylor) on percussion, spontaneously invited to the recording sessions by fellow Viennese Giuseppe Leonardi, are the icing on the cake. All of that and especially the non-conformist pop song "Time Million" symbolizes the heart and soul of an album that deserves to be billed as such. And that is no mean feat.

Matt Edwards launches Stranger in The Night with his first solo material since 2017.
The Rekids offshoot will release regular music by four artists, namely Radio Slave, King
Britt, Anthony Rother and Fred P, who will each drop three EPs over the next year.

'With Rekids being 100% focused on releasing music for dance floors I felt the need to
create a new platform to explore a wider musical vision and invite some of my all-time
electronic musical heroes to be a part of the series,' says Matt Edwards.

Both numbers near the 12-minute mark but each track portrays a different aesthetic.
Opening with precision drums and crystalline notes, 'Ground Control' makes a nod
towards the hi-tech soul sound of Detroit and drives forward using a sultry bassline, erratic
chords and the occasional icy stab as an array of contrasting sounds operate in unison.

On the flip, a syncopated rhythm lays the foundation for 'Last Communication' whilst a
tantalising melody joins poignant synths, constructing a profound and hypnotising journey.

SO-015 was slated to be released some time ago as the Critical Phaze ep, but for various reasons, never saw the light of day. The ep has now been newly mixed, re-mastered, renamed on the resurrected Southern Outpost label. The lead track, Critical Phaze, is dark dystopian electro, while Syncom Data provide a dubbed out remix to finish up the A side. A short interlude on the B side makes way for Solar Cycle a long, hypnotic electro trip that imagines the endless bounds of space.


B A2 Critical Phaze (Syncom Data Remix)

French producer Erell Ranson's affinity for the deeper shades of Detroit sound is well known, but his ability to absorb those influences and create beautiful music with his own signature is the reason we're so excited to welcome him into our family. Having previously released on labels such as Kalahari Oyster Cult, aDepth audio, Nice & Nasty Records and his own MySelf Recordings, amongst others, Erell's became quite skilled in crafting sophisticated and emotional tracks which still seem to feel perfectly at home in a crowded 3 AM club situation. EP for Barba, titled "Dreams Of Nila", is a 4-tracker consisting of "Dreams Of Nila", "Reminiscence 0f The Past", and "Far Away Of Your Side", with the latter receiving an additional remix treatment by a Rotterdam-based project Duplex. "Dreams Of Nila" is a somewhat more leaning towards Chicago-ish side of things, with its huge bassline enveloped by shuffling 707 drums. Soft-sounding synth pad sequences work as an emotion injection and appear perfectly timed, without removing the edge of this, essentially, club track. "Reminiscence Of The Past" is the most direct of the bunch. Syncopated bass drum, forward-leaning groove and those classic techno snare roll fills make this track hard to ignore as it is, without mentioning complex interaction of synth lines, chords and beautiful detroit-reminiscent string stabs. Wonderfully executed counterpoint of hard edge and soft touch is what makes this cut a truly special one. Techno in its fullest form. "Far Away Of Your Side" is somewhat closer to the energy level of "Dreams Of Nila", and is a well-paced deep cut perfect for later moments in the night when subtle approach is everything. Slow synth pads give your mind some time to relax while the groove keeps your body occupied. Duplex remix of "Far Away Of Your Side" takes the track another notch down but in a more sideways manner. Broken electro groove is what keeps the foundation of the track while Chris Aarse & John Matze (aka Duplex) masterfully work their synths and pads to keep the tension for the whole duration of the track. Melancholy mood is tangible here, and at its best, ready for the dancefloor.

Originally released in 1993 by Hani AlBader on his first label Super Doppler Communications. It was primitively programed on 8track sequencer then recorded on a 4 track tape machine in his spare bedroom studio in Denver, Colorado. Only 300 hundred copies were pressed initially. It was not an easy record to sell to distributors at the time due to the various genres & sounds on it. Mailed out few promos to a handpicked list of names. One of them was dj Dubfire whom at the time was starting as Deep Dish. One morning in spring of 93' Hani received a phone call from Ali Shirazinia aka Dubfire who was full of compliments & requested similar tracks for his label.26 years later Hani's name became internationally known & till this day continues to produce & remix under many aliases while running his own label Soterios Records. In 2017 Hani started receiving several purchase requests from seekers of this record. Thanks to Discog they were able to find out who to contact.Jeep Warehouse Beats Vol:1 is now in high demand among techno / rave fans and some deejays are offering up to $110 per copy. Unfortunately it's out of stock. Due to the serge of interest by deejays and collectors, SDc is back! Repressing of this highly sought after piece of vinyl are ready to ship. Hani have also found buried deep in the vault an unreleased Jeep Warehouse Beats Vol:2 plus an extended version of the mainly requested track 1 on B-side called Vector Selector that will be released on future Jeep Warehouse Beats Vol: 1.5 with some help from Synchrophone in France.Here's a quote from the info sheet included in all promo mail-outs back in 1993. 'The Super Doppler Communications laboratory is the brainchild of Hani - technics technician extraordinary Hani takes no shorts on the beats. He deals with compounds and elements from the periodic table of dance. House, techno, trance, garage, and funk groove can be expected to oose from the test tube. SDc has been experimenting with the innovative styles of Burrito revolution, veggie tracks and the erotic magic of Miles Blacklove. SDc is a mile above sea level. All music is the property of the universe. Adults need not be present during lab because they just would not understand these

Repress!

Contemporary house merged with space-age jazz & broken beat from Copenhagen newcomer Nejrup on debut release MANDA backed by a uniquely off-kilter remix from London soul stalwart K15 (Eglo / Wild Oats)

MANDA is a selection of intricate compositions for the dancefloor with a jazz centered approach to combining dance grooves with modular soundscapes & live instrumentation.

For Nejrup, a self-learned synthhacker, pianist and producer from Copenhagen, his debut MANDA is a result of years of experimentation and never-ending practice and noodling on his Fender Rhodes & homebuilt synth collection. Delivering a compositional complexity influenced by Radiohead and Floating Points, while letting his tunes simmer with airy synths and improvised live instrumentation combined with a love for depthful harmonies.

K15 backs the release with a soothing, heavily syncopated remix, as only he could do it. The Londoner, whose soulful touch and ear for melody has earned him high status in the jazz encompassing house- and broken beat circuit, through Kyle Hall's 'Wild Oats' and Alexander Nut's 'Eglo Records' and as center of the Culross Close outfit.

Midnight Embassy is a ping­pong project by songwriter Angela Aux and producer Sam Irl. During nightly sessions and on walks together, the two artists have created a palette of timeless tracks and futuristic sculptures from pop music flotsam. Like if two archive junkies had synchronized their sketch collections and notebooks so that the different genres and decades seem to effortlessly swirl through each other: Dub, Folk, Beatnik literature, Afrobeat & Electronica. Aux & Irl celebrate a gentle escapism, both cosmopolitan and aloof. This island mentality sparkles unobtrusively through all five tracks of the debut EP. No fireworks, no illuminated advertisements, no selfie thunderstorms: they come at dusk, set shimmering beacons and disappear on a reverberation trail behind the curtain of the night.

From Winding Synths To Percussive Flurries, Abale Is A Club-oriented Project That Combines Traditional Instrumentation With Electronic Flavours, Resulting In A Syncopated, Colourful Mix. Abale Is The Fruit Of A Long Collaboration Between Two Brothers, Who Are Both Composers And Producers In Their Own Right, Who Grew Up Together Listening To Bass Music, Idm And Various Styles Of Folk.

supplications', Released On Mantic, Is Abale's First E.p. On This Record, The Two Musicians Reap The Benefits Of Their Long Collaboration By Drawing Out, Track After Track, The Invocation Of Their Common Musicality And The Hope Awakened By It. The Tunes Are Steeped In The Brothers' Shared Musical Subjectivity, Clearly Pulling On Their Shared Taste For Varied Traditional Folk Music And A Refined Dance-music Esthetic.
The Result, A Clearly Dancefloor Oriented Release, Is A Record Driven By Powerful Percussions In Which Are Intertwined Wild Voice Samples And Shifting Synth Melodies.

Ahah... you thought DAFNE was off the system Yes they are ! Again surprising and traveling... This EP offers a south electro vision with crazy high drops : many Cumbia surprises and backwards beats... A generous 5 tracker to mix with itself. Crazy thing. Hope you like it ! I should have play that record last weekend ^^

Sa Bat' Machines & Tam Ly continuent sur la lancée et proposent un nouveau EP 3 titres electro deep bass.
La Combinaison de Sa Bat' Machines, producteur parisien, musicien, et compositeur de bass music et de Tam Ly, chanteuse auteure, compositrice et caméleon passionné de jazz, de musique classique et de mélopées orientales, avec le guitariste Pierre Maddio fonctionne suavement.
Les influences sont multiples, entre sons concrets, harmonies jazz et riffs de guitares un tantinet rock. La voix est mélancholique et syncopée, expressive ou fantomatique.
Elle invoque des instantanés intimistes, "Strange Fruit" est une interpretation du titre d'Abel Meeropol popularisé par Billie Holliday puis Nina Simone.
Road trip electro, ce vinyle n'est pas dsans nous rappeler la bande original du film "Mulholland Drive".
A écouter tard, ou au réveil.
text: Supa Cosh

We Are Mattimatti. Two Mattis Living In Different Countries - Sweden (malmö) And Germany (berlin). We Travel Around The World Playing Music While Asking Ourselves, 'who Are We'. The Answer Seems To Change Just As Our Surroundings Do. But The Music Stays With Us And So Does The Friendship. It Is Cliché That It's Hard To Put A Label On Music. And To Say It Has Almost Become A Cliche Itself. But Whole Meaning Of Music Is To Listen To It And Create Your Own World By It. To Create One's Own World One Needs Space. Space That Is Not Interrupted By Either Style Or Defining Categories. Mattimatti Is An Attempt To Step Into That Space Creating Music That Is Solely Built On Improvisation. Our Music Is An Invitation To Places Not Yet Known, Where Rhythmic, Suggestive And Meditative Soundscapes Meet The Present Moment. Music Represents Many Things For Us. First Of All, It Is In-sync With Our Friendship, When The Relationship Is Stuck So Is Our Music. Our Music Is Therapy. We Need To Be Authentic With The Music In Order To Have A Real Friendship And The Other Way Around. As Friends And Musicians We Welcome The Unexpected. This Has Lead Us To Places Where We Never Would Have Ended Up In If It Weren't For The Music. In That Way, Music And Life Walk Hand In Hand. If We Dare To Be Real About It. We Are Living In A World Full Of Confusion When It Comes To Identity. It's Easy To Loose Yourself. All Of A Sudden You Are Standing There Playing Music But Missing The Music At The Same Time, Or Hanging Out With Your Best Friend While Missing The Friendship. We Are Trying To Stay Connected. It Is A Constant Task. We Lose It But Then We Find It Again, Just Like Everybody Else. Sometimes It Ends Up In Music For The Moment. Sometimes It Ends Up In The Shape Of A Record. We Met On The Streets Of Berlin In Spring 2013 While One Of Us Was Playing On The Streets. After We Played The First Time Together, There Was No Question That We Would Travel A Musical Journey Together From That Day. Mattimatti Was Initiated. On Our Quest We Began Playing Improvised Tunes On Sitar And Hang On The Street While Travelling Through Sweden And Germany. This Lead Us To Be Invited To Numerous Festivals All Over Europe While Constantly Developing Our Music And Sound. Since Then Our Set Has Added New Instruments Such As A Drum Kit With Hang, African Harps, Sitar, Guitar, Harmonica, Clarinet, Hank Drum And Vocals On Top Of It Extending The Sound With A Space Echo. The Long, Intimate Tunes That We Are Creating Have An Original Structure And Sound. There Is A Certain Present Resting In The Music Which Is Hard To Describe But Easy To Experience If You Listen To It. Our Live Concerts Have Been Dubbed Mythical, Hypnotic, Magic And Epic. Traveling Is Our Biggest Influence On Music. Mattimatti Are Now Both Based In Berlin & Malmoe And Work Together With The Contemporary Circus, Dance And Music Group - kollektiv Knaster .

Oscillate Tracks 002 is the second compilation from the Oscillate crew who have been running the successful event series at ://about blank for just over 4 years. After the sell-out launch of their first record, their second compilation EP is highly anticipated. This time with Melbourne based producer Hymns, known for his beautifully restrained, spacious electro, Superhexagon regular J. Wiltshire, crossing over into his own glistening take on modern dubstep, Schloss Records founder Karima F whose percussion and berserk melodies know no bounds and Perth-based artist Peter McAvan, upheaving all expectations with his surprising rhythms and syncopation. Diverse, yet of the same palette, this record paints a dreamy yet powerful picture.

Ltd. Ed. 180 units w/ Special Poster Cover

Syncope is concept EP, a mutant musical and visual project
initiated in 2018, promoting the inherent link between music and graphic design. It takes roots in Isaac Newton's Opticks treatise, which for the first time addresses a relationship between audible and visible. Syncope aims to explore the diversity and affinity of distinct phenomena such as frequencies, colors, synesthesia, polyrhythm ...Each exploration takes the form of a visual and musical narrative. This duality emerges on all visual and musical media, mixing plastic and technological elements, organic and synthetic, exploring the intimate relationship between man and machine. Dual nature also existing within the object, both a cover and a poster. A particular interest is giving to printing, using offset, with bronze and purple Pantone colors.This EP is the first object resulting from this project. Oil thief is an ambient track with synthetic and bestial sounds. Jungle is a rite of passage integrating African percussion and polyrhythms. Mengele Zoo close this EP with a progressive and psychedelic guitar slick.

Rian Treanor will release his anticipated debut album 'ATAXIA' on Planet Mu this March. The striking full-length follows singles for The Death Of Rave and Warp's Arcola imprint as well as live sets at Boilerroom x Genelec, Nyege Nyege festival, tours in India and various high profile EU shows.

The title 'ATAXIA' means 'the loss of full control of bodily movements' and relates to Rian's music which is 'intended to make people's bodies move in unpredictable ways.' He adds 'the angles in the letters, the phonetics seem to mirror the geometry and idiosyncratic patterns in the music.' Rian explains that components of the tracks were made by generating a series of irregular events and re-structuring them, or by destabilising a pattern that is constant.

When asked how the album compares with his previous releases, he says 'My earlier EPs share a similar interest in angular and asymmetrical rhythms that are designed for club sound systems,' adding 'they were more improvised, focusing on sequencing and pattern modulation, using standard drum sounds and synthesiser patches. ATAXIA is more focused and stricter, it's more co-ordinated in terms of the track selection and the rhythmic structures. I spent more time refining the synthesis and sound design, pushing it further than the previous releases.' He expresses an interest in exploring opposites in his music: 'fluidity and syncopation,' 'systematic and unpredictability,' 'reduction and extremity,' 'irregular symmetry,' 'easy listening and brutal'.
There's clear a conceptual backdrop, but the music itself is not overthought. There's an immediate joy to much of the album - check out ATAXIA_D3 with its wonderful cut-ups and modulations of the phrase 'people don't understand people.'

The roots of Rian's playful sound are directly linked to his love of the music he grew up with. Coming from Sheffield, you can hear elements of industrial, synth-pop, bleep, extreme computer music and speed garage at play. From Cabaret Voltaire to Warp and beyond; the sound of his city has been, and is, an integral part of his musical development and is still a direct influence.

Last year, he noted in an interview that "I'm not a computer programmer, I'm not an articulate person in that kind of way. I'm a visual artist." Now he elaborates 'I meant more that I'm a visual thinker.' Drawing and visual art have been a fundamental part of his life 'since I was a child. I got really into graffiti as a teenager and around the same time I got into mixing and these both developed together.' You can sense the mind of a visual artist at work in his music which is also reflected in the artwork he created for this project.

As well as his visual art, installations and multichannel sound works he is involved in numerous collaborations such as with composer Nakul Krishnamurthy exploring the common ground between Indian classical music and electronic music and his work with improv saxophonist Karl D'Silva, plus his time studying with Lupo at Dubplates and Mastering in Berlin (who taught him the 'importance of reduction') have all helped shape and push his sound into other unique and adventurous zones. Treanor is developing on different levels and in different forms all at the same time, re-imagining the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of fractured and interlocking components.

Lunch Money Is A New Breed Of Psychedelic Jazz. Adventurous Compositions That Keep Both Body And Mind Fully Engaged, The Music Juxtaposes Expansive Textures With Off-kilter Hooks And Rhythms. Deep Basslines Rub Shoulders With Angular Post-punk Guitar Riffs, Floating Synths And Horns, All Blending Onto A Head Nodding Syncopated Drum Beat. A Heady Brew Of Dilla, Davis And Kraut Marks The Arrival Of London's Newest Jazz Deviants.

The Run Of 300 7" Singles Will Be The First Release From New Label None More Records. The Record Will Also Be Available Digitally.

Crossing boss AVION delivers the label's debut album with ten atmospheric Techno cuts including a collaboration alongside Ninja Tune favourite Emika.

Berlin based producer AVION's structured techno has found home on respected labels like Index Marcel Fengler, District 66, Stress Research and Pure. However, his own label Crossing - launched in 2013 - has hosted the majority of his work when not releasing music by Pfirter, Doka, The Automatic Message and Milton Bradley (as Doomsday Device). It only makes sense then that AVION's debut longplayer sees him return to his imprint.

Opening with the ominous heartbeat and metallic drones of 'New Day', AVION's album quickly takes things into a murky analog direction with crackling 'Errata' and its twisted effects before 'Stones' follows with its offbeat drums as sanguine chords begin to shine through. Syncopated percussion follows with 'Adamant' as twisted synths continually sweep, leading into 'Untrod' and its scintillating chimes and mesmerising textures.
Squelchy acid licks join otherworldly pads in 'Scan' until the dystopian 'Evasion' builds in tension as lo-fi drums join oscillating bass. Pitter-patter drums and pulsating stabs are next in 'Firebox', making way for the harrowing 'Street Lights' that utilizes the ethereal voice of Emika. Finally, 'Nebul' provides a shadowy finale with a crystalline aesthetic complete with a cacophony of intricate details.

A fireball to accelerate our post-winter thawing.

Spanish producer Pe´pe's first foray on LPH.

It starts off unassumingly, with a bright, airy beach boogie that's all gentle drums and trebly synth figurations, but it quickly turns its eye to the strobe-lit nightclub, first with 'Delusions of Grandeur,' an angular hypnosis of syncopated rhythms, then with 'Aerial,' a 130 BPM blitz with an epic build and an equally dramatic breakdown. Capping it off is '50 AM,' which, as the name indicates, is a woozy shuffle that'll help you land the plane nice and easy.

Esencia is proud to present Forgotten Ones, the new album from London based quintet Culross Close. The album opens with 'Fractured', a cosmic musing carried delicately by electric piano and decorated with a synthesized dalliance. The album then cruises into 'Forgotten Ones', a spiritual made potent by their choral-esque vocals by far their most accomplished piece to date.

'Acceptance' finds the quintet in familiar hip-hop territory, carving out a top tier groove with a recurring piano motif of the highest order. Their vocals, this time more chant than choral makes for a brilliant 5-minute mantra.

'Mood' is a stark contrast to anything else on the album, an acidic and rugged illustration of the group's present state. 'The Tiniest Lights Still Shine' is a syncopated excursion in 5/4 time. With an electrifying percussion solo, this will be the song that finds its way onto the dance-floor. 'Healing' is a percussion heavy journey, draped in synthesizers and style, embodying elements of 70's fusion and bossa-nova, a perfect closer to the album.

1 x LP Full Colour Sleeve, shrinkwrapped

This EP focuses on the group's prescient dance-floor DIN-sync workouts which share sensibilities with contemporaneous early Detroit experiments by Juan Atkin's Cybotron, Ron Hardy's visionary Kikrokos tape edit, Shoc Corridor's extended 808
exercises, and 90s Techno Pop by Haruomi Hosono. Rounding off the EP is the existential electronic soul ballad Words. Remastered from the original reels, 45rpm DMM pressing.

Kansas City, 1983: a band formed, wires connected and synapses fired. Three friends, tired of guitar/bass/drums rock started jamming with newly acquired synths and Roland TR 808. They called themselves Short-Term Memory. Thanks to the vanguard technology of the time, these electronic instruments spoke to each other, and Jim Skeel, John Paul & Robert Duckworth could program their instruments, riding the DIN-sync wave. Weekly jams became more ambitious, and in 1983 they released their first album Every Head Needs Cleaning on their own Silly Poodle Music label. Over the 80s members drifted in and out of the group, and they released two cassettes, an LP and a 7' EP. By the 90s Jim Skeel was at the helm, the only original member, and joined by Tim Higgins he continued to record in MIDI mode for a few years before pulling the plug, leaving recordings and memories that resisted the great fadeout of time, and today sound vibrant and more visionary than ever.

R&S Records present the first key transmission from the Lost Souls Of Saturn's multidisciplinary conceptual project. The title track of the LSOS debut EP is revealed immediately, with the full 'Holes In The Holoverse' EP to follow on the 1st March.

Primarily LSOS are Seth Troxler and Phil Moffa, with opaque additional participants congregating to combine music, imagery, storytelling and communion into an inextricably linked whole, all wrapped-up in a philosophy of their own making.

Check the launch visual for 'Holes In The Holoverse' here:

The EP follows their performance debut as part of the 'GaiaMotherTree' installation with artist Ernesto Neto at Zurich Main Train Station, and a second show at Houghton Festival. Following these site-specific ambient renditions, the full LSOS live experience will be unveiled at the Village Undergound in London on the 18th April 2019, with further live performances to follow (including Field Day) and to be announced.

The classic-R&S-style groover 'Holes In The Holoverse' propels ever starwards, whilst the acid techno of 'World of the Wars' evokes a probe motoring through the cosmos. Further solar system surfing comes from world-renowned, Turner prize winning artist and photographer Wolfgang Tillmans. For his first ever remix, Tillmans tweaks the frequencies, adds extra percussion and his own 'va va voom' vocals.

Attempting something creatively that's above-and-beyond, LSOS explore new ways to open doors of perception and challenge the presumed reality, whilst capturing the spirit of Alejandro Jodorowsky, HG Wells, Sun Ra and the KLF within their music, live experiences and forthcoming films.

These spiritual, psychoactive aural vibrations resonate for a long distance, all the way back to something deeper and more enchanting than the prosaicism of modern life:

'We're searching for signs from another dimension and channelling a higher consciousness. We want to explore the concepts of reality vs simulation/hologram, ancient knowledge and ritualistic experiences. We're inspired by art, film, literature, astrology, mysticism, cults, rituals, paganism, synchronicity, conspiracy, altered reality, virtual states, spiritualism, chaos, cosmology and science. Both sci-fi and real science especially interest us - from Philip K. Dick books, to NASA articles, to the hexagonal storm at Saturn's North Pole.'

Lost Souls Of Saturn are preparing their debut album for release in June 2019.

Slow things down into a full balearic groove with this latest EP on Dekmantel by the Dutch production duo. Barely breaking a sweat over 100bpm, these smooth sunset synth rhythms, full of muted 80s Italo funk, and breezy drum machines, syncopated with the warm, exotic blend of retro keys and ambience, set the EPs five tracks coastal, vibrant dynamic.

With one of the hippest jazz albums of recent years under their belt, Jukka Eskola Soul Trio is back with a fresh new single. It's truly a double-sider of the highest order, as both of the tracks deliver a completely distinct flavor.

"Tiny B" on the A side is a neat bossa jazz number, and as usual in top of the genre, the lightness serves only as a facade. The composition starts to evolve before the listener gets too comfortable, transitioning into a beautiful cinematic section, which is followed by tight solos by Eskola on trumpet and Mikko Helevä on organ. The trio rises beyond its numbers, as the maestro Teppo Mäkynen overdubs his drumming with added percussion and vibes.

Hiding on the B side is a furious jazz dance burner, which sees the trio rise to energy levels that surpass even Five Corners Quintet in their tightest form. "Stick of a Branch" is highly syncopated business that takes its cues from a sound refined by 1970's independent afrocentric jazz groups. It's a style, which is inherently modernist, without a slightest interest in mass appeal, and firmly rooted in the blues.

If you need some no nonsense organic jazz on your turntable, it's hard to go wrong with this single.

This EP is an excerpt from one of my live sessions performed with modular synthesizer and samples provided by Field Recordings. I'm focusing my attention to the sound design and mixing, evolving tracks structure.
'Instead that Obscene' is the second vinyl release on Syncretism, this includes three massive original tracks inspired by post-apocalyptic and sci-fi environments, experimenting brilliant frequencies and psychedelic melodies with a remix distinguished from break drums and shocking scenarios. Special thanks to Simon for his contribution.
Nemrac shows his elettronic music concept in a way that goes beyond the categorization of genre, leaving the listener free to perceive the essence of the EP.

birthportal presents its first release featuring tracks from Don Stan.
Swinging drums and wild synths row profuse at Don Stan's. With a bit to look back on and something to hang on to, we arrive at the magic of asking. Luck of any sort may eventually present itself as a heated dance floor, a synchronous connection, or a well-deserved mental disparity. And thus, from sacred cash to elevated divination, there appear many a cut of tech, 'tro, and tracks in between.

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

Andrej Lasic (Laseech) is an artist, producer and audio engineer from Štinjan, Pula, Croatia. More intrigued with underground music he started producing music and in 2016 he released his first EP "Grotlo" on Hand Job Recordings and first single "Soulgroove" on famous King Street Sounds.

In 2018 he released his first vinyl single "Remember" on famous Australian deep house label Red Ember Records and singed his first remix for Jan Kincl & Regis Kattie's song 'Florette' on PDV records.
His work support and play world known artists such as Laurent Garnier, Kai Alce, Chez Damier, Scott Grooves, Gari Romalis, Dermarkus Lewis, Mike Huckaby and many more..
By now he had the chance to play on illectricity festival, Slurp! festival, Dimensions and Outlook festival and many other venues and clubs in the region, such as Klub K4 in Ljubljana, Hartera in Rijeka, Podmornica in Zagreb and many more..

From Jazzy, Funky and Soulful to Raw, Groovy, Deep and Acid, Andrej Laseech is considerate to be one of finest Croatian artists from the new generation. 'Can't Get This Feeling' EP represents a deep and meaningful connection between soul, jazz and that classic deep house sound, but also a connection between two artists and friends Andrej Laseech and Jasmina Makota. Syncopated groove, loving jazzy chords with Jasmina's beautiful voice and heart touching lyrics makes this EP a wonderful love story.

'Futuro perfecto' is the evocative first release by UNIVAC for Femur. In it the passion for machine-like, cold and harsh sounds are being dug into in this new work, which takes him a step further in his rewarded trajectory. The selection is varied and unclassifiable and, despite diverse influences, the sound maintains its personal and non-transferable touch.

iPM is proud to announce its very first vinyl, fruit of the inspiration of iPM's label heads A-Kintero and Mateo Holguin. NYC based Dj/Producer PJay has performed Live at many of the old school New York City Clubs. He is a Teacher of analog sound and modular synthesis and he is behind iPM's very first vinyl. With two tracks, one ambient and one Techno mix, both are characterized for their immersive and profound analog sound. "Crawl" is a laid back relaxed track which takes us on a journey of atmospheric synthesizers and deep bass lines with consistent drums that are sure to delight us, perfect for openings and closings. Brendon Moeller needs no introduction and he's on remix duties with "Space Jam", taking this track on a groovy happy vibe. This is definitely one to get people moving on the dance floor. "Space Jam" complements this Ep with a funky vibe where the cosmic synths takes the roll along with a moving and bouncing bass playing in sync with the consistency of the drums.

Berlin's Ecke Records returns with its second release this December, coming courtesy of Squallfront who offer up their two-track EP, 'Stormin''.

Ecke Records's Xantrax & Johnny Counce aka Squallfront (as the pair like to be referred to when alone in a darkened room) bring you their debut two-tracker. The artwork is the second in a series of works by Ben Fables. Each piece is handcrafted be the man himself and standing as a visual interpretation of the music itself, a theme that will continue with the label.

A-Side 'The Bells' Straddles the boundaries between Electro, Rave & UK Bass with a twisted arrangement laid out over seven-minutes via syncopated, dynamic drums, murky bass tones and choppy rave style string samples.

On the flip-side we have 'The Crack' laying focus on off-kilter, groove-step percussion and the emergence of 8-bit style chords hinting towards the deep-dystopian electronica days of old. The composition was recorded in 'the cave', an old underground wine cellar in the south of France. The distorted cracking comes from a dusty old analogue electric organ, bugging-out whilst gained the max. Playing powerful chords on the lower keys caused the inner workings & chassis of the old organ to shake profusely adding a further distinctive character to this already forward thinking production.

Squallfront's 'Stormin' EP' is out on Ecke Records 4th December 2018. With a party to celebrate the release planned for the 7th December, Ecke has invited UntilMyHeartStops' Joe Ellis down for an evening of deep, rolling rhythms.

Next up on High Praise, we're pleased to welcome two long time friends of the label for their first collaborative venture. Introducing Rude & Mean (also know as James Rudie and EVM128). As key members of the infamous CoOp collective, they have been flying the flag for the UK's broken beat revival, turning heads with their intensely soulful productions. Supporters include the likes of Gilles Peterson, Bradley Zero and many more.

'Moments In Soul' and 'Just flow' are two exuberant masterclasses in how to create a joyful edit. Their broken beat background shines through in the meticulous drum programming, giving the performance a natural, live feel and setting it apart from others in their class. Syncopated rhythms, celebratory chords and relentlessly energetic basslines feature throughout - creating a groove so powerful you can't help but be spirited away to the dance floor.

With this release High Praise continue to build their status as a label to keep an eye on, with their party series and clothing line steadily growing in popularity.

Fresh from releases on his own Polymath Records, as well as Natura Sonoris and Sodai, that have seen support from the likes of Maceo Plex, Bicep, and ANNA; UK producer Third Son debuts on Dusky's 17 Steps imprint with the 'Machine Love' EP.

The synth laden 4 tracker utilises electro, acid, techno and breakbeat influences to provide a rugged and bold reflection of the current clubbing landscape; one that is set to melt underground dance-floors this autumn.

'Machine Love's squelchy synths and gritty percussion build towards a chopped and skewed finale, that has proved a ferocious piece of club artillery in Dusky's sets this summer.

Next up is 'Bloodsport', a dance floor primed roller that consists of dusty breaks, squealing atmospherics and a meandering baseline. 'I Hear Laurel' follows, a cosmic alliance of ghostly vocals and hard hitting distorted synths that feels like meditative ode to rave music of the past. Closing the EP is 'Ambiturner', stacked with syncopated drums and twisting synths that scatter across the stereo stacks.

Santo Sangre is a project by San Francisco-based artist, producer and DJ Gonzo Manuel. On its first release, Quetzal, perhaps a reference to the central-American bird with bright, ornate plumage Gonzo taps into a Latin-accented, tribal feel that is ably carried on rolling, syncopated percussion with an organic essence, a birdsong-like chant, sporadic and light bursts of actual song and haunting string chords that cut across the sound spectrum, adding dark energy and urgency to the track. This one will sit nicely out on its own, bringing a hybrid organic/robotic essence to the dance or would work equally well rinsed around in the mix, with all its elements appearing and disappearing at just the right time as a transition ascends and peaks.
Oakland producer Indy Nyles remix builds on the tribal theme by enhancing the syncopated aspect of the percussion. He augments this further with a pretty and drifting melody line composed of glassy keyboard sounds. The sense of drama this creates is boosted further by a breathy and repetitive voice sample. This concoction drives along nicely until around the 5 minute mark when Nyles drops a menacing, snaking thread of 303 bass, stabs of icey strings and echo and delay effects that amplify the shadowy, seductive allure of his remix. Its a new sounding track but the acid line and syncopation bring to mind some of the psychedelic, breakbeat classics of San Franciscos halcyon, rave era.
Rounding things up is the Slope 114 Remix. Here Dmitri Ponce and partner
Elise Gargalikis take the track on a house journey that is, like Indys mix, brand new sounding but possessed by the spirits of the classics. Elises vocal flourishes bring to the mind the Latin house, tribalist dynamism of Louie Vega and Indias River Ocean numbers while Dmitri nudges the bassline from chunk and funk to acid and massive without sacrifcing the subtlety of the maneuver. The subtle aspect being that a techno, a tech-house and a straight up house heads will be able to bounce this one to the box without leaving her generic comfort zone: the true mark of a classic.
This release is a strong start for this new artist, look out for more fire from this Bay Area talent

Galvanised by a passion for soul, jazz, funk, folk, and Brazilian samba, Judith Ravitz's Bolerio (in Hebrew, Yehudit Ravitz - ) brilliantly reimagines the music of the Brazilian legend Jorge Ben. Increasingly sought-after, housing as it does her seminal take on 'Dia De Indio' - often re-edited and sampled, bootlegged but never bettered - it's a uniquely thrilling LP in its own right. The year is 1983, and Ravitz discovered that Jorge Ben was touring Israel with his crack backing band A Banda Do Zé Pretinho. After joining her in the studio, the ensemble reinvented a selection of Ben's killer tracks that the band regularly performed. On Bolerio - 'come to Rio' - Ravitz handed them equal billing as they aided a recontextualization of Ben's music for an audience that was barely aware of him. These versions are by no means straight re-treads. Far from it. The highlights are many and memorable. The aforementioned 'Dia De Indio', a strutting, electronic samba-funk with stabbing bass and fluid arrangements, sounds so current and fresh that it's hard to believe it's now 35 years old. Its vibrant ambience has been likened to the wiry dubbiness of King Sunny Ade's Synchro System and it's easy to see why. Indeed, the electro elements add a futuristic feel that the original could never comfortably possess. Undeniably rocking more furiously than Ben's versions, the album begins with a throbbing take on 'Boiadeiro', the opener from Ben's Salve Simpatia.

Nicetraxuk hand over the production reins totally to Li'l Mark (Classic, MFF, Apollo) on this 12" and digital release. The ep starts off with 'Inevitable' which builds slowly with plenty of synth work over a tight driving beat. At its crescendoAthe deep bass synths take over and away we go! Driving synths and padsAweave through this track from start to end with syncopated class.'Be afraid' follows, starting out with a spacey vibe over a bouncing beat which drops outAto introduce a snippet of vocal and a huge, vibrating stretched bassline this track has it all-spacey, deep and driving with diverse and crafted sounds swirling around keeping the dance floor constantly engaged. Flip the 12"A over to find 'F IT',A another bass driven tech track with a great vocal stab. Mark really turns it up a notch here to create an enormous sounding track, using all his years of knowledge and production to pull all the elements together to work together perfectly. This track has been causing serious damage on the dance floor when tested out! TheA12" isAconcluded in old school fashion with an acappella (or as he calls it Itapella) for the true DJs out there! The perfect way to round off this brilliant EP

The Orbitants run into galaxy exploring the unknown. Space ambient track from the electro soldier The Exaltics, explores the parallel worlds with his iconic sound. The electro duo Faceless Mind, straight outta North Europe kicked it with 'Viggen Formations': heavy bassline, highly evocative and hypnotic synth. Follow up the B1. Keep on going with the well-crafted formula DJ Vietnam and Haterparisi. Generated arpeggios by modular square-waves with syncopated beats reminding their techno background tells the experience of an alien abduction. Discover the raw surfaces of the B side which feels both organic and apocalyptic. 'Intergalacid' by Umwelt, a mix of acid-rave and electro to create some high impact sonic weaponry. Highly recommend for the strongest dancefloor!