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- Apollo are proud to welcome Sieren, AKA Matthias Frick back to the fold with his new Ascension EP.
- Features collaboration with fellow Apollo artist Synkro
A software engineer at Ableton by day, Sieren's love for UK influenced bass music and field recording and experimental soundscaping resulted in his Apollo debut 'Static Polymorphism' a masterly EP of spaced out street-rave soul.
Now returning with the five track Ascension EP, Frick has tightened and toughened up his sound somewhat (see the caustic bass glower of 'Slinger'), augmenting his starry eyed wonder with a firmer percussive underpinning and more driving tempos. However still present are his preternatural grasp of emotion and atmosphere that marked him out as one to watch - perfectly underscored by the heartbreaking beauty of the title track.
Fellow Apollo cohort Synkro AKA Joe McBride was instrumental in the curation of Sieren's debut Static Polymorphism EP on Apollo, hand picking the tracks, as well as road testing them in his DJ sets. This time McBride goes one further, collaborating with Frick on the track 'Lost You' to memorable effect - the beautiful pads and ghostly piano are a perfect synergy of their complimentary skill sets. This is richly textured and intricately programmed post-bass music that is sure to satisfy fans of Burial, dBridge, Akkord with its soulful sincerity and warmth.

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

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

One half of Canyons, Pink Gin and the Hole in the Sky label, Leo James releases his solo debut You're not a machine on his new imprint Body Language. Record comes with printed sleeve.

You're not a machine is the first solo release from Leo James (one half of Canyons, Pink Gin and the Hole in the Sky label). Part 1 builds around a hypnotic, programmed percussion rhythm. White noise swirls at the ceiling, while a single note bassline punctures through from the basement to the first floor. Part 2 shovels an industrial-funk-feeling through a train tunnel with its raw 606 beat, crushed cymbals and dubbed out bassline. The synthesizer at the end really takes you there.

Taken from his 'You Might Be Surprised' album from 1985 and produced by James Mtume with additional help from Tawatha & Philip Fields (of Aurra & Mtume) as well as David Frank (of The System), this 12 inch has long been sought after by Roy Ayers fans with the release changing hands for over £100 regularly on Discogs.

This mid tempo joint with forward thinking lyrics, a great 808 beat and beautiful chords is sophisticated, yet hood. Reissued for the first time, don't miss this opportunity to own this slice of mid 80's Roy Ayers.

Scissorgun are a two-piece soundscape project from Manchester comprising Alan Hempsall (of Crispy Ambulance) on treated guitars, vocals, prose and trumpet, and David Clarkson (formerly of Triclops and Illuminati) on synths, keyboards, drum programming, rhythms and percussion.

The duo came together in the summer of 2016 with a view to creating spontaneous music, and by November had laid the foundations of Assault Two, their debut release, so named because it is the second release on Aural Assault Records, whose first outing was the debut single by Crispy Ambulance way back in April 1980.

This special 10' and CD package is released in a limited edition of 500 copies. The extended CD features longer versions of the five tracks on the vinyl disc as well as two bonus cuts. The artwork is by Pascal Blua.

A new piece by Australian artist Tarquin Manek, devised in collaboration with poet Martina Quake of Canvey Island, UK and recorded at M.E.S.S. (Melbourne Electronic Sound Studio), utilising EMS VCS3, Oberheim OB-Xa and ARP 2600 in combination with cheap, contemporary consumer electronics. It is, to all intents and purposes, a short, cautionary story about love. It is also a folk-tale, a science fiction, a suicide note. Unusually for a long-form spoken word piece, it is immediate in its impact, and lasting in its effect. Our narrator is damaged and unreliable: Quake's voice, digitally processed into a flat, AI affectlessness, conveys this all too well. Is this the vernacular poetry of the Uncanny Valley, or is it just that loss makes robots - numb and listless not-quite-humans - of us all Locks revels in the space between the spontaneous and the programmed (what is a poem if not a programme). It's part Tales Of The Unexpected, part Susan Howe, part Ruth Rendell, part HAL (or Holly). Manek's music is widescreen but understated...a becalmed landscape populated by distant drones, just-out-of-focus field recordings, and phased, minimalistic, Rhodes-style keys. A sort of sombre, lunar jazz. Space-age bachelor pad music, maybe, for a bachelor at the edge of space and the end of his tether. Just as Quake's words are cumulative in their tragedy, so the music grows more agitated and turbulent, at certain points harking back to the smoked-out psycho-acoustics of Manek's 2015 Blackest Ever Black LP, Tarquin Magnet, and his work in F ingers with Samuel Karmel and Carla dal Forno.

Having made her mark on Brazil's rich musical legacy with three best-selling albums to date, Rio's original nu-bossa queen returns with a tour de force of golden-era Brazilian soul music. From the spiritual swing of the early pioneers of modern Samba, to the dizzying hedonism of Brazil's eighties disco/boogie craze, Clareia is a life-affirming journey through the rich and varied sounds Sabrina Malheiros has been immersed in since she can remember. For her most up-lifting and danceable album to date, Sabrina has (as always) enlisted her father Alex Malheiros - bassist of samba jazz-funk legends Azymuth - and visionary London based producer Daniel Maunick (aka Dokta Venom), son of Incognito's Bluey.

Sabrina Malheiros' career has often been characterised by her place in the succession of those special Brazilian women who, with unmistakable talent and effortless grace, have encapsulated the magical energy of Brazil with their voices. Elis Regina, Astrud Gilberto, and Joyce all had it, and Sabrina Malheiros has it in spades.'(MOJO) With her debut album Equilibria in 2005, Sabrina arrived on a wave of instant acclaim, carving out her place as the pioneering voice of a new brand of Brazilian soul music, rooted in the traditions of samba and bossa, but with an edge of contemporary electronic sophistication. Sabrina's innovative nu-bossa sound would continue with the 2006 remix album 'Vibrasons' followed by sophomore 'New Morning' - declared the best album of summer 2008'(Evening Standard), before 2011's best-seller Dreaming.

Six years on, Sabrina returns with Clareia. Itmeans to clear, light, brighten or illuminate, which, after seeing Brazil and the rest of the world go through some very difficult times, is exactly what the writing of this album brought to my life.' All tracks are written by either Sabrina, or in collaboration with her father Alex Malheiros and producer Daniel Maunick. Written and recorded in Niteroi, Brazil, overlooking Gunabara Bay and Rio's beaches, mountains and forests, the music basks in its surroundings and sings of ecological beauty, peace and sanctuary. Echoing Sabrina's emphasis on clarity, Alex notes that the album's title represents an appeal to the minds of our civilization today, to clear our thoughts for good and for peace.'

This pursuit of clarity continued into the studio: It took a little longer than usual' notes Sabrina, which was good in way, as all my previous albums were recorded in rush and we usually had a week for pre-production and another week in the studio, which always gave me the feeling that I could do better. With this album it was different... we took our time.'

Sabrina's unmistakable voice has never sounded better. Packed out with high-octane swinging samba-soul, like the title-track and 'Salve O Mar', the album also features some bottom-heavy Brazilian boogie cuts, like rejoicing album opener 'Celebrar' which harks back to some of Marcos Valle's cult '80s disco output, and 'Sol Ceu E Mar' is a Tania Maria-esque future classic of scorching latin-funk. Mellower moments are found in 'Em Paz', on which Sabrina's beguiling harmonies find an anchor in the rhythmic acoustic guitar of Ze Carlos', who Sabrina heralds as being the best guitarist I have ever worked with'. Azymuth's keyboardist Kiko Continentino's deft Rhodes, piano, organ and synth playing, add ever more textures of distinctly Brazilian brilliance throughout, while tropical brass and flute arrangements on cool bossa-jazz movers 'Vai Maria' and 'Sandore', come from Brazilian saxophone legend Leo Gandleman, a man who has worked with everyone from Gal Costa to Gilberto Gil. The rhythm section combines Daniel Maunick's seamless drum programming and the organic polyrhythms of Brazilian percussion legend Jakare, all punctuated by Alex Malheiros' inimitable (occasionally slapped) jazz-funk bass, giving the album its irresistibly danceable pulse.

Set for release at the height of summer this year, Clareia is an intergenerational masterclass of Brazil's soulful spectrum, led by a pioneering voice of today's scene on the very top of her game. The up-lifting compositions, which take inspiration from the stunning natural beauty amongst which the album was made, and the call for the clarity of mind needed to preserve it, are enriched by this special team of some of Brazil's most established musicians. Like the sun breaking through tropical storm-clouds, Clareia is a vessel of joy, as Sabrina puts it simply, I hope Clareia brightens the soul of whoever listens to it. That's the spirit of this album.'

Although not a band in a traditional sense of the word, this record was created by a rotating ensemble of players: for a brief moment, musicians from different backgrounds (in this iteration: Preslav, Kenny Peagler, Waajeed, Joe DeFazio and Phil Boyd) became a band and then went their separate ways.

Rhodes, funk basslines, neo-soul chords and tight drum programming are the lingua franca of the 24 Hour Band.
The title of each song represents the time of day that inspired it and collectively, they point to the goal to create records that can be enjoyed not just in a club, but throughout the day, at home, or in your car.

This is the 24HR Band.

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.

Sunlightsquare keeps on exploring multiple style of House music this summer. The previous single from the last month "Oyelo" was a winning combination of authentic Latin Cuban music and classic 909 House beats. It was championed by Ron Trent, Osunlade, Hunee, Bradley Zero, Nick The Record and Atjazz to name a few. This time, the main man and keyboard wizard Claudio Passavanti deployed two remixers for deeper and more spiritual endeavour to showcase his magical composition.

Hailing from the birth place of South African House music Pretoria, the talented young producer Blaqtone laid out beautiful sunset pad, earthy African percussions and solid rolling beats, all work like magic with Claudio's original spiritual keyboard works.

On the flip side, Kay Suzuki pulled off another dubbed out psychedelic mix with "Astro Dub", just like the previous release, and the more dance-floor oriented classic deep House style of "Moon Mix" influenced by the likes of Larry Heard. The track features sequenced Mini-Moog bass line and call & response drum programming before blissful harmonies and melodies kick in.

Short Bio:
Critically acclaimed Jazz pianist, multi-instrumentalist & bandleader Claudio Passavanti aka. Sunlightsquare has been associated with Latin & Cuban music since his top selling vinyl releases such as "I Believe In Miracles"(2010), "Pastime Paradise"(2010) and "Heart's Desire"(2012) as well as producing the main title of the soundtrack on the feature film "Cuban Fury" (Studio-Canal/Film4) starring Nick Frost (2014). Claudio's talent also extends to house music production with the 2016 Osunlade's Yoruba Soul Records release "Celebration Of Oggun", as well as his remix work for Gilles Peterson's Brownwood Recordings.

In the final chapter of the 'Theory of Flo' story, we've enlisted the services of the mighty DJ Sotofett to remix the closing track 'For Mihaly', and what a job he's done! Dark, weird and percussive - just how we like it. We also include brand new versions featuring occasional live drummer, Laurie Pitt and a reprise with Poppy Ackroyd. CREDITS Remixed & reproduced by DJ SOTOFETT at WANIA#1. Guitar solo by JEKS. Synthesizers, Percussion & Programming by DJ SOTOFETT
Percussion & Violin by Laurie Pitt and Poppy Ackroyd

A leopard can't change his spots and Magnus International earned his spots in the sequence hue of Oslo's disco scene. 'Disco is the single thread that runs through all electronic dance music.' After an inconsistent hiatus from recording, the Norwegian DJ had donned the producer cap resolutely for his debut LP, Echo to Echo with us last year in 2016 , the an additional much loved album bonus 12. that all, aside his many other projects for us in the last years. now 2017, Magnus´ 'Synths' are on again , like a breath of fresh air and sunlight, these 4 tracks roll on to the world from oslo´s shores... and as his usually best Magnus is very strong on seamingly endless grooving chords and timing, sweet harmonycentric bliss and tight, on the point drum programming that comes with this 'pull factor' wich makes you want to play or listen out loud over and over again. There´s a Chmmr remix as well so things look really good here!

Jaxx Madicine is a jazz-funk inspired house'ish outfit from Milan consisting of Turbojazz (Local Talk, GAMM Records), Parker Madicine (Heist, Bastard Jazz Brooklyn, CT-HI Records) and the talented jazz keyboardist 'Veez_0'.

With an organic and melodic sound collage you can hear influences from classic 70's jazz-funk labels and artists like CTI, Mizell Brothers, Kudu and Bob James but also the current sounds of Kaidi Tatham, Byron The Aquarius and Harvey Sutherland.
On this their first EP you get three amazing tracks that all are made with a genuine love for analogue synthesizers, fender Rhodes, clavinets and some soulful MPC programming...

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.

It s time for Lewis Fautzi to introduce his first album on Pole Group, a collection of ten tracks of cosmic techno, carefully crafted making a soundtrack of the future, deep, intense and scientific.

Psycho path is the intro, made of granular textures, subtle drones and ambiences, stepping into Entering, pulsating sub bass, continuous sinoidal sequences, pads and tension.

Subconscious starts with the beat, opaque bass drum, micro hi hats, atmospheres and monotonous sequences at a low bpm rate while Diffracted speeds the tempo a bit with electric synths, flanges and twists creating an hypnotic number. Rentless pain follows, with resonant bleeps starring until assymetrical sequences appear and the synth lines evolve in a hi pass filter galore.

Seasick is humid and liquid, gummy sounds, clean drum programming, spaced out sounds and a lot of room. Then we come into Furrow, aimed to the intelligent dancefloors out there, synthetic bubbles, rolling sub woofer action , bleeps and noises. Cyclic Human reminds to the best scifi techno with bell like sequences, digital clicks, jazz harmonies and abstract progression.

Number nine is Optic Chiasm a direct number based on an obscure drum workout and filled with hi pitched relentless sequences, intelligently arranged to create a mental feeling as well as inducing to dance. Album closes with The Brain Revolution, like an evolution of Entering, beatless but still preserving the tension and the movement.

A coherent and complete collection of precise, surgical and futuristic music to be enjoyed as a whole adventure..

Third and final EP from Eros, and it's another mindblowing 4 tracker of lost classics from the raw, decadent and formative birth of club music re-programmed for modern floors

New one on A Colourful Storm from soon-to-be-known artist Tackle. Insane breaks and bass programming over humorous sample placement. But there's nothing funny about it's take-no-prisoners approach. One of the heaviest releases we've heard in a long time. Fans of A Colourful Storm will recognise Grondman from Moopie's mix on Dommune late last year. Vital Sales Points: - Fourth release on Australian label A Colourful Storm - First release since 'Benzedrine', which was number 20 of Resident Advisor's 2016 top tracks - Premiered on Dommune in Tokyo last October. - Richie Hawtin's favourite artist. (Probably).

Apollo proudly presents the debut from Haramia Tapes, a new mysterious side project from renowned Hungarian electronic music producer Laurine Frost.
More usually known for his refined techno sensibilities, Frost has packed 'Pfunk' with deftly programmed rhythmic structures and infused it with low slung bass and jazzy textures that make for a sumptuous, enveloping listening experience, ideal for fans of Nonkeen, Jazzanova or Leftfield.
'Pfunk' contains seven unique beat sessions - smooth funk, crossed with unique broken rhythms, live drums, bass and found sounds - shot through with cinematic melancholy.
From the elegiac piano of opener 'I Am You' to the twisted drunken breaks of 'Pfunk' to the cooled out percussion and spaced atmospheres of 'Hail', or the moody spy-movie atmospherics of Farewell Four - this is an album that traverses a variety of moods and textures, effortlessly fusing traditional instrumentation with modern electronics and a perfect addition to Apollo's beguiling canon of mellowed out grooves.

Echoe returns for its first outing of 2017 and fifth release since starting in earnest last year. ECHOE005 marks the first remix package in the label's discography, offering up four stellar remixes of Francesca Lombardo's "Remembrance" song. A clear stand-out in the label boss's inimitable repertoire, "Remembrance" has been given the rework treatment by house and techno stalwarts: Cassy, Laura Jones, Jade and La Fleur.

Cassy offers up the first remix, focussing her reinterpretation around an enormous and insistent bassline, murky and dense in equal measure, that rolls from start to finish. Undulating hats inject further energy, doubling in pace strategically whilst complimenting the 4/4 groove. Utilising the originals' emotional resonance, Cassy creates soft textures and refined arpeggiated patterns, adding a further dimension to the track's impassioned narrative.

Laura Jones's remix comes in the form of a low-slung, jazzy drum work-out, adorned with sub-heavy kicks and a snarling low-end that offers much of the track's sonic weight. Gentle bell-like keys float alongside modulated synth stabs that filter in and out of focus, whilst Jones's drum programming becomes progressively more and more frenetic.

Jade's reimagining sees a broken beat take the reigns, leaving space for soft percussive rhythms and an earth shaking low-end that pushes the song into ghetto house territory. Hi-hat pick-ups and jittery vocal cuts provide further momentum before the groove lands on sturdy 4/4 terrain. Jade's deftly arranged breakdowns, punctuated by panned drum fills and granular FX, adds welcome tension to the track, making a return to rolling drum-patterns and buzzing bass-sequences all the more rewarding as they come back in.

The final remix comes courtesy of La Fleur who delivers the most peak-time, club focussed material on the package. Staying true to the original's hook, La Fleur brings melody to the fore, whilst deploying snappy drums alongside chilling atmospherics and tech heavy stabs, set to keep dancers moving into early hours and beyond.

1983, in the history of synths, is a key year. During the January edition of NAMM (the most important music fair in the US), indeed, MIDI - the standard protocol for electronic instruments interaction - was introduced to the world. Until then, programming and making synths work together was something practiced by a restricted elite of 'wizards", explorers armed with cables and analog patches, who could create new sonic worlds - but totally temporary, not replicable. Real superheroes of sonic synthesis, scientists of filters who, nowadays, are highly considered by musicians all over the world, after decades of forced exile. In Italy, the seeds of this tradition were planted in RAI's Laboratory of Phonology (in Milan), in the middle of the 1950's; later, pioneers like Piero Umiliani, Federico Monti Arduini (aka Il Guardiano Del Faro), Marcello Giombini, Giampiero Boneschi and Fabio Borgazzi (Fabio Fabor) introduced electronic music in pop. Fabor (together with Antonio Arena) is the protagonist of 'Superman", an album of library music released by the World label (owned by Minstrel group) in 1984. Borgazzi, born in 1920, lived through the whole saga of Italian easy listening music (from big orchestras to the digital revolution), always keeping up with the latest styles and trends. So it's not a surprise, here, to see him using a LinnDrum and the first Japanes synths; and it's perfectly natural to find some electro-funk touches

In this space between chaos and conformity disorderly moments welcome new phases into existence, leading to the awakening of an elevated version of the self. Between highs and lows, Transitions of Life remain; the concept behind Synthek's first solo full length sound narrative on his Natch Records imprint. Unfolding across a vexing two-year transformation phase, Synthek's crossings along rough roads are the tribulations to reveal this intimate personal journey of reve- lation through emotional downshift, spiritual upheaval and cerebral quandary. In this dominion, Synthek shapes the eleven track escapade along a sophisticated array of synths and warm analog drums, while contrasting the build and decline of atmosphere through deep bass soundscapes.
Pivotal turning points execute the programming of the album's three part sound design; beginning from darkness and repression, evolving to a more colourful aerial majesty of lucid dream state, morphing into the developed nature of life lessons learned; Transitions of Life making its incarnation into the discovery of the self and re-entry into reality.

*Transitions of Life is a 2x12' release made available through Natch Elements, intro- spective extension to the Natch Records imprint. Visual embodiment of the project artfully presented with photographic time capsule by Salar Kheradpejouh of Berlin, Germany with graphic work curated by Jacopo Saveritano, co-founder of Natch Records.

Toby Tobias can be found in the shadows of South London. This is his first offering for the ESP Institute. On side A, 'Gravitator' evolves slowly over ten minutes from a somber intro of supernatural sighs, pulsing machine feedback and techno squelches into an ethereal landscape peppered with dissonant fragments of synth. With side B's 'Right Turn To Nowhere', Toby stretches out even further, flexing a tasteful programming of the 808 while taking the long road to a reverb-drenched crescendo of distortions and expansive string swells. After a prolific output of material for other quality labels around the world, Toby Tobias has undoubtedly re-focused his point-of-view upon his induction to the ESP Institute. These two songs will have you locking up your children at night.

Kool Keith, is an American rapper from The Bronx known for his surreal, abstract and often profane or incomprehensible lyrics. Kool Keith has recorded prolifically both as a solo artist and in group collaborations. After being part of the legendary hip hop formation Ultramagnetic MC's he debuted in 1996 as a profound solo artist. He is generally considered to be one of hip-hop's most eccentric and unusual personalities.

By the big audience Kool Keith is mostly known as the voice of the number Smack My Bitch Up' by the Prodigy, a fragment used without his consent.

Black Elvis/Lost in Space is the fourth studio album by mc Kool Keith, but recorded under the alias of Black Elvis. This is the first album performed under this alias.

Kool Keith uses very complex rhymes on various subject matters from Black Elvis' viewpoint on half of the album and on the other half elaborates on space travel and being lost in space. This is the first album for which Keith handled all of the production, although drum programming was done by Kutmasta Kurt and Marc Live.

Marc Antona has been always in the pursuit of new expressions within music as he has continually demonstrated with his work. Following the jazz-infused adventures of the Rattle Snaps EP, he finally returns to his own turf to lay down another crucial exploration of beat science. "Hanging Gardens" is a masterclass in immersive programming, fusing the natural feel of live drums with crisp electronic tones that hover in a spacious mix. It's the perfect angle at which to appreciate the subtlety of sound design that goes into every inch of Marc Antona's productions, teasing elements in and out of the mix so gracefully, it's hard to tell where the joints are. The haunting touches of chords and lingering pad are deployed with poise, the intricate percussion progressively rising and falling throughout to create a truly immersive sonic journey. Where the A side deals with angular rhythms and a shape-shifting atmosphere, "Unrestricted" takes the sound palette of organic and electronic elements and feeds them into a rolling, techno-minded focus. The tribal thrum of the beat fills out an 'in-the room-ambience' while the psychoactive synth flurries speak out the pulse of the machines. It's a combination that makes "Unrestricted" as intimate as it is exotic. In combining these disparate feelings within his tracks, Antona once again brings a human feel to the technology, pushing the music into exciting new realms in the process.

Label owner Kastil comes up with the fourth 12'' in the Stale series. After imaginative releases by Irazu, Deapmash together with a string of underground cassette releases it's finally time for the man in charge to step back up with a very versatile and well balanced outing called ''The Sadistic Abbess''. The opening effort on the A side ''YD33'' is a modular sounding Techno cut that comes through as a robust and assertive opening track, showcasing Kastil's expertise in creating hazardous ambiances and programming rough drum patterns. ''Sphere of Influence'' is an intergalactic offering that is hard to pin down. The craze of FX on this cut is wide and thorough leaving the listening in somewhat of a frenzy. The built is strong and the effort develops into a monstrous buldger that balances smartly between different sides of electronic music. ''Bastardos'' is an emotive piece of cinematic proportions that serves as the outro for the A side. Wonderfully orchestrated pads and gloomy vocals. ''Variable Penrose'' opens up the B side. This cut will ensure some peak time dancefloor action due to it's structured nature. Serbian producer ''Lag'' offers an energetic remix of another Kastil original named ''Gold Coal''. ST171 will be available through all specialized retailers early 2017.

future sessions is proud to bring you a release from the owner and operator

of finale sessions and one half member of the legendary balance recordings imprint with the legendary chez damier . so we will start you with the first track which is a remix of the classic track chez damier - never knew love with michael zuckers take on the track which gives it a real dancefloor driven sound with its funky guitar streams filled with filtered synth's and perfect drum programming and then we get to the second track 'wisdom and knowledge feat. maya angelou filled with her masterful poetry and michael zuckers pads and deeeeep bass and perfect drums gives it what it needs to flow streamingly then last but not least we have 'jacobs ladder' with is smooths pads and it's mesmorizing and hypnotic keys but the drums are the key to this track ..we want to thank you at future sessions for giving us the oppurtunity to do what we do and we thank you for the support.

This is the second 12" of a 2-part series of 12"s that will be released digitally as a full-length LP.
After a split single with Muslimgauze and a single of their own on Optimo Trax, we are delighted to present the first Optimo Trax album release by Italy's Underspreche. The album is split across two four- track EPs, released two weeks apart (and also as a complete digital album).
We try to avoid over-hyping our releases, but this one is really fully deserving of the hyperbole I am about to bestow on it. Underspreche first sent me some music a few years ago and seeing them grow and develop has been nothing short of astonishing. I think this is some of the most nuanced and advanced music that Optimo Trax has ever released. There are several dancefloor destroyers here but also music for more developed/leading-edge floors too, as well as some music simply designed to make one's mind melt.

It is very rare that I listen to 4/4 music at home, but this album has been a constant on my hi-fi since it was sent to me.
Super-advanced, organic sampling, inspired vocalisations, acute psychedelic modular sequences, forward- thinking drum programming, this is exactly what I hoped Optimo Trax would be about when I started the label.
From Underspreche's souls to yours.

This is the first 12' of a 2-part series of 12's that will be released digitally as a full-length LP.
After a split single with Muslimgauze and a single of their own on Optimo Trax, we are delighted to present the first Optimo Trax album release by Italy's Underspreche. The album is split across two four- track EPs, released two weeks apart (and also as a complete digital album).
We try to avoid over-hyping our releases, but this one is really fully deserving of the hyperbole I am about to bestow on it. Underspreche first sent me some music a few years ago and seeing them grow and develop has been nothing short of astonishing. I think this is some of the most nuanced and advanced music that Optimo Trax has ever released. There are several dancefloor destroyers here but also music for more developed/leading-edge floors too, as well as some music simply designed to make one's mind melt.

It is very rare that I listen to 4/4 music at home, but this album has been a constant on my hi-fi since it was sent to me.
Super-advanced, organic sampling, inspired vocalisations, acute psychedelic modular sequences, forward- thinking drum programming, this is exactly what I hoped Optimo Trax would be about when I started the label.
From Underspreche's souls to yours.

A Complex Web - The Story of THE SHINING PATH...began in 1982 when Peter Miller (aka Dr. William S Ray - vocals, tapes, guitar) met Andrew Millar (aka Maurice Spectograph the Nose-y Pieman - program execution) in Gold Coast, Australia. While sharing a similar taste in music, they decided to form a band, so DIVE POSITION was born. Equipped with a Korg synthesiser and Tascam 4-track recorder, they 'wanted to have the 'sound' of Kraftwerk, the groove of Can, and the 'menace' of Throbbing Gristle', ending up with 'a cross of Suicide and the Residents', as Peter recalls. In a local record shop they met Stig Andre Leonardson (aka Vincent Blackshadow), who joined the duo on percussion and drum machine programming. Their motto was 'Now is Then'. DIVE POSITION then became THE FATAL CHARM around 1984, and THE FATAL CHARM became THE SHINING PATH who eventually released their only album 'Basic Training Manual' in an edition of only 250 copies, most probably in 1986. The band then started to drift apart, and shortly after Andrew sadly passed away - this re-issue of 'Basic Training Manual' and the upcoming compilation 'Now is Then' comprised of previously unreleased DIVE POSITION and THE SHINING PATH material is dedicated to his memory.

The original Environments album was conceived and written back in 1993. It became one of the great lost albums by The Future Sound Of London before the guys took in back to the studio to complete and issue in 2008. Since then has come the success of further instalments and following additional studio work during a period of extreme creativity comes two further volumes. Released separately but simultaneously, Environment 6 and accompanying Environment 6.5, when combined, create a two CDs of 46 tracks. Sweeping between luscious dreamscapes to delicately melodically compositions to intensely highly programmed electronics sculptures Environment 6 and Environment 6.5 continue the journey towards the boundaries of the future of sound. Silent Around Them' exclusive to LP vinyl (no CD/digital)

Richy Ahmed launches his new imprint, Four Thirty Two, with a self-produced two-track single, 'Put Me In A Trance', featuring the vocal talents of Gloria Adereti and a collaboration with up and coming producer, Janson.
The new label is a back to basics, analogue vision, directed by Richy, which will include original material, unearthed and undiscovered artist appearances, and remixes from the Richy and Janson alias Love Hurtz, as well as featuring a variety of vocalists from surrounding circles. Each release will have a clear focus on the sound of vinyl and clean-cut imagery presented with each record.
Richy explains; "The first release is from myself, my good friend Janson and Gloria Adereti, all original and new material. I am super happy with the EP and both tracks are sounding really strong, so cant wait for you to hear it. Check the original artwork also done by Will Worrell and myself, each release will have unique and bespoke artwork that we've created and photographed in professional studios. I'm super proud to kick start the label with this release."
Since his debut EP 'The Drums' on Hot Creations in 2013, Richy has continued to pave the way for genre spanning and aspiring artists. Aside from his recording and production ventures, Richy has been at the forefront of UK house music and its surrounding avenues for some years, taking a lead role in programming DC10'S Paradise parties, and a variety of club projects. Richy has forthcoming remixes for the likes of FFRR and Snatch, and has recently had solo singles out on Strictly Rhythm and Rinse Records, as well as a prestigious remix for New Order.
As an extension to the label releases, Four Thirty Two will tour the UK as an operating label party brand, with early shows selling out in record time and forthcoming label nights around the UK and Europe scheduled, all side stepping Richy's usual realms of clubland for smaller and more intimate venues.
Vinyl release date 28th October

Opening cut 'Acido' setting the tone perfectly via murky broken rhythms and glitched out bass hits before the latter stages introduce a squelching 303 lead which tails out the rest of the record. 'Nylo' follows and draws on an earth shattering sub bass lead, sparse percussive shots and a subtly bubbling synth stabs.


Opening the flip is 'What' which takes a more robust approach rhythmically with a weighty kick drum, shuffling congas and choppy hats lying at the forefront while spiralling bass hits and vocal chops meander around them. Lastly the package is closed with 'Nasty', an intricately programmed energy fuelled workout featuring reversed bass swells, jazz tinged Rhodes melodies and crunchy distorted drums.

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

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

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

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

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

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

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

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

Poker Flat Recordings deliver another killer collaboration, this time between Berlin's youANDme and The Analog Roland Orchestra. The result is Reflection - an EP containing more than its fair share of pure dance-floor moments. The Analog Roland Orchestra is Michal Matlak, the Berliner whose intimate knowledge of dance music's most iconic machines has made him a much-in-demand producer and remixer. Teaming up with party starters youANDme as well as vocalist Black Soda, the title track of this release explores deep vibrations, merging 303 basslines, crisp 909 programming and a highly effective vocal. The Dub Tool reworks the vocals into a more spacey arrangement, adding atmosphere for DJs who like to keep their sets stripped back and trippy. The Hyenah remix flips the script and develops a deep afro-house inspired cut - the man from the Caymen Islands developing an irresistible groove stretched out over seven and a half minutes. The Acid mix gives an opportunity for the guys to get busy working the 303 to its full (un) natural potential, while the Morning Light mix locks into a cosmic vibe - shimmering synths over a smooth, rolling deep house vibe.

Debut album from Pacific NW rising star, named "Best Electronic Act" in 2015 by the Seattle Weekly. ** Past Press Coverage as included: A NPR Weekend Edition Feature, Spin, Stereogum, KEXP Live in studio performce, CMJ. ** Past performance highlights: Bonarroo Decibel Festical, Bumbershoot, Capitol Hill Block Party, Sasquatch Festival, What The Festival, & Bonnaroo, as well as national tours with acts like Emancipator, Blockhead, Blackbird Blackbird, Chad Valley, Yppah, ** First single from the album "What We've Got" feat. Flint Eastwood passed 500,000 Spotify plays and 135,000 Soundcloud plays in a month's time.

Amidst the lush environs of his northwest roots, Manatee Commune has fermented an organically molded electronic sound that has been teasing the synapses of audiophiles over the last few years. While not a stranger in the Pacific Northwest, Grant Eadie's tracks have grown tentacles that stretch deep into the dance floor, fueled by natural overtones that he extracts from field recordings. Following the head-turning EP 'Thistle' on Brooklyn-based label Bastard Jazz Recordings (Illa J, Lord Echo, & others) from earlier this year, he comes to the label armed with violin arrangements, nuanced programming and pressure-sensitive LED drum breaks peppering the audio-visual experience of his participatory live performances. His debut album Manatee Commune is set for a September 16th release on Bastard Jazz, and displays the elevated confidence and deft touch of a producer truly finding his footing. Already opening for Bonobo, and recently touring with Chad Valley and Blackbird Blackbird, Manatee Commune has been featured on NPR, Stereogum, and Spin, amongst other outlets.

Eadie describes the inspiration behind his approach: "Learning how to share my creative process with my friends completely revolutionized the last of year of music for me. Inviting those I trusted and loved into my studio to spend even just an hour talking or jamming opened fountains of inventive energy for me, especially from the ones who lacked any musical knowledge. I soon found myself incredibly inspired by the originality of even the smallest interactions with people, and so I pointed my field mic at anyone who had a story, a melody, or a stumbling beat they had been absentmindedly drumming, all in the hopes of capturing their individuality and framing it with my ever expanding insight into audio production."

Reimagining his musical approach by opening his studio and microphone to friends, collaborators and loved ones, Eadie was able to release fountains of inventive energy from these deeply personal interactions, inspired by anybody who had a story, a melody or a stumbling beat to share. Key elements are amplified that get Manatee Commune audiences bouncing, while cultivating his warm and textured production aesthetic to further complexity, layer by shimmering layer.

THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL's long career. The trio of dance oor-oriented records formed by 2012's The Inertials, 2014's Polyphonic Beings and now THE ASSISTENZ are sensual pleasures rst and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world's clubs has been put into the creation of sounds that interface with the nervous system and emotional re- sponses with extraordinary immediacy. But there's much more too: together with the more ab- stracted album Eselsbru¨cke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named - but also the nal piece in this bigger puzzle, which unlocks untold secrets from the previous three records.

There's a deeper history, of course. CRISTIAN's productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has in uenced too. In fact, as you listen to THE ASSISTENZ, you realise that there's no point making comparisons with other elec- tronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music - dub, electro, acid, funk - owing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but some- what skewed vision.

CRISTIAN's understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specif- ic frequencies that make up speci c sounds and produce speci c effects on the human mind and body. And as a result, his own sound synthesis - increasingly done via the Kyma programming platform - is more and more able to reach beyond the 'synthetic' and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ's ghostly centrepiece 'Barefoot Agnete', in the alien radio signals of 'The Merman's Dream' or even in the subliminal 'aaah's hiding in the background of the noisy 'Vessels', but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.

And it's not just the boundary between human and non-human, or that between acoustic and synthetic, that get blurred to the point of non-existence. CRISTAN's creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised criti- cal faculties and go with it. Sometimes that can take you to places where darkness and physical- ity close in on you as on 'Vessels' or 'Telemorphosis', or into haunted spaces on the edge of the void like those of 'Snowcrunch' and 'Barefoot Agnete', but even in those, there is euphoria. And in the voluptuousness of 'Hold' or the body-rocking funk of 'Cubic Haze', all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.

So many of the science ction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where ma- chines learn, where images can't be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN's experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn't just ex- periment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.

System boss Mike Gervais is back at it, and he's bringing a crew of talented conspirators to surround you on four sides with an original cut and three distinctly different interpretations.

Surrounded drops in with a thumping kick following a relentlessly rolling synth through taut drum programming, sizzling ride cymbals, and crisp claps to build tension on the dance floor.

Annie Hall takes the suspense of the original deep underground, for a subterranean journey through throbbing bass, corroded synths and filthy atmospherics, straight to the nucleus of the netherworld.

Jesse Jakob pumps up the kick for a jacking reinterpretation laden with warehouse synths and a barrage of claps for big rooms.

Project 313 slips into a shadowy maze of smoke and mirrors to bend their remix into a lithe and rubbery low­down groove, perfect for heating things up early or when it's time to stay long and get weird.

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

After making some massive claims regarding electronic music last year which caused a stir in the dance music community, Mat Zo had a lot to live up to with his long awaited second album "Self Assemble". What didn't help was the fact that his first album, "Damage Control" was critically acclaimed by many within dance music and is now considered a modern-day masterpiece with mesmerising tracks such as The Sky and the massive Easy with Porter Robinson.Blending genres and sounds in a way only Zo can achieve, this record flows incredibly well as the tracks move from one to the other almost telling a story of the different styles of electronic music. At times the album is reminiscent of Zo's incredible Essential Mix from back in 2013 in the way that it progresses and constantly surprises the listeners. A lot funkier than Damage Control, it's no less incredible.
Beginning with the beautifully atmospheric "Order out of Chaos" which starts with an absolute wall of sound that boggles the mind in how Zo even went about designing something so complex, this sets the tone for the rest of the record in a cracking way. The melody soon crescendos and we're introduced in to the meat of the album with "The Enemy". Bringing out all the good funky vibes on this track, again Zo exhibits his insane production talents which are a staple of the album. Featuring vocals from the wonderful Sinead Egan, this is a great uplifting tune that'll no doubt have you dancing in your chair or in the club.
'Sinful" acts to continue the funky good-time vibes and transports us to a cool summertime drive. It has us yearning for happier times and again the guest vocals from I SEE MONSTAS go a long way in getting across this happy vibe. Featuring an uplifting almost french house inspired bassline and squelch synths that wouldn't look out of place on a Daft Punk or Madeon record, this is another stunning track from the record. "Patterns Emerging" feels like a bridge into the next section of the album and is unfortunately short. The orchestral element really brings out the emotion on this track and we only wish it was longer. "Killing Time" has those classic chopped up vocals that Zo uses to great effect and some nicely programmed drums that could be a nod to the drum and bass he used to put out under MRSA.'Smacked up on Jack" features some cool middle eastern sounds and a wacky vocal sample that helps to progress the album and keep the listener interested, again though we feel like it's a bit too short and are left wanting more. The next tune "Ruffneck Bad Boy VIP" is an absolute mammoth and one of our favourites off the record. Opening with an immense rhodes melodic sequence and after some nice vocals, the track rips into the electro house and dubstep infused banger that it really is. Some dirty, dirty sound design and drum production will have the dance floors going wild and shows us again why Zo is so good, it's a far cry from the funkier elements of the earlier stuff on the album and shows how Zo can show off a range of electronic sounds. "Lights Out" is a straight up hard hitting electro banger with an infectious vocal sample that only needs to be heard to be understood. Not much more needs to be said about it! Coming into the last section of the record, "Soul Food" returns us to the groove with an astonishing house beat and bass line that have us questioning how Zo makes it so hard not to smile listening to this album."Stereo no Aware" starts sounding like it's taken straight from a space movie epic and soon transforms into a goose bump inducing melody with a driving growling bass line that bring back the epic dubstep we all used to love a couple of years ago. Skrillex eat your heart out. Finishing off this record on a more emotional note, "Too Late" starts off like a guitar ballad and then transforms into something totally different. Egan's melancholic vocals enhance this track to great effect and is all backed by Zo's lovely downbeat production until we're treated to a monster of a climax around half way through the track which will surely blow the cobwebs right off you. Zo says goodbye to us with the phenomenal "The Last Transmission" and what a way this is to close out an incredible sophmore album for the English producer. The melancholic piano chords are a subtle and pleasing way to close out this journey of a record. Mat Zo really has outdone himself here and we're really looking forward to hearing some of these bombs dropped live. Surely a contender for album of the year at such an early stage, yet again it's only the best delivered by Mat Zo.
Latest album, Damage Control was Grammy-nominated for Best Dance/Electronic Album last year