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Monstrous repress action from Chicago's Dance Mania - The source of the ghetto house movement, the rawness!
Club Style is the pseudonym used by 2 all-time Chicago legends, a truly all-star line up on this record, that's right, the pairing of Paul Johnson and Robert Armani. Say no more really. 'Crazy Wild' is a 4 tracker of infectious, grooved out, jacking and tough house jams, both producers fingerprints are all over this one. Narcotic, driving drum machines, phased out loops, armour piercing claps and basement trembling basslines are all over this EP, originally released in 1994. This one's a bit of a cult release from DM, collectors and freaks rating it highly. As usual it's a tough one to try and track down, changing hands for some hard earned cash too. This is the first time "Crazy Wild" has ever been reissued in full, just as it was originally released in 1994, complete with original Dance Mania label artwork. 100% legit, reissued in conjunction with Dance Mania records, Chicago IL and Parris Mitchell. Don't sleep.

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

It's no exaggeration to say that Geraldo Pino and his band the Heartbeats kickstarted the whole soul/funk/afrobeat scene in West Africa. Mixing highlife, funk and jazz, and using the latest equipment, they laid waste to all before them. In 1966 Fela Kuti was a jobbing musician, eeking out a living with highlife bands. When Gerlado Pino came to town, it changed his life. Pino tore up the scene,' he recalls in an interview with Carlos Moore. I knew I had to get my shit together. And fast!'. Produced by Odion Iruoje and engineered by Emmanual Odenusi, Let's Have A Party is Geraldo Pino's masterpiece. It's slick and heavy, tough and uncompromising, with musicianship that will blow your mind. It's all killer, no filler, with 'Heavy Heavy Heavy' and 'Let Them Talk' bonafide, nailed on funk classics. The Heartbeats are exactly that, a tight and efficient engine that keeps the groove moving. This is US-style funk, with an emphasis on extended percussion workouts and organ wigouts. You can't listen to 'Power To The People' without being impressed - or compelled to dance. The extended call out to each Heartbeat in 'Let's Have a Party' is well deserved. If my house caught on fire, this is the one album I'd rescue. After one listen, I reckon you'd do the same. - Peter Moore

Debut album of Manchester post-punk band."When I was first told about Duds, it came with the considered opinion that the guys were far from what you'd call 'careerists'. 'They don't take themselves too seriously' was another comment. I could have taken this as a warning that they weren't in it for the right reasons—but that couldn't be further from the truth. From my perspective Duds simply won't bend over backwards to 'get on'. They do what they do and you can take it or leave it. I took it—with both hands...with a vice-like grip. They have the invention and urgency of Edinburgh legends The Fire Engines. The Post-Punk ethic. Short songs, short sets = short album.They're one of the most thrilling bands I've seen in years—and the fact that they're releasing this brilliant piece of work on the Castle Face label adds the last piece of a perfect 'outsider' jigsaw puzzle. Duds sitting alongside Oh Sees, Ty Segall, White Fence, Useless Eaters, et al. There is a god!" —Marc Riley, June 2017

- Chris Difford's place in the pantheon of great English songwriters is assured - surely nearly everyone can sing along to at
least one Squeeze song.
- So in anticipation of the new Squeeze album The Knowledge' (and extensiveUK and US tours this autumn), and following
Chris's autobiography and demos album as well as Edsel's CD box set of Difford's three solo albums (I DIDN'T GET WHERE
I AM (2002), THE LAST TEMPTATION OF CHRIS (2008) and CASHMERE IF YOU CAN (2011)), we now present all three albums on vinyl, with outer and inner sleeves, gathered together in a handsome rigid slipcase.
- Of these only the first album has appeared briefly on LP before - The Last Temptation...' and Cashmere...' make their
vinyl debuts.
- The inner sleeves feature all thealbum lyrics, track-by-track sleevenotes and brand new notes by Chris about the writing
and recording of each album.

Idle Hands continues its quest to support new talent coming out of Bristol with a fresh 12" from local beatsmith Crump. Up to this point, he's been quietly slipping out razor sharp reduced house cuts on various artist releases for Extended Play and Banoffee Pies, but it's high time he had a 12" of his to truly showcase his sound.

The two tracks on this single tap into a consistent thread on Idle, fusing the minimal sensibilities of contemporary European house music with a swung, dub-weighted presence fit for soundsystem consumption in the fair city we call home. Much like previous releases from Leif, Christian Jay and Matt Karmil, this is a demonstration of stripped down music loaded with swagger.

"Ice & Spheres" pivots around an ear-snagging 2-step shuffle that cuts through any mix, but there's scores of subtlety woven in between the drums to reward the attentive listener. Snatches of vocal, distant field recordings, low-blowing synth licks and other unidentifiable sonic matter lurk quietly in the mix to cast a spell on the sleep-deprived twitcher and warm-up head-nodder alike.

Sporting a brighter disposition thanks to the sheen of its chords, "Mechanisms" provides a different vibe on the flip. The beat throws down with a rugged nod to West London broken styles while still tapping into that aforementioned continental 4/4 sensibility, injecting a refreshing variation into the densely populated minimal house landscape while maintaining the meditative qualities that keep the genre close to our hearts.

Eitan Reiter, one of the most exciting producers of the moment follows up his collab album with Sebastian Mullaert with an EP on Gem Records.

GEM052 comes from the exceptionally skilful hands of Eitan Reiter. Label boss Secret Cinema has had an ear on Reiter ever since his prolific 'Reflections Of Nothingness' album in collaboration with Sebastian Mullaert. Gem Records have the honour of releasing the three track Flux EP which features PRZ, Barak Rosen & Ben Kirschenbaum.

Industrial Techno powerfull EP. These four Non-stop 4/4 kickerz will destroy teh dancefloor for real !

The visionary Turkish percussionist and the great South African bassist were introduced by Don Cherry in 1969, when Dyani moved to Sweden after the break-up of The Blue Notes. They worked together regularly over the next decade, starting out with Cherry in the Eternal Ethnic Music trio.'Another world,' recalls Temiz. 'At that time I was trying to learn as a big band jazz drummer, and when I met Don Cherry, I said, forget it. We played another kind of music. Indian music, Turkish music, Bulgarian, Chinese, you know... All kinds of music.' 'Every musician,' Dyani said later, 'should realize and acknowledge that folk music is the backbone of every music.'Recorded in Istanbul in 1976; originally released in an edition of one thousand copies only, on the Turkish label Yonca. The first side features Turkish material arranged by Temiz; the second, SA-oriented music put together by Dyani, opening with a stunning interpretation of Cherry's Marimba (Goddess Of Music).In a handsome gatefold sleeve, with excellent notes and previously unpublished photos.

To know what's up right now, we must understand what went down in history... 'Rave History': Easily one of Catz 'n Dogz most evocative, classically-informed and ferociously euphoric pieces of work to date, this is a celebration of every black wax brick laid in the foundations of dance music culture. Every hand that was ever raised in sweaty exultation. Every stranger whoever got hugged on the dancefloor for no reason but pure love for the moment. Every whistle. Every horn. Every damn time. From its quintessential break to its iconic vocal via its sizzling bass-heavy groove; 'Rave History' is the ultimate finale piece, a show-stopping opener or a wild mid-set excursion. It resonates with everything that's relevant now and everything that's ever been relevant. Loaded with pure positivity, this will complement any style of DJ set, any crowd, any age, any country. This is our DNA. For added euphoric stimuli, the Szczecin boys have also thrown in a kickless hype tool in the form of the feel-heavy Life Mix. Choral pads, cascading FX, dramatic one-strike piano notes, splashing cymbals and that almighty vocal sample that comes with one essential message every single one of us can raise our sweaty hands and hug strangers to: no matter how weird things feel in the world right now, when we're together with like-minded dancing neighbours, everything is going to be ALL RIGHT.

Following a run of local transmissions from A Sagittariun, Crump, Rob Smith and Atki2, Idle Hands turns its attention to Berlin and the straight-up, no-nonsense techno thrust of Johanna Knutsson and Hans Berg. Both respected artists and DJs in their own right, the pair have been turning out 12"s together for The Free Spirit Society, Klasse and Crime City Disco over the past few years, but most importantly they've been steering the excellent UFO Station Recordings as a vessel for their punchy, primal techno tracks.

The sound on this EP taps into the pure form of stern, dark dancefloor tackle favoured at Idle Hands - no extraneous filler, plenty of space in the mix, but equally built with warmth and personality rather than monochrome functionality. If you need further proof, just look to the fact the EP is named after a Swedish soap opera from the 90s.

The bleeps and bass tones that pulse through "Taggen" are so finely crafted they need not skip and dance around the arrangement. The melodic interplay on "Klimax" is subtle but ultimately uplifting and optimistic where so much techno concerns itself with oppressive gloom. "Bimbo" finds the pair embracing a more psychedelic approach, but even here the modulating effects processes are kept within certain boundaries so as to not dilute the impact on the floor. After all, this is music to dance to, to be felt over a large system (where possible).


Moving from leftfield bass excursions to minimalist 2-step, UK techno and now onto this much more continental sound, theMälarviken EP continues to widen the range of Idle Hands' musical tastes without losing sight of the complete picture.

Cryosleep is the debut album from Null + Void, the alias of prolific New York producer Kurt Uenala. It's an album of contrasts and tension, where darkness is pierced by blinding light, and where moody new wave bleeds into stark electronics. In one moment, joyful memories give way to isolation and regret, and in the next, Cryosleep explores the catharsis of crowded dancefloors. Throughout the record, Uenala matches his dynamic production with incredible vocalists-from Depeche Mode's Dave Gahan and the inimitable Shannon Funchess, to Black Rebel Motorcycle Club and The Big Pink. Null + Void's take on dark pop meshes with his love for Detroit electro, poignant synth melodies, and cold atmospheres. With the cinematic opener 'Falling Down' and brooding instrumentals like 'Come To Me", Cryosleep can feel like the soundtrack to a lost space epic. No doubt, the album evokes Blade Runner, dystopian landscapes, and the splendor of far-off galaxies. As Uenala puts it, Cryosleep is inspired by 'classic sci-fi stuff,' images of futuristic machines sustaining humans frozen in a dreamstate. The melancholy 'Foreverness' explores what they might be thinking: 'A collection of fragments, memories of a life lived-preserved, but incomplete and jumbled.' Meanwhile, 'Into The Void' paints a peaceful, otherworldly picture, 'like soaring towards a white light.'

Applause, Applause! Your hands are in chains but you still enjoyed the show. Drowned Records is bringing you a QNETE jam that can be described as nothing else but a 'psycho banger'. Included is also a second version of the track, milkshaking the original for a more fruity FUN affair. Finally, LEIBNIZ' dark remix is slowing things down a little hitting all drumheads with every extremity and other strange things. Clap clap!

An-2 and Samos have turned the clock back to finish off a couple of sessions they'd recorded together years back. Maxim Samos is our keen friend and sophisticated guitar player from Minsk, Belarus that we know for years. His first appearance on Theomatic was back in 2008 with space-rock tune 'Alpha Storm", which received lots of positive feedback and found its way to the Prins Thomas - Live At Robert Johnson compilation. As well as guitars, Maxim can play almost any string instrument and, on one of his erstwhile trips to Istanbul, he dropped by a music store, picked up a Saz and immediately set it alight, blowing away the entire staff. After scoring a big discount, he came out, clutching it in his hands. An-2 commented on Samos' playing on the Saz during one of his first visits to Minsk, and immediately suggested cutting a track together - something that took 10 years, but the wait's been worth it. What we've got is surreal halal-acid-folk-disco affair, perfect for whirling dervishes or dancing the dhikr. The story's continued on the B-side, where we're treated to a tale of trips in a GTI, before finishing with a Nordic saga about cold fronts coming at us from behind the Polar Circle.

Virginia/North Carolina-based cult Loincloth reveal details of the upcoming LP, Psalm Of The Morbid Whore. This marks their second and final full-length release, again via the masters of heavy, Southern Lord Recordings.

Packing nine new instrumental passages of white-knuckled twists, and by-the-throat percussion,into a half-hour onPsalm Of The Morbid Whore. As with their 2012-released Southern Lord debut LP, Iron Balls Of Steel , Loincloth returned to Pershing Hill Sound in Raleigh, North Carolina to record with Greg Elkins. Masteringby Brad Boatright (Sleep, Corrosion Of Conformity, Sunn O))), Obituary) at Audiosiege.

About the release, the band made the following statement, Loincloth is no longer a live band, so this record is our final offering not only to the great horned one below, but to the committed ladies and gentlemen of the Cloth.'

Loincloth is a culmination of years of worshiping at the altar of the riff and Psalm Of The Morbid Whore arrives with the promise of absolute pummel! Guitarist Tannon Penland and drummer Steve Shelton (Confessor) return with their twisted brand of instrumental metal on the forthcoming LP, this time around also enlisting the infernal hands of Tomas Phillips on bass, who collaborated with Penland in experimental outfit Gauchiste for their self-titled 2012's release through Little Black Cloud Records. Penland, Shelton, and Phillips were joined by guitarist Craig Hiltonwho contributed towards the composition and on tour with Sunn O))) and at festivals from Barcelona's Day OfDoom and Power Of The Riff inLos Angeles, to Richmond's GWAR-B-Q.

Join Loincloth in their final hour of worship...

2024 Repress

Hotel Record is the second release from the duo/couple of crys cole and Oren Ambarchi, following on from Sonja Henies Vei 31 (Planam, 2014). Where their debut recording presented a disquieting portrait of the erotic dimension of romantic intimacy, the follow-up continues to explore the pair's simultaneously musical and romantic relationship in a more subtle fashion, presenting four long-form pieces that touch on the variety of forms the life of this couple takes: as a musical duo, as a pair of travelers to exotic locations, as opponents in a game of cards...
Each of the double LP's four sides presents a distinct sound-world, yet each manages to attain the same suspended, half-sleeping feeling, outlining a space where improbable combinations of the electronic and the acoustic, of extreme closeness and amorphous distance, occur with the gentle insistence of a dream.
The opening Call Myself calmly unfolds a fabric of long tones from electronic organ and guitar, combining the sliding, aleatoric effects of classic David Behrman with a more hands-on feel. Over the top of this slowly shifting tonal bed, cole's voice mutters unintelligibly into a Buchla synth, teasing the listener by suggesting a meaning that remains always out of the ear's reach. Francis Debacle (Uno) builds on the foundations of a heavily amplified session of the titular card game, overlaying vocal murmurs and exhalations and mysterious room-sounds to create an impossible aural environment. On Burrata, a palette of vintage 1980s digital synthesizer sounds combined with guitars create an irregular texture of lush chords and bubbling melodic details, into which cole's voice processed by a vocoder, is interwoven, reading fragments of romantic correspondence. Finally, on Pad Phet Gob, field recordings made in Thailand become an ambiguously acoustic/electronic rainforest, eventually giving way to a mysterious, wavering electronic tone-field punctuated by sibilant, popping mouth-sounds.
Carving out an intimate and human sonic space across a diverse array of compositional approaches, sound sources, fidelities and textures, Hotel Record is the latest dispatch from the continuing explorations of a unique duo. Ambarchi and cole reimagine electro-acoustic music, not simply as 'abstract' sound, but as a diary, a love poem, a dream.
Deluxe gatefold sleeve with photography by crys cole and LP design via Stephen O'Malley
Mastered and cut by Rashad Becker at D&M, Berlin February 2017

The first time I heard of Mattes Schwarz, someone called him 'Stecken-Mattes'. Stecken was a defining, if almost secret, Cologne dance music venue of the 2000s and early 2010s, a minuscule basement without curfew and seemingly any other restrictions, where the up to twelve hour long DJ-sets felt like a tightly knit circle of friends just playing records to each other: The selectors from the night before and the one after reliably sitting right in front of the just over one meter long stretch of the bar that formed its booth, never missing out on a chance to see their mates play, heads nodding and hands clapping through the smoke-filled air, until someone started to sing along, and eventually everyone got up for a few hours of moves on the 15 square meter dancefloor, on a grey Wednesday or Saturday morning at 7 or just as well 10 am.
Mattes Schwarz started DJing in 1982 at age twelve, inspired by, as many West-German kids, the GI-DJs of the roller skating rinks around US army bases. While he got heavily involved in Cologne's BMX scene of the 90s, he never really stopped, and during the main years of being known as Stecken-Mattes and playing there each Friday night, he coincidently lived in Magazine record's homebase, North- Eastern Cologne's old harbour.
One day after Stecken's closure had sent restructuring ripples through the city - I imagine him getting up in the morning and taking a deep breath - he decided to send Magazine a few tracks.
'I Don't Know' is Mattes Schwarz' first release.

children are laughing and playing in the back, a baby screams happily: handsome field recordings welcome the listener to the final chapter of fred p's fp-oner trilogy for mule musiq.
the opening tune is called smiles, so children's laughter fit the mode. the idea is that smiles and cries are natural for children and as they grow to adulthood the reality becomes more, therefore the duality of life itself is obvious in the mood of the song.
the new york city native that is working on his very own music for almost 20 years explains about the beginning of his new album that features eleven tunes for deep meditative club use and beyond.
it brings the listener house music full of cosmic realities, odd jazzing moments, japanese spoken word pop, synth spheres for ambient use and an overall outer-national atmosphere, that handsomely dances between roughness and subtle tuned in deepness.
i chose to base this project on numbers in order to impart a bit of depth and substance. 5, 6 and 7 have a meaning in both the literal and esoteric sense. we as a species are a combination of matter and energy, so it is a matter of relating the two in harmony.
my experience as an artist expresses this. it's like a testimony to the human condition and how we relate to treat and mistreat one another. this view is the base of a philosophy that is close to me, be-cause art imitates life.
so rather than doing a project that highlights ego posture, my intent is more about what can i give to the listener. as a human being, as an artist, what can i share it's a part of a philosophical tug of war that goes a lot deeper than the expectation of what one might think a dance album or rather an elec-tronic music album should be.
it's food for thought, not candy and a soft drink, but real substance that stays with you.he reveals about the profundity of his trilogy. at large it is a journey inward, compelling, mesmerising and en-chanting.
for the final chapter fred p mostly produced in his studio in berlin on various synths and with a bunch of mysterious samples, all later organized and programmed in ableton. this project has a beginning mid-dle and end. the record 5 was intended to introduce a meditative energy within a rhythmic construct as the number 5 represents the dynamic and unpredictable.
the whole album carries the energy of that ilk. the album 6 is of an earthly and more harmonious dis-cord. i attempt to bring the inner conflict in the form of natural unnaturalness. the raw energy of the search in this project i think is self explanatory, which is the point i believe to show how flawed one can be but express very specific themes honestly.
finally, with 7 my goal is to merge the two into balance, as one focused state of mind as 7 is the thinker beyond understanding or beyond the illusion. this is my hope people take away from this: a feeling of growth, optimism and positive energy. we are dealing with vibrations every person resonates with, so the idea is where do you want to take that
what do you want to do with that as an artist you can do some good or some harm. for me i choose to give the best that i can and i hope that the people that participate get a sense of that.' true words by a kind and gentle soul that loves to speak in music.
they explain much and then leave things in the dark too, as he basically says: let the music play. so listen deeply, open your doors of perception, dance the atomic mess around, stay small, be true and don't forget: fp oner's music is a traveling zone with a universal meaning. it can mean many things to different people. but thus is the purpose of art.

Restive Plaggona is the music project of the Corfu-based artist Dimitris Doukas -also producing under Matriarchy Roots, Leftina Osha and Plaggona-. After releasing a series of cassettes in different labels along 2016 and 2017 -including his own Several Minor Promises- 'Leaving The Body' arrives as an electronic composition of beats and synthesizer bodies disguised as a sense of provocation and mystery. Each of the seven pieces offers more than a smattering of interesting textures separated by spans of great decline, but a master class of permutations in-between accompanying sounds, stretching rhythms and viscera-and- violence noises. Driven by a deeply expressive narrative, Restive Plaggona makes a strong statement about

his post-industrial vision adding technoid inclinations in a delightful dystopian world.

3 overlooked jams on one 12" single, excavated from the deepest realms of the TK Disco vaults. Remastered, represented and brought back into focus for 2017's DJ bags and dance-floors. Side A sees Wizzdom's 1980 boogie jam 'Free bass' kicking off proceedings. A P-funk-ish, low slung jam indeed, it has everything you'd want including some Furious Five esque shouts of 'Free-Bass!' weaving in and out of the mix. This one is a true heads cut, one for the diggers! Over on side B we get Jimmy 'Bo' Horne's slamming 'Is it in' - a stomping piece of Disco-funk that in the right hands will cause maximum damage. Also, Jimmy's mildly double-entendre lyrics are hugely entertaining! Following up we have a cut from Herman Kelly & Life, 'A refreshing love' was an LP only release and is some serious downtempo Latin tinged soul super soaked in Miami sunshine! All in all, 3 majorly overlooked gems nestled away in the TK archive now brought back into the light. As usual, these TK represses are always done in the proper manner. 100% legit re-edits, from the archive, remastered and released in conjunction with Henry Stone Music / TK Disco - Miami FL.

REPRESSED !!
The mysterious CRUE has returned with some new House heat for appreciators and collecters worldwide. The 3rd installment in this limited likenamed vinyl affair is again focused on raw beats and ferm chord action. Like it's predecessors this is a heavy hitting dancefloor bomb all throughout. The formula stays the same but refreshes itself in new found influences. The B side of this splendid 10'' shows that the mysterious CRUE is not a one trick pony.
This CRUE record will definitely appeal also to those who find their roots in Techno, or even in Bass Music. Naturally this is concerning a special-coloured and handstamped limited product.
First come, First serve. No digital, No repress.

With his new release the polish Transatlantyk sails into - as yet uncharted - waters of the 'lol- fi' breakbeat house scene to bring you the debut of DJ Stoner Dad.

Not much is known about the man behind the nickname, except that he is a DJ, a dad and that he likes getting his hits from the bong on during the infamously long Warsaw afterparties.
The "Raw Romantics EP" showcases his own take on the deeply saturated, smokey and breakbeat-infused house genre.

'Fake Strings' is a certified banger alluring the dancefloor with a great combo of rolling bass, squashed kicks and hats, grimy, atmospheric pads and a bits of spoken word thrown in.
'Magic Phunk' brings THAT break again and for a good measure. Drums are floating over an ocean worth of blazing pads, liquid synths, acid riffs, pillowy, yet dirty chords and whatever else DJ Stoner Dad could lay his hands on at the time.

'IV' is a full frontal ambient jam, with little bits of wandering drums coming into the picture at the very end.
Finally 'V' brings cinematic influences over slightly uneasy slow groove.

Much may have changed over a two-decade period, but Drumcode's commitment to releasing the scene's most cutting-edge and refined techno remains resolute. 2016 saw releases from heavy hitters such as Adam Beyer, Alan Fitzpatrick, Dense & Pika, Sam Paganini and Joseph Capriati, as well as a much coveted Moby remix package. The label pushes forwards again in 2017; bringing fail-safe, club-ready music to the techno community. 2016 was a standout year for Alan Fitzpatrick, with the Drumcode stalwart racing out of the gates in spectacular fashion with the release of his fabric 87 mix. A substantial amount of high profile shows followed, including appearing at the inaugural Junction 2 festival and closing the car park to a packed-to-the-rafterscrowd at Drumcode Halloween.
He returns to Drumcode with 'Brian's Proper Dun One', marking his first appearance on the label since late 2016 when he remixed Moby's seminal 'Porcelain'. The release opens with 'Brian's Proper Dun One', a track which caused a Twitter meltdown on Alan's profile when he first started playing it at the tail end of 2016. Loaded with sharp and pounding drums, this is an ethereal experience from start to finish and packs a real punch. It's a no holds barred, certified main room anthem. 'Wait A Second' feat. mc r1bbz has been a staple of Adam Beyer's sets of late and has been getting a lot of air time on Drumcode Radio.
This rave inspired track takes a raw, stripped back approach and delivers a real killer blow. Alan sampled the vocals of mc r1bbz from an LTJ Bukem tape pack from the early 90s and the record tips its cap to early jungle raves around the M25.
The release closes with 'Trance, Init'; A homage to Alan's days first and foremost as a raver before he became a DJ, with his non-purist attitude when it comes to electronic music shining through. The breakdown is sure to be a hands in the air moment at festivals all over the globe this summer.

GOMORRA

Gomorra is a passionate DJ and producer from Basel, Switzerland. As an 8 year old boy playing the drums he realized that music might play a bigger role in his future life. After a while, he got his hands on the first pair of turntables and started to experiment with mixing HipHop music. Experiencing a broad variety of music and nightlife culture during those formative years he developed a deeper interest for driving rhythms and repetitive patterns. Soon he got pulled into the pulsating scene that emerged nearly 30 years ago in an industrial and rough urban area at the shore of lake Michigan well known as Detroit, the Motor City. As he already made his first steps in music production while digging HipHop, the obvious development then was to exchange the MPC with Synths and Drum Machines and explore the aesthetics of Techno on a much more profound level.

OMNIBUS IDEM

Omnibus Idem - we are one. The Saga begins. We inhabit each moment to be our own good morning. Everybody else is the same in a different ghetto. What happens when all awareness overlaps to create an Ambient. After dawn in the subway. Submission. A new impression: St. Clair. Where the mechanic meets the organic. To end up alone in suffocation. Buena Noche. Omnibus Idem is process and creation.

In a brief time Parris has not only engineered but fully-stabilised an otherworldly sound of unique resonance. Through leadership of cult label Soundman Chronicles and his own work on Idle Hands, Tempa and Ancient Monarchy, his research and publishing has attracted fervent interest in the UK Bass community and is rapidly gaining wider international recognition.

Measured with due diligence, he has propagated and influenced key research topics and industry best practice standards through regular transmissions on Rinse FM and the recent C90 Cassette 'TX280916 / TX111116'issued on Keysound.

Hemlock is honoured to present his most recent work exploring low frequency encryption and optimisation. HEK028 contains some of the most sophisticated and realistic models we have manufactured thus far.

'Your Kiss is Sour' a slow release payload observed from inception to destruction through decay. Malic tones are exposed, individually suspended then vacuum sealed allowing multiple strains to be dissected and ranked according to their sonic weight and availability.

'Flowering in Threes' introduces technology sensitive enough to detect and harness resonance from long-submerged sub frequency transmissions. The available models can be layered across several axis concurrently with minimal phase or gravity distortion.

'My Beautiful Fantasy' explores and challenges several popular weightless theories in an engaging and controversial tone sequence.

It is summer time in Nang land which means the dials are being set to Balearic. Step forward our all-around good chap, friend and producer buddy Pete Herbert. He has teamed up with Bali based musician and keyboard player Martin Denev to deliver an album of the finest Bali-inspired Balearic House. Hot and balmy evenings here we come.

Recorded on the tropical island of Bali, the album swings from Balearic grooves, to sun-filled terrace house, seaside electronic and swimming-pool funk. We open up with "Batu Karang", summery key stabs, lazy drum machine set the album tone hot, low-slung and swimming in positivity. Things take a more electronic turn with "Time" with its twisting synth-lines and locked on sun-drenched groove.

House music royalty Robert Owens swings by the cabana for a very special guest vocal appearance on "Pass Me By" next. His smooth and powerful soulful vocal compliment the pool terrace house grooves and sneaky thumb piano. As ever, Robert does not disappoint. To close off Side A the title track "Made In The Shade" gives us a slice of Nu Disco summer swing with funky strat and more cowbell of course in for good measure.

The flip side of the album opens up with a hands in the air terrace anthem. House pianos, punchy synth hits and beach disco groove all the way. "Sun Fish" takes things again in an electronic direction. Meandering lead synth lines, walking synth bass giving the perfect back drop to this island hopping anthem. Recent single "Night Boat" is next. Darting firefly arpeggios and lush keyboard layers prevail here. We end on a high with the up-tempo Gamalan inspired "Ruby Star" sending us out on a ocean deep wave..

Welcome to Nang Balearic airlines. Your pilots Pete and Martin hope you enjoy your flight.

With FBNM now celebrating their fifth year of operation, Lorenzo has marked the occasion by assembling his biggest project to date - an impeccably curated collection of obscure Italian production music circa 1974 - 1985. The project, nearly a year in the making, has been very close to Lorenzo's heart - beginning unexpectedly in the record fairs of Buenos Aires and leading him on several trips to Rome and Milan, tracking down the original musicians and licensors.

"In this compilation, I have tried to include some of the most interesting cuts I have collected over the years. Tracks like the entirely electronic "Nitrogen" from Alberto Baldan Bembo's "Sound Orchestra" LP on Star Track Records, featuring a wild evolving bassline leading us through frantic rhythmic experimentations. "In the Space", by French born composer Albert Verrecchia and taken from Italian poliziesco drama 'Il Tempo Degli Assasini' (Season for Assasins), tells the tale of wistful longing, played out with serenity on strings and keys, but unexpected interruption from its stop-start arrangement brings an unforeseen tension into the mix... And how could I not include the wonderfully charming "Screw Driver" by Fabio Fabor, from his collaborative album "Superman" with a young Antonio Arena. Featuring an orchestra of beautifully programmed ARP and Oberheim sonorities alongside the Commodore 64 programmed graphical artwork by Antonio Arena himself."

The music itself was partly sourced from Lorenzo's own collection, archived and then restored especially for this release. Where possible, tracks (such as "Vision", "Nitrogen" and "Blue Magnolia") have been lifted directly from the original master tapes kindly lent by the repertoire owners. Every track, however, has been carefully restored, remastered and cut for vinyl by the cautious hands of Andreas (LUPO) Lubich at Calyx Mastering, Berlin.

This highly anticipated release by Los Angeles based artist, AXKAN, delivers a powerful message to the techno underground, letting everyone know this record hasn't come to this point by mistake. With powerful remixes by Luis Flores, Pinion and RolandoHödar to support, AXKAN delivers a strong statement with 'Tension', a techno masterpiece with broken industrial rhythms that is bound to shake floors, and crack the surface. He masterfully creates some true and raw emotion, with his dark, sinister and gritty sounds that is guaranteed to grab attention from the beginning. Axkan's self-confident creativity, however didn't come alone. Techno heavyweight Luis Flores provided a remix that is nothing short of spectacular. He encapsulates Axkan's raw, dark noises, and completely manipulates them into a gnarled and twisted rendition. Pinion's remix perfectly complements the release in a cohesive way to get the dance floor moving. His unique characteristics include a deadly vicious groove with glitchy vocals combined with deep melodies. Aerotek founder, RolandoHödar, had to get his hands in there, with his industrial techno breaks remix to add to this ferocious ride. With all tracks united together, this EP is rooted with serious energy and will undoubtedly tear speakers apart. It exploits experimental to traditional 4X4 percussion workouts and is definitely worth listening.

Repress
From Chicago Noleian Reusse (Africans With Mainframes) serves 3 tracks of alien jacking weirdness. The package is completed with a remix by labelboss Paul du Lac aka Paul West. Handstamped limited edition.

5th Birthday comp featuring a host of artistst who've graced the label over the perioid.. Exclusives from Tolouse Lowtrax, Geena, Iueke, Domenique Dumont, . Inoue Shirabe, Raphael Top-Secret and more... Gatefold Sleeve. TIP!
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Made of 14 sketches - each reflecting one of the many shades of the label's catalogue - Five years of Loving Notes features new names as well as those of artists who have been involved with the label since it's very beginning, like Geena or Iueke - responsible for the first 12' released on Antinote.

The music on this compilation covers a wide spectrum of moods and atmospheres, from the dark and raw excursions from Tolouse Low Trax or Iueke to the lush instrumental crafted by Nico Motte and Syracuse's Antoine Kogut; however as the listener gets deeper into the compilation, the whole of the tunes, sitting side by side on the records, start to make sense as they all seem to point towards the same direction. If one should try isolating a common trait from all these songs, one might come to the conclusion that it lies in the way they all speak directly to the listener's emotional receptors, unvarnished and without abusing of producer's 'tricks'.

We'll let the tricky question mentioned before in your hands once you will have been through this 63-minute long testimony of exclusive music by the artists who have been shaping Antinote's sound for five years; from the opening Latvian arabesques from Domenique Dumont to the Pink-Floyd-ian ending from the latest addition to the label, Alek Lee, via Leonardo Martelli's smoggy electro and Raphael Top Secret's ominous talk-over.

Jigsawtooth is the third album from Hendrik Kroez's Miwon project.

Limited randomly packed red or white vinyl. Non-Returnable.

On this long-awaited follow up to is critically revered A to B (City Centre Offices) Kroez displays his skill in marrying motorik techno infused rhythms and soaring pop ambient melodies.

This is most evident on 'Charezza' which could very well be the most uplifting track in the n5MD cannon. Other cuts on Jigsawtooth utilize sweeping synth-work that encourage a near kraut/kosmische travel worthy flavor to the proceedings.

Other genre signposts are evident on Jigsawtooth but that's something that's always been a constant with Kroez's work as Miwon. In his hands such coalescence sounds cohesive, natural and is some much welcomed diversity to nought-era electronica.

Cologne's electronic music community keeps on giving, drawing on a dense plethora of fresh talent ready to shake up our little big grassroots industry. The latest ace up the city's sleeve must be Tim Engelhardt, part of a new breed of incredibly versatile young producers that get their cues from all sorts of genres and listening situations, combining profound musical knowledge with intuitive playfulness and multiple perspectives on sound. In Tim's case, we're dealing with a solid pianist background - which becomes rather obvious in the great care he takes over harmonies and an expanded melodic structure. However, that's just one side of the story, as the organic fluidity and atmospheric dexterity of his music most certainly hark back to an upbringing among the rolling hills and sprawling forests of Germany's Westerwald - one of the country's best known mountain ranges that has already inspired artists such as Dominik Eulberg or Gabriel Ananda. Having released your first recordings at the tender age of 14 - as Tim did in 2012 - might put you in a 'wunderkind' category - a flattering, but ultimately risky proposition, finding many a prodigy overwhelmed with the dubious honour. Not so much our hero, who chose to put his skills to work: in only four years, he grew his portfolio with plenty outings on labels such as Traum Schallplatten, WIR, Babiczstyle, Amuse Gueule, Ostwind Records, Popart Music, Playmusic Productions, Parquet Recordings, Manual Music and more - but his breakthrough release was hands-down the 2015 EP 'Everything Is All You Have' on Steve Bug's iconic Poker Flat imprint, followed by 'Enigmatism' on the same label.

Secretsundaze are proud to announce the second 12' in the Dance 2017 series. The EP is once again a 3 tracker this time featuring the highly-promising emerging talents of DJ Slyngshot, Bastien Carrara and Jayson Wynters. DJ Slyngshot hailing from Offenbach near Frankfurt has had tongues wagging with three hot 12s on his own imprint Yappin Records and received club and radio play by the likes of Omar S, Floating Points, Ben UFO and Jon Rust. His contribution to the A side of Dance 2017 Part 2 sees him on fine form with the devastating rhythm of 'Hygh-Tech'. Kicking off with a rough and ready groove the hook is a gnarly nagging synth line that will worm its way into your brain. Add a sampled wailing diva and some more jazzy interludes and you have a festival-ready high grade bomb on your hands! On the flip steps up France's Bastien Carrara. His dusty jams on the likes of Rawthenticity and Funkineven's Apron imprint caught our attention and we roped him in for a track. Here he presents the charming, breezy and breaky 'That Time Again'. Warm, atmospheric and groovy this is definitely one for long summer nights ahead. Last up Jayson Wynters represents the UK! Jayson made his debut on none other than Mr G's Phoenix G. imprint with the sub-aquatic 'Unfamiliar Territories' EP. He is an amazing DJ and selector able to play house / techno sets and also jazz, boogie, disco and funk sets where required at the likes of Brilliant Corners. 'Chi Kung' is a bubbling, mystical percussive number with hand played drums and a perfect closer to the EP.

Excerpt from the tome:
"I could feel the mana running warm under my skin as the cold dessert breeze swept through the valley. The black cloaks of my brethren fluttered like whips in the wind as our caravan slithered on through the desolate fields that had pulled us so far away from our crypt. The sun was setting and with a cry, I ordered us into a halt.

We were very close now, we could all feel it. Our dragons had been silent for nearly three days and the tension inside of our horde was growing increasingly fierce. I looked down into my hands and saw no trace of the strong fists that had once tamed these giant scaulding creatures. A lifetime flashed before my eyes as I read the scars and wrinkles that ran endlessly across my palms like runes. Then, my eyes jolted toward the horizon as a clap of thunder broke the silence. We all watched as the sun swelled rapidly and we knew that the time had finally come.

By the pounding fists of Ba'al.
To the roars of our burning children.
Death was coming to release us all."

Early support from Claudio PRC, Slam, Oscar Mulero, Patrick Siech, Antonio de Angelis, Arnaud le Texier, Kwartz, MTD, Antonio Ruscito, Retina.IT, Samuli Kemppi, Takaaki Itoh, Rasmus Hedlund, DJ Sandrien, Brando Lupi, Dadub, David Att, NX1, Sam KDC, BLNDR, Luigi Tozzi, Periskop and more.

Body. Mind. Spirit

Repress

After last years slick selection for the series from MCDE, Young Marco steps up with a great set of obscurities. Top Tip!
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Born Marco Sterk, he certainly doesn't come from a standard DJ background. A former skate rat who grew up loving American post-hardcore and '90s hip-hop as much as early Warp Records, he's been affiliated over the years with Amsterdam institutions such as Rush Hour, Red Light Records (where you'll find him most weekdays!) and, of course, Dekmantel itself. Still, there's no question that he's always followed his own path, even during the years that playing his favorite records meant that he was occasionally clearing dancefloors.

Things are different these days, of course, as Sterk now regularly plays around the globe and has been widely hailed not just for his DJ talents, but also for his digging prowess and uncanny ability to pluck jams out of genres, eras and geographies that even veteran DJs will often ignore.

Still, Marco's entry in the Selectors series isn't some soulless collection of 'Holy Grail' rarities. 'Where's the fun in that' he explains. 'Anybody with an internet connection can check what flavor-of-the-month records are in demand.'

Just like the first Selectors compilation, this is not a mix CD, but a collection of hand-picked, unmixed tracks that Sterk has personally chosen from his own vinyl archives. Moreover, Marco has put together a collection of tracks that represent not only how he plays music, but also how he makes music himself. The songs here are melodic, electronic and bound together by a refreshing sense of naiveté. Nothing sounds overly calculated; the tunes here span several decades and include dollar-bin records, avant-garde records, club records and yes, a few things that collector types have likely been looking to get their hands on. It's not meant to be a grand statement, as Marco would rather provide an honest snapshot of his musical tastes and share a few of his favorite tracks and artists in the proc

It was the spring of 2007 when Paul 'Mudd' Murphy and Kevin Pollard announced the arrival of the former's Claremont 56 label with Villa Stavros', a magical frst collaborative 12'. It
seems somewhat ftting, then, that Claremont 56's fnal release of its' frst decade will be N7 Odyssey, the frst collaborative album from Mudd & Pollard. By the time Villa Stavros' came out, the pair had already been regular studio buddies for a couple of years. Initially, Murphy had recruited Pollard - a hugely talented keyboardist and composer - to play on tracks he was working on for Rong Music. One thing naturally led to another, and soon they were joining forces to make music as Murphy's home studio in
Holloway, North London. As the years rolled by, further acclaimed singles followed Villa Stavros' - the bubbly, Rhodes-laden Balearic disco shuffe of Vincent', and the lilting, intergalactic dub disco of Scaffold', most notably - before the duo's other musical commitments began to take precedence. Murphy had his hands full running the Claremont 56 and Leng labels, while Pollard carved out a successful career as a soundtrack composer for both flm and television. Now, the album they set out to make all those years ago is fnally fnished and ready to be
released. N7 Odyssey - titled in tribute to the Holloway studio they recorded in for many years before Murphy moved - draws together freshly re-mastered versions of their previously released singles with a clutch of previously unheard tracks. Built around the duo's own fne musicianship, with Pollard handling synths, keyboards and electric piano, and Murphy guitar, bass and percussion, the album's ten tracks offer a musical journey through their shared love of shuffing grooves, sun-kissed soundscapes and
gentle positivity. Highlights come thick and fast. There's the swirling strings, futtering futes, jammed-out electric pianos and heady female vocals of Far Away', the enchanting new age ambience of December', and the rush-inducing Balearic disco breeze of Mawson's Walk', a former single blessed with sublime horn solos and rising, cinematic strings. Check, too, the head-
nodding beats, fuid electric piano solos and jazzy guitars of Inatin', the gentle Eastern mysticism and vintage ambient house aesthetics of Anura', and the ultra-deep house pulse of N7 Odyssey'. The album fttingly fnishes with a sublime ambient interpretation of Scaffold', arguably the duo's most celebrated track. It may have taken a decade to emerge, fully formed, but Murphy and Pollard have delivered an album that's beguiling, magical, and hugely comforting. Clearly, it's an odyssey worth
taking.

Secretsundaze's 021 comes in the shape of a 2 tracker from Endian. For those that don't know Endian is the house/techno alias of George Levings most famously known as Commix (Metalheadz). Endian was of course responsible for the huge 'Finish Me' on Secretsundaze in 2015 which was included on mixes by the likes of Joy Orbison, Tessela and Scuba.As Endian he has released first rate tracks on the likes of Non Plus, Electric Minds and Trevino's Birdie imprint.Global EP' his 2nd EP for the label see's Endian back in fine form. 'XS-10' is a futuristic, hypnotising burner that in the hands of the right DJ is sure to be a deadly weapon. On the flip title track 'Global' is a warmer, deeper free flowing track with musical flourishes that will keep the party moving.

The name Tochno, Russian for "Precisely" speaks for itself, being a hardcore, pure and at the same time straight-to-the-heart Minimal Techno music producing firm.
Tochno is the product of a long gestation of its creators. Waiting for the right time to get on the stage, it will bring Minimal Techno to the levels they deserve with a no-BS attitude and hours of top quality beats.
Tochno won't bring you the latest and shiniest plastic puppets of the market. We have gathered real artists, throbbing with desire to divulgate their music and they will do so in a way you won't forget.
And it's not just the attitude, our music comes on vinyl only. You won't find any material for talentless time wasters here. Only analog music to be handled by expert and loving hands.

Early support from Mamiko Motto, Glenn Astro, Ame, Pathaan (BBC Worldwide), Jamie George (Rinse), B Traits, Charlie Tee (Kiss), Jodie Wisternoff, Damian Lazarus, Tensnake, Anushka, Detroit Swindle, Claptone, Dubfire, Iron Curtis, Breach, Auntie Flo, Matt Karmil, Edmondson.... and Jamie xx

We are very happy to present these two gems from the incredible extensive Power Music catalog. In the nineties DJ Duke worked like an one man factory and these two cuts still belong to our favorites today. They also give a hint on the variety of his music, but in the Sex Mania world the step from the Junior Vasquez tribute track "The Factory" to the Wild Pitch monument of DJ Pierre's take on "Throw Ya Hands" was and still is pretty small. MTN.