Search:organ

After great success of 2 previous releases, 'Sound Of Vast ' is now about to hit 3rd release. The producer of this deep monster is one of the most respectful Japanese artist, and Womb's resident Dj 'The People In Fog (aka DJ Sodeyama).'
Even though DJ Sodeyama is more known as techno producer, The reason that Sodeyama used the other nickname was, As you could guess from poetic sentence, to express his music in more deeper and emotional ways, he even choose EP name as 'Deep', also, all the track's titles contains the word 'Deep', funny but straight forward way of thinking, if you want to deliver right moods on the dance
floor, by not only sold beat but also unusual emotions that come from organic percussion, this whole EP will give you the answer.
As usual of SOV policy, this EP contain one each of exclusive digital, and vinyl only tracks, this time, 'Deep
Woods Remix' chosen as vinyl only exclusive, the remixer 'Elbee Bad' is the legend of US House, as known as 'The Prince Of Dance Music', if you are fan of Rush Hour Records you should be heard about his name, as he is one of the be loved, and featured artist from the label. His remix of 'Deep Wood' is indeed funky and sexy, one more reason to have this vinyl in your collection.
Lastly, this EP will pressed 500 copies only with out repressing, quicker people will have a benefit as usual.

After their very large re-make of 'Dinosaur's 'Kiss Me Again' on Volume 2, Pablo and Shoey go straight for the jugular again here, extending an old housed up bootleg version of Eddie Kendricks' 'Keep On Truckin' into 8 minutes of dancefloor devastation.
Pre- Discogs, pre MP3's of everything ever recorded on the 'net, this little gem was one of the most potent secret weapons for The Unabombers in the heyday of Electric Chair. Some old fashioned, dusty crates digging by Pablo turned it up - now the world gets to have a listen !

Also included in the package is Detroit legend Terrence Parker and his deep, shimmering 1996 house classic 'Your Love', an after hours staple for the DTS boys since year dot.
Drenched in a hypnotic organ loop and a beautiful, tender vocal, it's house music with a warm heart and a sharp kick, perfect for a 'Let's All Have A Hug' moment at 5am !

Scuba Death is Ricardo Donoso's alter ego. With more of a focus on analog sound, percussion, sampling, and location recordings, there is an organic undercurrent on Scuba Death recordings that isn't as prevalent in his solo work. This music is rich in atmosphere while still tethered to the deeper ideas that Donoso often explores in his work. Treatises on fear and death­anxiety, the underlining thematic framework for the project, run rampant throughout these claustrophobic electronic passages, and teeter on the edge of being oppressive. Nitrogen Narcosis marks the first full length and strongest statement in the Scuba Death repertoire after the privately issued, ruthless 'Demon Seed' twelve inch back in 2011. The album alternates between surprising lethargic dance inflections all nestled between 75 & 100 bpm, the normal resting heart rate for adults, and the more conceptual, numbness­inducing pieces like '50­-70 Meters' and 'Nociception.' Sequencing plays an integral role on Nitrogen Narcosis as the listener is suddenly thrust into the darkest reaches of the ocean after dark alley grooves are sucked into an aquatic abyss. For a project named after Donoso's near­drowning experience in the South Atlantic when he was younger, there's an impressive amount of reflection & vulnerability present - the field recordings that permeate throughout the album were captured at the same location the undertow caught hold of him that bright Summer day 20 years prior. An inner battle between paranoia and euphoria is played out in well­conceived, precision sonics on Nitrogen Narcosis as Donoso reminds us to look back, break through the surface and go deeper.

Steve Frisco, of Serie Limitee fame, brings us the latest bundle of hot tracks to hit Wax Classic in 2014. As the title suggests, Steve takes us on a journey through low fidelity sounds and production techniques. Think dark, moody, yet crunchy basement house tracks with inspiration taken from all over the U.S and the rest of the house world. It's a generous offering as well. Six whole dusty tunes for those diggers who are looking for something with a bit more range than another record of generic piano laden, house-by-numbers pieces that still seem to be flooding the record store shelves in 2014. The moods do vary from track to track, but they remain very reflective and almost melancholic at points. The title track, 'Adventure in Lo-Fi', is the deepest of the lot with filtered chords, echoing claps and a sporadic kick pattern that often clears way for the track's bass hits. Now, compare that to 'Da Brooklyn Beat'. Whilst the former had a distinct sunrise/sunset kind of feel to it, the latter is definitely more of a club affair. Skippy snare hits and a strong organ lead the track on, and at the risk of utilizing very overused buzzwords such as 'raw' and 'ruff', this track, and the rest of the A-side for that matter, certainly captures that essence.Stalwart Wax Classic fans will no doubt be picking this one up to add to their collection. However, I strongly recommend this EP as a jumping in point to the label for any newcomers out there!

"Teilstueck" (German for part or segment) is the next excerpt of Jacob Stoy's ongoing attempt to translate his surroundings into music. It's his second EP for Uncanny Valley and is even more multifaceted than his debut "Redenswart" from 2012. With "OMG" you'll get the feeling that something sublime will happen right from the beginning. It's one of those tracks whereby time stands still until a mighty synth-line unfolds in all its glory. "CFM" comes in the same musical vein with a similar and slightly melancholic bass-synth dominating the drumming. By far more cheerful is "MKM". Based on a catchy bass line foundation, Jacob Stoy showcases wonderful synth-effects and sound with the beautifully oscillated pad making the cut. This is House music for machine lovers. The flipside starts with "HIM" and probably the most floor-friendly track on the record. The slowly but steadily rising organ chords prepare things and when the carefully targeted percussion elements come in, it feels like summer will never end. In contrast, "QFL" lives from its mysterious atmosphere and is very good example for Jacob Stoy's preference to use Electronica-like sounds for his House Music. The record is rounded up with "HHM" and a little nod towards past times when he used to play in a Jazz band. With its Delay effects, a fuzzy guitar and a great bass melody it's not far away from Krautrock either. For the artwork Jacob Stoy teams up with fellow student Chris Dietzel.

Sitting down and writing about our latest EP was a fun but challenging exercise, we scratched our heads and this may sound bad but we couldn't think of deep, dark interesting stories on how we made these tracks or what they represent. These jams are simply a combination of previous and random happy accidents that have come together and saying anything else would be a lie. This however does not mean that the thinking behind them is completely random, the three cuts that we selected for this EP we feel are a journey of experimentation and a culmination of unexpected sounds and feelings. A word that we found best described the EP was 'Irony'. The most ironic thing we feel is that the main basis of these tracks were born on the stage during our live performances and they have now been reworked and moulded into a record. We however feel that this brings an interesting element to the EP that yes it is recorded and set, but you are not quite sure where the next sound or feeling will come from. A hi hat A kick It is pure 'organised randomness'... I suppose we should talk about some of the music and try and explain what we mean! We start with 'Pe dos', which in plain English means inside out and it was a track that we had started back in 2011. We were flicking through our 'curiosity closets' one day and found it, we played around with it and heard a kick drum that was not arranged correctly in the sequence due to a random manipulation of the sequencer. Our first thought was to just change it, but then we decided to wait..... when all the other sounds of the tracks came together we threw the kick back in and BAM, Even the acapella voice of the track was screaming. Therefore it was a simple for us to name this track as we worked on it in a completely back to front and 'Inside Out' way!

in the past ten years lots of little and big stories happened in the music culture. house literally disappeared almost from the scene in order to come back as strong as never before. 

minimal morphed back into techno while leaving the question mark why the term minimal ever got invented. some originators like frankie knuckles or romanthony passed away, while others like larry heard just stopped to perform. 

in-between countless new artists appeared, twisted dance music with new perspectives on the old, and released their fresh ideas on even more countless labels out there in the void called music market. 

one of the rare platforms that stayed solid as a rock in all these years is mule musiq, the tokyo based label that spreads miscellaneous sound vibes that long from jazz to disco, house, and unobtrusive ambient since 2004. 

with a versatile artist roster consisting of producers such as henrik schwarz, lawrence, dj sprinkles, dj jus-ed, kuniyuki, eddie c, roedelius, or new kids on the blog like barnt or lord of the isles the japan based record company developed a status of her own for being one of the most free spirited organisations in contemporary music. 

'if the music is good, any kind of music is welcome. i don't like labels which release one style music.' 

mule musiq's mastermind toshiya kawasaki once said in a rare interview. now he celebrates a ten years of freedom jubilee with the sixth instalment of his famed 'i'm starting to feel ok' compilation serial.  a real massive international anniversary celebration that is ventilating all what happened in the past ten years in order to form something that travels right into the future. and that is where mule musiq tries to be since a decade to tell some unheard musical stories that stay for good even when the future is long past.

Phiorio's Animals release has been a labour of love. After co-running Metroline Limited for the past 6 years and after a series of digital releases and remixes for both Metroline and Retrometro (as well as Letroom Limited and MBF amongst others), Phiorio's vinyl debut on ML finally sees the light of day. The choice of remixers has also been laborious but over at Metroline HQ we are really happy that in the end we managed to secure two stunning reworks by the likes of the more and more in demand French producer Doubtingthomas (with releases on labels such as Hummingbird, Organic and of course, Metroline Limited) and the super-hot up and coming Russian producers Adjustment Bureau. The EP opening track Ninja Cat is a deep and quirky number. The groove is tight with heavy drums and crisp percussions. An acid b-line leads the way while atmospherics pop in and out until an off key synth appears and adds a level of spookiness to the proceedings. Doubtinthomas remix take things into even deeper territory. His landmark reduced drum programming is very noticeable here with shuffled up percussions, lush pads and a very heavy bass to guarantee maximum impact on the dancefloor. Superpupider is a no-nonsense straight up dark and dirty techno tool. It's all about the groove with this track, the drums lead the way with clever use of filtered hats and percussions. That said, Phiorio's ability with abstract sound is still in evidence with plenty of spooky voices, pads and noises firing off in all directions. Adjustment Bureau remix of Ninja Cat completes our tasty package. The Russian duo's (soon to release a stunning debut EP on Hypertone) approach is in line with modern trippy and experimental techno and has a distinctive 'Romanian' vibe. They used the original elements of the track and added extra percussive and vocal samples to create an epic, intricate and groovy paranoid funk number.

Luciaen, AKA Lucien Nicolet, presents the second chapter in his Basaec series, with Origins. The new label from the Cadenza Records boss looks back to the roots of his production career, whilst presenting a wholefully futuristc take on electronic dance music. Origins (Wild Origins) leads release #2, a collosal twelve minute piece of neo-classical electronics. Waves of arpeggio synth dominate the beatless track, its mighty stabs and light percussion propelling the track along at great speed and urgency. The heads will no doubt hear inspirations from Detroit techno in here, but you can't put this piece in any genre box, rather it's a huge musical showcase from one of dance music's most enigmatic figures. The Great Amael finds Luciaen in more familiar territory, a lo-fi bubbling groove and dusted Hammond organs hustle along whilst the live percussions shine through. Energetic and infectious, the tone softens with the oceanic pads that provide its classic melody and threatens to envelope the listener in a wall of beautiful sound.

The phrase 'feux follets' from which Archipel 105 draws its title, comes from the Latin ignis fatuus, and translates as will-o'-the-wisp. The etymology reaches back to old folktales in which ill-intentioned spirits would cast an atmospheric glow at night, in order to lead weary travellers astray. Today, the term refers to ghost-lights - artificial light reflections caused by decomposing organic emissions. Anyway you choose to understand it; this music contains the mysterious and unattainable. Feux Follets are meant to depict an elusive (and perhaps also illusive) ambition. A tense equilibrium colours the constant, foundational sounds with aleatory movements. The compositions are detail-oriented, and boldly explore their tangential elements.

With Litote EP, TorreBros (Numoment Recordings / Komplex De Deep) signs here 2 tracks techno oriented.
while Part I integrates an organ hypnotic groove, Part II approaches an acid feeling by a heady bassline.
Borrowed Identity (Mistress Recordings / Quintessentials) proposes a catchy remix of part II with the adding of a subtle vocal loop.

Around7 follows up his two laidback funk/jazz albums for Robsoul Jazz with his first ever venture into House music. His Double Crossing EP released through the main Robsoul Recordings imprint on 4th April 2014.The Parisian, who previously delivered the Back To Basics and Soul On Wire LPs to critical acclaim, continues his production style of sampling complemented by live, organic sounds. Producer influences such as J Dilla and DJ Premier continue to be in evidence, alongside the jazz of Miles Davis, Bill Evans and the legendary Blue Note Records, all given a 4/4 twist.The result is four stripped back tracks with a low slung, smoky atmosphere, packed pull of acoustic sounds and live instrumentation. Those who remember Joss Moog's early outings on Robsoul will also find parallels hereAround7's music career began as a bassist and trumpet player in a jazz/funk band. After learning to play keyboard and discovering the Akai MPC sampler and software such as Cubase, he merged all of his skills together to create his own tracks based around live instrumentation and samples.

Kyle Hall back on Hyperdub for our 10th Anniversary - Yes please. In fact this is more or less a long delayed EP from the vaults, recorded around the same time as his 2010 'Kaychunk' EP ... which just goes to show how ahead of the curve the young Detroit producer is. Starting with 'Girl U So Strong', the track riffs on a distorted arpeggiating bassline, seasick organ and a dubbed out voice, and a flicking metronomic note, starting slowly before shuffling drums give the track some rhythmic focus. Soon a warm melody builds over some happy arpeggios, and the whole track feels like a product of brilliant spontaneous energy. 'Take Me Away' works an 8 bit bassline, bleeps and throbs into an off beat shuffle over a pulsing bass drum, loose and happy, dosed with sunshine and space.

'You become responsible, forever, for what you've tamed", Antoine de Saint-Exupéry writes in his modern fairy tale 'The Little Prince', in which his protagonist travels through various worlds in search of friendship and benevolence. The quote is, no doubt, fitting for Niko Schwind, since the Berlin-based DJ and producer consistently demonstrates a deeply anchored love for and close bond to house music, the art form he himself has tamed. As a DJ, he travels the globe, having played in Europe, Australia, Thailand, Brazil, the US and Mexico, and in his sets he creates a feeling of connectedness between himself and others, as well as within the crowd. On Stil vor Talent, Niko Schwind now presents the fruit of his labour in the from of his third album: 'Grippin' World' captivates the listeners with its versatility and coherence, and kidnaps them to a world of sound, made up of elegantly reduced grooves, organic arrangements and accessible vocal-melodies. With 'Perfect Fit', the first single of the album, we are handed an absolute highlight, as Heartbeat's warm voice and a simple guitar-loop form a flawless musical symbiosis, accentuated by a synthetically creaking bass-line. Niko thus proofs he's more than capable of practicing restrained Minimalism with a pop-impact. 'Perfect Fit' then gets the floor treatment: while Niko turns in a reduced, tool-oriented club cut, the hitherto unknown Proud bursts onto the scene with a dreamy arrangement centred around atmospheric synths on his remix. Grippin'!

Wiederveröffentlichung des Longplayers aus dem Jahr 1980 mit dem markanten Tony McDermott Albumcover Design. Der Klassiker wurde im Channel One Studio eingespielt und abgemischt, am Mischpult saß der legendäre Barnabas (Stanley Bryan). Also Produzent fungierte Henry 'Junjo' Lawes, als Musiker die Roots Radics in Bestbesetzung (Bass: Errol 'Flabba' Holt, Drums: Style Scott, Santa Davis, Organ: Winston Wright, Guitars: Bo Pee Bowen, Andy Bassford, Piano: Gladdie Anderson, Percussion: Sky Juice & Skully). Mit den bekannten Songs "You Are A No Good" (kam auch auf dem Scientist-Album "Rids The World Of The Evil Curse Of The Vampires" zum Einsatz) sowie "Cassandra".

KRAKE is an annual Berlin based festival for challenging electronic music. Krake means - octo- pus' and the festival is organised in a comparable way: reaching out to selected locations during one week presenting the best in electronic music whatever style it is. The festival is not huge, not expensive, does not have big sponsoring deals or four different colour are passes. It's just a good and so far successful try to bring back the focus on artists who dare to step off the beaten tracks.
KRAKE 002 contains mostly exclusive tracks of artists who played at the Krake festival in 2013. The A-side starts with a dark ambient drone by DÄMMERN, followed by a pop-fueled two-step hit by PHON.O. Next in line is Irishman EOMAC with a warm and deep IDM track already char- ted by none less than Thom Yorke of Radiohead, followed by - Resolution', a little melancholic stepper by BILL YOUNGMAN.
The B-side is being opened with a techno track by grandmaster MONOLAKE in his most typical dubby percussive style. For the next track FRANK BRETSCHNEIDER reduces the sounds to the max again to deliver a percussive track as minimalistic as can be. Legendary techno producer CRISTIAN VOGEL, known for his constant search for new values, closes the compilation with an avantgarde piece of noise and drones.
Outstanding, we'd say!

Atmospheric, darkness, emotional, deep and organic, Architectural returns with a very special album. A musical piece with a soundtrack essence that transport to the darker and disturbing forests. The cd edition has a second cd with a previous tracks compilation released on Architectural recs.

Cadenza head honcho, Luciano, often collaborates with many other artists, his constant touring schedule blessing him the opportunity to write and produce music with a multitude of like minded producers, and on 'Into The Aether", we get the first part of a two part series of tracks composed with various other Cadenza personnel. 'Arizona Green Song' sees Luciano and Marlowe (AKA Digitaline) get together for a vibrant and busy freak out. A plethora of rattling and sharp percussion cuts through a simple melody line and low slung groove. Building over ten tantric minutes, dubby inflections and hidden voices are woven into the detailed arrangement to great effect. A collaboration with Dani Casarano results in 'Bell's & Tonic", a slower paced vibe here, but with plenty of funk, from it's bending bass line and hand claps to the deft organ touches and shuffling shakers. A world within is created here, again distant voices, rattling cow bells and (yes) livestock and other field recordings are layered here to create a unique ambience. Uncompromising and original music then, from Cadenza's boss and friends. Expect a 'Part Two' to be released in the coming months....

Freestyle Records is immensely proud to announce the release of this new single from new signing Kalbata & Mixmonster - Prisoner In Love, which is taken from the forthcoming stunning album Congo Beat The Drum.


Kalbata & Mixmonster went into their home studio ago in Tel Aviv, Israel with the purpose of recording a 100% analogue dub album in the spirit of the late King Tubby and the early dancehall era of the late 70's and early 80's. A 16-track tape machine and an old analogue mixing desk were their main instruments, with musicians playing live all throughout the album.


A year after recording the instrumental backing tracks, they travelled to Kingston, Jamaica and started tracking down their favourite singers and deejays from days gone by. The stunning and totally authentic results evoke the heyday of Jamaican music - and on 'Prisoner In Love' legendary vocalist Little John, regarded by some as the first dancehall vocalist, hits just the right feel on this mellow, down tempo number. His voice floats alongside the ethereal piano and on the money drum patterns and deep bass lines perfectly.


On the flip - special guest Kutiman drives the CRB organ on this instrumental version excursion of Prisoner In Love - proper old school JA style!

The third in the Modular Techno series from live analogue artist and Freerotation organiser Steevio.
After 15 years of producing techno live on hardware, in 2009 Steevio began building a dedicated machine on which he could totally improvise an entire techno performance from a blank canvas that far surpassed anything he could do with his previous setup of drum machines and synthesizers. Steevio's modular is 100% analogue; there is no computer involved, there are no memories to save sounds or sequencing patterns, and everything is improvised in real time..
Volumes 1 and 2 of the series were just a taster of what was to come, and were the early experimentations on Steevio's newly built machine. Steevio records everything he does, especially during the intense practice sessions for live gigs. All the music in the series are out-takes from these practice sessions, and the tracks from Volume 3 and the forthcoming Volume 4 all come from a three day period in practice for a recent live gig at Delete, Bournemouth, UK.
Volume 3 continues from where Volume 2 left off but delivered with more confidence and a deeper more hypnotic feel. Steevio continues to develop his skills and fine tunes his unique instrument in this dedicated 'for life' project.

With a self-proclaimed goal to showcase newcomers as well as established artists, Melodymathics hands out their 'second punch' with a killer track by Detroit veteran Gari Romalis. Gari is at the forefront of the Detroit techno scene, working close with Terrence
Parker, Mike Banks, Cliff Thomas and labels such as Tresor, Transmat, Soma and many more. His productions clearly show that his 30 years experience Dj'ing made him realize what works on the dancefloor. 'The Web' on Melodymathics Ltd.002 is a sublime example of soulful keys combined with funky rhythm, resulting in the ultimate Dj tool.

Our new talent 'Barce' was discovered in Spain and sets the tone with his 'SP' track for a possible lifetime relationship with Melodymathics. Barce's music speaks parts of his life and relfects a musical image of his soul. 'SP' brings deepness to another level in this release, with a manipulated organ chord - hypnotizing you throughout the whole chord -
and a story being told on top with various snares, dope basslines and sample work.

The traditional endless grooves, provided byThe Melodymann, are a nice addition for any Dj who wants that little extra..

Dj Feedback

SEAN DEASON (Matrix records)

Very nice! Smooth deep and funky as hell! Great work!

ROBERT OWENS

Great EP, would be nice to play.

SAMUEL JAMES (Elektrosouls Recordings)

One of the deepest releases of the year. Melodymathics is definitely a label to keep an eye on !

JULES WELLS ( KMS, Submerge records)

Great, I love it !!

RENNIE FOSTER (Transmat / Rebirth )

Sick

BEN SOLAR

Great Stuff

FABRICE LIG

Great EP, so deep !

TITONTON DUVANTE

All tracks are solid! Really like the way the Gari Romalis track builds. The Barce track is

cool in the second half. Expect some deck time for this one..

DONNA BLACK

This is DOPE!

SEBASTIAN SAN

Good stuff, Deep as i like it !

DIMITRI ANDREAS

Nice smooth and deep, Like it !

LA WILLIAMS (Peacefrog, DJAX)

PUREEEEEEE DETROITTTTTT ! Richard Pryor sample classic

PAT LEZIZMO

Vraiment Bien !

SATORE (Hizou Deeply Rooted House)

Really nice Ep!

AUBREY

really good .. like it.. deep moody stuff !!

PETE HOWL

Deep & smooth, great package! love it

ANAXANDER

'wow, strong EP, proper dancefloor killers'

BERNY GARDIN

Interesting, can feel lot of infuences, style!

ANDREW DUKE

Veteran artist Gari Romalis brings the heat as expected; both Barce's original and the

remix from The Melodymann hit the spot. With these 3 tracks all in my bag, Melodymathics

Ltd keeps bringing the goods.

DEEP MOVEMENTS LABEL

Instant support, will play for sure !

OLIVER KAPP (Indulge, Raygun Records)

Very nice old school vibe..... love it

Traversing with an understated technical assuredness, the ambitious shapes of Steely Dan, the popping lounge funk of McDonald era Doobie Brothers, the sweet mourning of the Stylistics and Delfonics, and the exquisite song-craft and flawless harmonising of CSNY, Daniel Collas (The Phenomenal Handclap Band), Bart Davenport and Quinn Luke aka Bing Ji Ling have recorded an absolute darling of an album under the name Incarnations. They are three friends with enough musical guises, side-projects, collaborations and production jobs to fill the annual itinerary of your average musician twice over. When three CVs like these get together on a regular basis, it's only logical they speculate and hypothecate on the possibility of an album together. But, how to make those congested diaries synchronise? Bart lives in Oakland and Quinn and Daniel are in New York, all three of them are on tour for the better part of the year. One sunny day in Madrid, Spain, a plan was hatched and a proposal was made. Lovemonk, a small, eclectic and affable Spanish label, dangled the carrot that clinched the deal; 'find two weeks between gigs/productions/recordings and head down to this little place we know in Tarifa, Southern Spain'. A family-run studio, in a house 5 minutes from a wild beach and a short ferry ride from the coast of Africa; the perfect ambience for the fleeting melody and sultry grooves of the Incarnations debut album, "With All Due Respect". Arriving with bits and bobs of half-songs, grooves and melodies, Daniel, Quinn and Bart, sketched and improvised their way to the most intensely evocative songs you'll hear this year. Punctuated by a day trip across the water to Tangiers, all 9 songs were written and recorded inside a fortnight in October 2009 and laid to rest while our protagonists jetted off to their respective diary appointments. Whether it was the beach, the soft weather, the fact that you can smell Africa from the studio, the home cooked Spanish food or the relaxed environment of the recording room, when the band returned to the songs at a New York studio earlier this year, they found an album as fresh and resonant as the moment it came into being. Quickly mixed down with no over-dubs or re-records, "With All Due Respect" captures the combined gifts of Tarifa and the three very talented friends that paid a visit. Incarnations are: Daniel Collas: DJ, drummer, organist, and one half of production team Embassy Sound Productions, the minds behind The Phenomenal Handclap Band. Plays - drums, percussion, organ and synthesizers. Bart Davenport: Collaborator with Greyboy, General Elektriks and The Phenomenal Handclap Band; Singer-songwriter with The Loved Ones, The Kinetics and Honeycut, and most recently a touring member of the Kings Of Convenience. Plays - guitar, bass and vocals. Quinn Luke a.ka. Bing Ji Ling: Part of The Phenomenal Handclap Band, one half of DFA recording artists Q&A and long time member of Tommy Guerrero's band; Solo artist on labels Ubiquity and Lovemonk among others. Plays - guitars, keyboards, vocals The band are named after Encarnacion "Nini" Sagrista, owner of the recording studio in Tarifa, who housed and fed them during their stay.

Ben La Desh may hover above radars despite his extensive back catalog for the likes of Sleazy Beats/Black Ops, Dirt Crew, Outernational and a recent contribution to the Young Adults House Slippers compilation.

One of the unsung modern forefathers of gradient chug, the Rotterdam native has carved out a niche for engulfing body movers that organically unfold like subtle origami.
Wondering What We Are explores the ever expanding spectrum of the Ben La Desh aesthetic in a compact 4-track capsule.

'Afrodesia' soundtracks a high speed chase through tropical back roads with swirling synths and pulsing drops.
'Your Love' has a slinky half-tempo bounce that skates along an infectious horn loop and vocal refrain.
'We Are' finds La Desh in his signature groove wheelhouse - buttery builds and smoothed-out repetition.
'Why Don't You' may very well be his deepest moment yet, a driving baseline is lathered with clattering percussion and sultry female croons to devilishly sinister effect.

clear vinyl pressing!
Soundtravels Recordings proudly presents "Point Of View Part 1". We have compiled six contemporary, electronic bombs from artists all around Europe.

For some we didn't have to travel that far though...

The Hagues Baz Reznik provided us with "Nightdrive To Stuttgart", a moody, sinister track with that typical raw Reznik sound and a melody that will stick in your head for days after you first heard it.

Amsterdam based Arctic Boogie boss Endfest came up with another killer, "Von Heijden En Verre". Almost ten minutes filled with frosty synths and arctic melodies, accompanied by an ever present, very sophisticated 303 which peaks halfway the track, shivers!

Our last, but not least, Dutch contributor is Rotterdam based Louis Guilliaume who you might know from several straight forward techno releases on various quality underground labels. "Promiscues" is a rough edged, energetic track which fits somewhere between Detroit techno and Dutch Westcoast elektronica. At the end of 2013 he will release the "Unknown Forces EP" on Soundtravels.

Okay, now we fly all the way over to Croatia for Le Chocolate Noir with "Futu.e Is B.ight". A short but powerful EBM track with vocals from the man himself. Dark industrial mechanics accompanied by a threathening bassline, but no need to worry... cause Futu.e is B.ight! In 2014 he will release his first EP on Soundtravels.

Next stop... Düsseldorf. After discovering Dircsen's tracks we definitely had to have him on board. The first result of that can be heard on his astonishing "Aspiration EP" (Soundtravels 003). This guy keeps on producing his solid, high quality electronics and shows us his love for the TB 303 machine in a brilliant way. "Exist" is actually a downtempo dubtechno track but off course it has a fierce 303 all over it. Timeless again. Early 2014 his second EP named "Acid Wheel EP" will be a fact.

New to our family is the Russian Neotnas. He makes his first appearance with "Rewind". Typical for his sound is that warm, organic feel all over his house and dubtechno productions. Very often accompanied by female vocals and it's almost like you hear somebody play a live instrument if you listen carefully. At the end of 2013 he will release his "Slow & Steady EP".

New label Back To The Balearics follow up the superb Maricopa EP with a stunner from Berlin based live music collective Spleen.
Part one in their musical odyssey 'Fusionary' consists of live jams and instrumentation over computer-based syncopation, their music has a strange yet organic flow to it, which is both hypnotic and rhythmic.
Think Kraut influenced, psychedelic dub funk with a touch of alt pop and you'll be on the right road, but still miles away.
Music is better than words...Spleen prove that.
LTD edition vinyl with beautiful printed sleeves.

This vinyl includes a free downloadcode were customers get the
whole digital release (incl. Bonustrack) for free via Facebook !!
Anyhow fresh but still trusts! 4CR comes with his second vinyl - release,
and it sounds fat. "Menschenskind" has delivered with "Tequila" this time
a real Minimal House bomb with catchy tune character. Organic guitar -
samples and fresh Grooves sound like the fruity sweet taste of summer
which drips in the dusty and dry desert. A touch of western, High Noon
and heat under cloudless sky. "Menschenskind" gives us with Tequila an
acoustic place under the sun, the suitable drink and just the pure groove.
Alec Troniq, Sonntagsmusikant and Tinush deliver their great remixes on
top. While Sonntagsmusikant holds the striking theme first a little more
covered and comes along even more minimally, Alec Troniq with a stylish
variation of the subject rocks more offensively forwards. Tinush adds with
his Remix some Coolness and completes this 4CR Release. This package is
the fruity cocktail, which runs down the dusty throat, while the smell of
the sun and desert is omnipresent. Get a drink, and enjoy Tequila!

Irgendwie fresh aber dann doch vertraut! 4CR kommt mit seinem
zweiten Vinyl - Release, und es kommt dicke. Menschenskind hat mit
- Tequila' diesmal einen waschechten Minimal- House Knaller mit
Ohrwurmcharakter abgeliefert. Organische Gitarren - Sounds und
freshe Grooves klingen wie der fruchtig süße Geschmack von Sommer,
der in die staubtrockene Wüste tropft. Ein Touch von Western, High
Noon und Hitze unter wolkenlosem Himmel. Menschenkind gibt uns
mit Tequila einen akustischen Platz unter der Sonne, den passenden
Drink dazu und den puren Groove. Dabei liefern Alec Troniq,
Sonntagsmusikant und Tinush ihre großartigen Remixe on top.
Während Sonntagsmusikant das markante Thema zunächst etwas
gedeckter hält und noch minimaler daher kommt, rockt - Alec Troniq'
mit einer stylischen Variation des Themas offensiver nach vorne.
Tinush packt mit seinem Remix die Coolness und rundet dieses 4CR
Release gekonnt ab. Dieses Package ist der fruchtige Cocktail der die
Staubige Kehle runter läuft, während der Geruch von Sonne und
Wüste allgegenwärtig ist. Schnapp dir n Drink, und genieß Tequila!

Building upon the foundations laid by his stunning debut single for the label, 'Theme Park / Off Topic', Blu Mar Ten Music is proud to
present the second single from prodigiously talented young producer Frederic Robinson's forthcoming album, 'Mixed Signals'. A
natural successor to the aforementioned single, the two tracks on offer here, 'Bloom' featuring Stray and 'Shore', give a further insight
into the depth and diversity of his work and what you can expect from his debut long player when it drops later this year.
On 'Bloom' Robinson teams up with experimental electronic producer and fellow BMTM alumnus Stray, for a characteristically
forward-thinking and unique exploration of 170bpm's outer possibilities. Built around a skittering tribal rhythm, lush synths and
acoustic instrumentation weave in and out of the track's skeleton over a deep b-line punctuated by elegantly cut ethereal vocals. With
the pair fluidly building and deconstructing layers as the track evolves and effortlessly shifts grooves, the track's nuances make it as
compelling for home listening as it is fresh on the dance floor.
This is paired with the delicate percussive timbres and rich ambience of down tempo offering 'Shore'. Here Robinson's off-kilter,
organic rhythms combine with a dense patchwork of piano, strings and natural textures to create a track that is as beautiful as it is
haunting, aided by the distant call of Robinson's own vocals.
Already receiving support from revered taste makers such as Giles Peterson, Mary Anne Hobbs and London Electricity, the depth and
quality of Robinson's music is quickly starting to make people stand up and take notice. Quickly proving himself to be an inimitable
talent, the new single is a worthy addition to his musical canon.

LP pressed on 180gm vinyl; sleeve printed in three Pantone colours; includes free MP3 download. Featuring all-new material and recorded in the band's isolated studio on the edge of the Essex marshes, the album ebbs and flows in mood like the nearby Blackwater estuary. Working with a palette of vintage drum machines, analogue synths, textural samples, acoustic recordings, electric bass & heavily treated guitar, the songs were born out of captured live studio performances. Cooper & Hammond then rewired their initial sketches through a series of hands-on, lo-fi effects chains, blurring the edges between acoustic & electronic elements. The result is an organic, playful feel; leaving the music room to breathe and carrying distinct echoes of the band's previous work. BIOGRAPHY Ultramarine are the London/Essex-based duo of Ian Cooper & Paul Hammond. Formed in 1989, the band's early records were released by the seminal Belgian label Les Disques du Crépuscule. Ultramarine released five albums during the 1990s including the highly-acclaimed ambient techno/house classic Every Man And Woman Is A Star (Rough Trade, 1992); United Kingdoms (Blanco Y Negro, 1993), featuring writing collaborations with Robert Wyatt; and Bel Air (Blanco Y Negro, 1995). After a prolific decade, including full American and European tours with Björk and Orbital, Ultramarine went on a long sabbatical following the release of their fifth album A User's Guide (New Electronica, 1998). After a 13-year absence they resurfaced with two new singles in late 2011 on Real Soon and WNCL Recordings, fully rested and ready for action.

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.

Hypnotischer Tiefgang kann auch hell und freundlich sein, wie Marcus Sur einmal mehr unter Beweis stellt. Die melodiöse Eingängigkeit seiner Produktionen schwingt irgendwo zwischen Deep House und Dub Techno, wobei er das Beste aus beiden Welten mit organischer Eleganz verwebt und mit seiner ganz eigenen Note versieht.
Da ist das stimulierende Pochen und entrückte Klingeln von The World In Small Doses. Da ist die hintergründige Dramatik und perfide Vielschichtigkeit von Masquerade. Da ist die verträumte Stimme von Ann Jasmund, die sich über den warmen Wogen eines wabernderen Klangteppichs ausbreitet. Und da ist der verspielte Basslauf von Magnetic Ribbons, dessen schwerelose Synthesizer- und Piano-Zitate Mollono.Bass zwischen die perkussiven Rhythmen seines wundersamen Frequenz-Universums entführt. Das dubbig glitzernde Original gibt es als Zugabe für die Digital-Version. Leicht verdaulich und doch sehr gehaltvoll - wie gute Musik für den Sommer sein sollte!

Here comes the first release lf the outstanding super disco stars HARD TON on our label! With A-side track RISE UP we have the first track with chart potential on our label we'd say. We love it anyway! : )
B1 track WORK THAT BODY shows off the heavier jacking side of HARD TON and B2 MONOTONE rounds up the EP with its uplifting house chords.
Not our average cup of tea, but we fckng love it.
Instead of boring you to death with just another info text, we copy these words from I-D Magazine about HARD TON:
HARD TON are the Italian duo with the larger than life disco sound and a surprising love of met- al. Fused together in 2008 from the musical loins of DJ Wawashi and heavy metal singer Max. Sylvester-styled falsettos conjure up memories of smoky dancefloors during the heady days of HI-NRG, which combined with a contemporary sound of accelerated beats and screaming acid basslines, shows a nod to the past can result in a slap across the face for the present. Using analogue and vintage gear, from the 303, 606, 707, Oberheim DMX, Korg Monopoly, MS20, Prophet V5, the music is as organic as synthetic music can be, their equipment living and dying by its own unpredictable rules. (i-D Magazine)

As if our recent releases hadn't already been spreading the sound of Circus Company into new and exciting places, now our very own silver-tongued enchanter JAW emerges with the first details of his own autonomous project. Somewhere in between the electronic drive of his day job in dOP and the folky, organic instrumentation of Les Fils Du Calvaire, JAW shares with us a new venture that has thrust him into the studio with Lebanese musician Kevork Keshishian. After a chance meeting on the streets of Beirut, the pair struck upon a creative buzz and so "Hazihi Laylaty" was born. Translated as "this is my night", the title references one of the most famous pieces sung by the celebrated Egyptian singer Umm Kalthoum in the early part of the twentieth century. The dusty crackles and haunting strings that begin "Hazihi Laylaty" instantly call to mind the mystery and allure of traditional Arabic music, and the track as a whole fuses this spirit with a subtle wielding of modern electronics to create a thoroughly moody piece of pop-noir. Paying full respect to the complexity and consideration of the original version, both The Sorry Entertainers and Soul Clap embark upon unusual approaches for their remixes, managing to enhance the electronic elements in the track through more prominent production without losing the core ambience of Jaw and Keshishian's creation. JAW has been quietly working on a solo project for many years whilst also engaged with the relentless demand of his life in dOP, and now finally the time has come for people to hear the first snapshot of this venture. Bringing together a vast array of people, singers and producers from all corners of music, JAW's voice provides the glue with which a brave and boundary-l

*A pure slab of noise... a ruckus on vinyl! A limited edition piece of wax featuring remixes by the Circus Records superstars Funtcase & Genetix.

*Funtcase has been producing since being inspired by d&b as a kid growing up in Bournemouth. In 2009 he created his dubstep alias Funtcase and released his first single on 4:20 Records. The following year he signed with Circus Records and released the killa 'So Vexxed/Matress Punch'. He is also known for his standout remixes, including mixes for Plan B, Camo & Krooked, The Wideboys & Skizm.

*For this remix Passenger organised Spyda (Pendulum 'Black Tarantula'/Knife Party 'Fire Hive') back into the vocal booth to lay down some fresh vocals for the remix. A former Passenger vinyl buyer, Funtcase is no stranger to the sounds of the label and adds his own nod to its history by flipping some breakbeat twists and turns to proceedings to create what many are saying is his best remix to date!

*The flipside remix is from fellow Circus Records crew members and Bournemouth badmen Genetix. Following a similar path to Funtcase, Matt & Rich started off making d&b before switching the tempo and laying down some filth at 140. With regular appearances on the MistaJam's radio show, guest mixes on KissFm for Hatcha and Crazy D and remixes for the likes of Bassline Smith & Drumsound and Kelly Clarkson, to name a few, these guys are continuing a south coast tradition of bass noise and terror.

*With the label instructions to 'make it as heavy as you can, Genetix took the vocal of Sporty-O, recorded at DJ Lethal's (House Of Pain/Limp Biskit/La Coka Nostra) studio in LA back in 2007, and brought it up to speed with a track that flips from militant dubstep into some proper 808 trap biz.

The bomb that should have dropped way back when. After a career spanning almost two decades DJ Overdose debuts on Creme with his first full length album, upon which we remark with carefully considered understatement: 'A veritable tour de resistance in film noir electronics, Bizarro World is a dank and dark alley made flesh. Overdose's heavy soulful beats and soundscapes snatch your dreams right from under you like a shadowy kleptomaniac, masterfully pairing melancholy and ennui with fear and voyeuristic tiger-lurking-in-the-bushes paranoia. So lock up your future plans or you might very well find yourself without any'. For those who don't know, DJ Overdose is one of the OG's of the La Haya underground, one half of Novamen and the other half of The Hasbeens with classic and sought after releases on Bunker, Viewlexx, Murder Capital, Clone and Strange Life to name a few. In his spare time he doubles as a hand model for Bruce Willis.

okuz Recordings presents 'Fifty Five' a release that displays a wide variety of drum and bass styles by various artists around the globe! Expect the freshes beats from Fokuz residents Command Strange, DJ Clart, Incident, talented newcomers like Soligen, Type-2, Joakuim and rising stars Hybrid Minds, Paul SG, PennyGiles & Mr Joseph.

For the a side of the second part of the vinyl series Mr Joseph & PennyGiles provide us with a soulful roller called 'Give you my heart'. Smooth vibes, heavy delayed trumpet samples and organ cuts make this one a real beauty!

On the flip Command Strange takes things up a notch with 'Time Shift'. Straight up club material right here! A deep bassline, energetic stabs and a catchy lead will definitely turn some heads proving his tunes are an excellent addition to every record bag.

Brodanse´s 'Danse Club Records' returns with another 90`s New Jersey gem reworked for 2013 with remix duties this time going to Just Be, Lula Circus & Chubby Dubz ... Danse Club Records, the label started by DJ/production sibling duo Brodanse has made a sterling start so far with releases of classic 90`s US house cuts remixed by the likes of Matt Tolfrey, Oliver $, Moodymanc & Brodanse themselves.

The reaction has been outstanding at a time where there is an obvious embracing of all things nineties and DJs such as Danny Tenaglia, Maxxi Soundsytem, Seth Troxler, Huxley & Dusky have been queuing up to lend their backing. For their latest release Danse Club look once again to New Jerseys historic shores, this time picking up an old record from US soul house duo The Burrell Brothers and drafting in three hot production acts to rework this much loved tune.
To start the package we have the original "club dub" version, giving an insight into the records history with it`s mid nineties feel and production still standing up wonderfully.

The first of the remixes sees Crosstown Rebels and Get Physical artist Just Be AKA Matthew Bushwaka deliver his"Insomniac mix",
a bumping slice of underground house music that marries a bass driven groove, organic percussion and subtle melodic elements with snippets of the vocal to supreme effect.

Next up we have Italian production duo Lula Circus whose releases for the likes of Culprit and Noir have been creating quite a stir. Here they deliver a brilliant rework of "Non Stop" in the shape of a deep old school house workout that makes the most of the soulful vocals with its simplistic, hypnotic backing. With its timeless quality, this mix is certain to be mainstay in DJ boxes for months and years to come.

The penultimate version sees the excellent Chubby Dubz offer up an outstanding mix that cuts and pastes the original parts in a raw house style. Closing the package there is a bonus dub of Just Be`s Insomniac mix that rounds things off nicely. This is another winning package from the Danse-Club label and with original artist material from Brodanse in the pipeline alongside further remix packages there is much to look forward to.

His compositions cleverly anchor stark, machine-like percussion in unprocessed field recordings and abstract noise sources, toying with the conventional boundaries between sound and music. The mixture of impromptu organic recordings and pin-sharp manmade elements simultaneously humanises and adds an air of detachment to the work; a testament to Manni Dee's command of texture and flair for sound design.

After two in as many years, low-key German producer Yør returns to similarly low key Dutch imprint Purple Maze for his third full outing on the label in the form of the 'Sublimation EP'. Across the four tracks Yør continues to explore the same frayed and decayed, abstract electronics as he has in the past, with distant kins like Kassem Mosse and Morphosis still resonating.
The opener and title track is an intense and moody, nerve jangling affair where huge searching synths pan in the background of grinding drums and dense percussive clatter before 'Gravity', with its heavyweight and churning drums, trudges on through sonic scuzz and lo-fi blizzards as a backlit melody keeps things from growing all too dark and abstract.

The many different contrasting surfaces and counterpointed moods make Yør's sounds as arresting as they are. The dystopian, tortured industrial funk of 'Parallels' with its slapping claps and decaying percussive lines are proof of that, where through chaos comes beautiful order.
Closer 'Trust' holds its head a little higher, more spiralling synths and bleepy fax machines tones add a sense that the apocalypse is coming and machines will take over, but there's enough organic beauty in the deeply hidden melodies to keep the track from being all too hostile.