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After 2 long years, Michal Wolski is back with his second release for International Day Off. From what we can hear, we're definitely sure that at least half of this time he wasn't leaving his studio. The music just sounds big, 4 fat tracks, including remix from Gathaspar, is a heavy based techno stream, making every cardiovascular system pumping more blood. Thanks to the fact that Michal apart from production was responsible for mastering, we guarantee that this Ep will generate the appropriate sound pressure from every speaker so be careful with the volume knob!

Support: Âme, Aurora Halal, Carl Craig, Drumcell, Electric Indigo, Ilario Alicante, Richie Hawtin, Slam, Subjected...

We got to know Dan Only, an exciting emerging artist from the Toronto underground, when he collaborated with Jesse Futerman on our recent 'Deep Love 2017 compilation. His debut record, released on Adam Marshall's 'New Kanada' imprint, introduced his deep instinct for electronic music and unique, boundless approach to deep house. An avid collector of old school gear you can hear the analogue warmth throughout this intricately detailed yet heavy hitting four-tracker. 'It's Clear' opens. A solid House jam, its thumping drums and resonating melodies follow a steady bass groove ready to heat up the dance floor. 'Be Major...Believe' leads in more gently before warbling key lines and synth details layer over gritty percussion pushing the mood closer and closer to bursting. This one conjures images of summer nights and distant coast lines. On the B, simmering vocals and tropical rhythms dance amongst straight forward house energies on 'Don't You Understand". Rich with subtleties, it's somehow smooth while seriously impactful. Finally we have 'Truffles". A very modern twist on Disco vs House it's an original Italo infused gem with an edit feel, that maintains the vibe of an 80s era hedonistic night throughout. Perfect as a peak time mood elevator or blissful, hands-in-the-air closing record. We're convinced Dan Only's future is bright and are overwhelmed by the quality and musicality of this, his first solo EP on Dirt Crew Recordings.

"We Are What You Think We Are" is a 3 part compilation celebrating 10 releases from New York-based label and promoters Lost Soul Enterprises. The groupings of artists on each 12" represent slightly different sonic territory, from darkwave and synthpop, to acid and electro, to industrial techno, all of which together have come to define the identity of the label and the community surrounding its legendary parties.

A side comes with Euralma 95 debut release. From a few and simple seeds of synthesis grooves eventually gear up to higher levels and explore alternate terrains of house and disco from east to west.Track is lead by a confident but disobedient psychedelic synth solo. Harmonies answer in form of rich fm synthesis which eventually becomes the paradise lost.

TenGrams are brothers Alessandro and Davide, who collectively have a deep and long understanding of dance music. Davide is a co-founder of N.O.I.A, one of Italy's first electronic live acts to perform and record with drum machines and synthesizers as early as 1978. He was also behind seminal Italo outfit Klein + M.B.O and proto house hit 'Dirty Talk.' Since then they have released under an array of aliases, have clocked up numerous club hits and this new project brings them back to their electronic roots, with influences like sci-fi movies and old school electro and italo looming large.Devious' is a very breezy and energetic track with a rolling arpeggio and rich keyboards section over a simply but groovy Tr-808 pattern. Classical Italo Space Disco sound updated to nowadays. 'Translucent' sounds like a dreamy electro-ballad heavily influenced by Kraftwerk. 'Pop Song' keeps the same 80's electro vibes with simple, wistful melodies and a great funk bass line. 'Disco Dub' is a pretty damn cool early eighties electronica, with a great pumping 'robo-funk' Linndrum!

Strata-Gemma's eponymous debut album is set to provide a soundtrack to 2018.

The trio hail from Modena, the Northern Italian motor city. As with the Ferrari and Maserati cars that are designed and manufactured in Modena, Strata-Gemma produce a music of beautiful symmetry.

Strata-Gemma create jazz for the head, the heart and the body. Their sound is shaped by the ambient adventures Miles Davis and Ron Carter engaged in alongside the electronic pulse Mo' Wax and Ninja Tune carved out of clubland. Add to this a touch of Nino Rota's Fellini film scores, employ a pinch of Balkan and klezmer brass arrangements, and you have an instrumental trio who create music so fresh it stimulates the senses.

Strata-Gemma are a collaboration between Billy Bogus, Luca Cacciatore and Andrea Moretti. The trio first took shape as a club jam between DJs and musicians. Their ability to create atmospheric music, pulsing with rhythm but never solely reliant on beats, music that breaks free and explores sonic possibilities, quickly won notice and lead to the trio playing their freeform music in clubs, music venues and festivals across Italy.

Strata-Gemma consist of producer Niccolò Bruni (aka Billy Bogus), horns player Luca Cacciatore, double bassist Andrea Moretti. Bruni is a DJ, producer and founder of Pizzico Records. Over the past two decades he has striven to mix jazz, beats, soundtracks and funk. Coming together with Luca and Andrea allowed Bruni to explore a vision of post-club jazz that is as rich as Modena's food and as elegant as Modena's cars. Strata-Gemma create a sensual sonic storm, music to be savoured and explored, the opposite of much of today's fast-food music.

Lorenzo Bandiera, the London-based Italian founder of Fly By Night Music, heard a Strata-Gemma demo via friends and was immediately impressed. "I thought 'this is great!", he says. "Music as strong as this can't be ignored. I'm excited about releasing Strata-Gemma."

The second Modugroove installment from the 100Hz studio is a mixture of live improvised session recordings and arranged music taken also from live studio recordings. 2 tracks are collaboration projects with good friends of mine who happen to be great artists. We have 1 from Richard Rogers aka Black Booby and myself and 1 from Julian Giles and me aka Junction Chaos. This 4 track Ep spans several styles of music from deep Techno to graceful and emotive string dance. The focus of the EP and the label is the unusual, trying to not use usual drum patterns and 4 beat structures,

A rich and diverse palette of 7 tracks occupies the record, touching on italo disco, some sparks of bass driven synthwave and the late '80s house sound. 'RITMO!' is full of melodies, injecting beats and energy that create an addictive drive and momentum. The record is featuring an impressive list of artists as vocal collaboration as well, leading to an expressive journey that evolves throughout its infectious grooves and powerful 4/4s. It's the dynamic and propulsive power sparked by the 80s sounds that makes 'RITMO!' an album you would want in your collection, or on your decks while playing at the club

Yoruba Records is proud to welcome back Toto Chiavetta with our latest release, 'Nagnu Jubo' (Remixes). This follow up to the debut album, 'Impermanence', includes remixes by Osunlade as well as new and unreleased work from Toto himself. Kicking off proceedings is the Yoruba Soul Mix of 'Nagnu Jubo', a deep and smooth groove rich in personality. The warm chords reel you in as the underlying rhythm engages and inspires. The Yoruba Soul Dub retains the warmth of the original without the track's signature chant. This is followed by a new, previously unreleased, version of 'Minds'. Originally appearing on 'Impermanence', this version is decidedly more floor focused. A 303-style bassline keeps this moving right along as percussive elements add texture and drive to this forward thinking dance tune. Finally, closing out this release is 'Hunters', a track which showcases Toto's dark and techy side. This expressive tune is ripe with emotion and will have discerning listeners locked in introspection while their feet do work on the floors below them.

Females have never figured strongly in the ranks of blues and rock guitar players, but the woman featured on this LP can claim to be one of the formative influences on modern rock 'n' roll guitar. Sister Rosetta Tharpe is remarkable, not just because she was an acclaimed gospel singer from the late Thirties to her death in 1973, but because she was also one of the earliest exponents of the electric guitar. In fact she helped to invent the whole concept of rock lead guitar. Her guitar-playing, which featured a fingerpicking style unusual at the time, strongly influenced Elvis Presley, Johnny Cash, Jerry Lee Lewis, Etta James, Little Richard and Bonnie Raitt. Enjoy some of those moments on this collection selected from her prolific first recording decade.

Selection of obscure and underrated Country-Funk, Blue-Eyed-Soul, and other swinging Rhythm & Blues oddities from the Sixties and Seventies. The tunes on this album are as good as those by famous artists like Little Richard, Jerry Lee Lewis, Tom Jones, or Jack Hammer.

To celebrate the 10th anniversary of Dekmantel's goings on in the world of events, festivals, and great music, the team behind the label have been releasing a record a month featuring some of their favourite artists, as part of a ten-year anniversary series collection. Featuring acts close to the label's collective, debuts, and legacy talents the crew have always wanted to sign, the series has seen the likes of Gigi Masin, Call Super, Fatima Yamaha, and more. This penultimate EP, sees Dekmantel debut releases by Lena Willikens, Space Dimension Controller, and Dutch lo-fi star Betonkust and Palmbomen, in addition to a special cut by Bufiman.The EP kicks off with a new track by Salon Des Amateurs resident Bufiman — real name Jan Schulte — who also goes by Wolf Müller. 'Hymn to the Moonface' ensures that percussion comes first and foremost, in this upbeat, prog-breaks, jaunty, summer cut following up on his Dekmantel debut "Peace Moves". Dutch duo Betonkust and Palmbomen release their first track on Dekmantel with 'Onrust Bij Tihange' - an ode to the Tihange Nuclear Power Station in Belgium. Specialists in crafting lo-fi, nostalgic sounds, Betonkust and Palmbomen do what they do best, with a pulsing, analog, nostalgic electro track that sounds as if its been fed through a VHS player, a top of recording of Miami Vice. What happened at Tihange through is another question. Belfast-producer Space Dimension Controller, a.k.a. Jack Hamill adds some galactic, space-flare, mid-tempo, D-funk to the flip side. With a debut EP dropping on Dekmantel soon, SDC contributes one of his most beautiful compositions to date, highlighting his flair for melody, blending it astutely together with rich techno hat and snare combos. Concluding the record, is Dekmantel favourite, Lena Willikens. After so many appearances across so many of Dekmantel festivals, it's a pleasure to have the astute selector release a rare production on the label. Willikens' dark wavey cut is something one would expect to hear in one of her sets, sounding like a modern take of a long-forgotten, and unknown krautrock band.

Up next from the Rhythm Buro label is an EP from Cyspe, who might be better known as Robin Koek or for being one half of the almighty Dutch techno duo Artefakt. RB003 marks a special occasion for the label in releasing a full EP from a single artist. After This World seems to proceed forward fittingly on the same path once paved by Cyspe's debut record 'Amnesia', released on Koek's own label, Insula, in 2014.

From the label's inception, Koek has been a supporter and close friend of the Rhythm Buro team. Playing live at Rhythm Buro parties as Cyspe as well as live with Artefakt, the two have worked and partied close together. A release from Cyspe became a very welcome natural step for all.

A1 bursts open with 'Nexus,' a cerebral-atmospheric-blanket of a dance track, arguably the strongest offering on 'After This World'. Apparently, quite the story can be told in just seven and a half minutes for those attuned to listening. 'Mindscape' comes next, providing a notably nice ambient contrast to its dance floor-feeding predecessor. A2 maintains a similar vein and flavor of the sublime, if not a further development toward the heavenly and spiritual. The B-side proves to be a prime example of what 'deeper techno' is capable of: grooves that drive the dancer from this realm to the next. Both 'Earwitness' and the title track are sure to be rich vehicles for those sacred 'closed-eyes' moments on the dance floor.

Die zweite Runde von Remixen zu dem selbst betitelten Album von Urbs ist eine fesselnde Zusammenstellung von zeitlosen HipHop sowie Downtempo Nummern.

Marc Mac: Gibt es zu dieser Person etwa noch was zu sagen Als Teil des UK Duos 4Hero hat er Musikgeschichte geschrieben und sein Visioneers Projekt setzte neue Standards in Sachen organischem HipHop. Sein Remix zu - Get Wid It featuring Tyna aus Neuseeland, besitzt alles, was man sich von diesem Musikgenie erwartet. Ein souliges, harmonisches Meisterwerk, welches auch auf einem seiner legendären Visioneers Alben hätte veröffentlicht werden können.

Peter Kruder hat als Teil von Kruder & Dorfmeister sowie mit seinem Projekt Peace Orchestra Musikgeschichte geschrieben. Sein Remix zu - Happy Days feat. Bagi und Sarah Ann ist eine Reise zurück zu seinen musikalischen Wurzeln, welche ihn berühmt gemacht haben - eine relaxte Downtempo-Nummer. Der Remix weckt Erinnerungen an die Zeit, als seine Musik Millionen von Menschen berührte.

Patrick Pulsinger ist der dritte im Bunde aus der Riege der Helden der 90s. Gemeinsam mit Sam Irl, seinem derzeitigen Komplizen, zeigen die beiden was herauskommen kann, wenn ein Studio-Zauberer mit Techno Wurzeln auf ein Musikgenie mit HipHop Wurzeln trifft. Ihr Remix zu - Code Of The Snake feat. Blabbwona ist eine trippige HipHop-Tech-Dub Nummer mit viel Bass und als solches absolut einzigartig.

Jstar aus London hat sich bereits einen Namen gemacht als Produzent von unzähligen Remixen und Edits auf seinem eigenem Label Jstar. Seine Spezialität sind Dub und Reggae Remixe von HipHop Classics. Er ist ein Großmeister des Digital Dancehall und transformierte den Golden Era Sound von - Why We feat Ward 21 (aus Kingston Jamaica) in etwas absolut Futuristisches.

Flip: Rapveteran von Texta aus Linz, der zuletzt durch sein Soloalbum auf dem New Yorker Raplabel Ill Adrenaline Records aufgefallen ist, bringt einen Remix zu - Holdin' Back feat Wordsworth. Mit einem genialem Chuck D Sample und einem funky Beat setzt dieser Remix Tanzflächen von Alaska bis Auckland in brannt.

Trishes: Last but not least: Moderator der legendären HipHop Radioshow Tribe Vibes auf FM4 und integraler Bestandteil der Wiener HipHop Szene. Für seinen Remix zu - Concussion feat BluRum13 von Oneself, setzte er auf einen heftigen Groove mit lauten Becken um einen Underwater-Funk-Beat zu kreieren und somit einen neuen Hintergrund für diese echt verrückte Geschichte zu gestalten.

Über das Album 'Urbs':
Ganze elf Jahre sind seit - Toujours Le Meme Film', dem letzten Album von Urbs vergangen. Auf Kruder & Dorfmeisters G-Stone Label lieferte der Wiener Musiker, DJ und Producer damals den Soundtrack zu einem fiktiven Film Noir, zog sich aber nach einer Europa-Tournee fast gänzlich aus der Öffentlichkeit zurück. Er sieht sein Schaffen nicht als Karriere, sondern als Teil seines Lebens, welches in den seltensten Fällen einer konkreten Planung unterliegt, und deshalb hat Urbs sich auch bewusst viel Zeit gelassen für sein aktuelles -unbetiteltes - Album.

Urbs: - Der Vorgänger "Toujours Le Meme Film" kam bei sehr vielen Leuten extrem gut an, und über die Jahre habe ich mitbekommen, daß es manchen Leuten richtig viel bedeutet. Das war eine gewisse Belastung, weil man diese Leute natürlich nicht enttäuschen will. Mittlerweile denke ich, daß genug Wasser die Donau runtergeflossen ist, um vielleicht den einen oder anderen mit etwas ganz Neuem zu überraschen. Die Leute, die mich kennen, wissen ja, daß ich im Grunde immer dopen HipHop produziert habe.'

Konsequenterweise handelt es sich diesmal nicht um ein Instrumental-Album sondern um eine Sammlung von 12 souligen HipHop Nummern, die mit handverlesenen Vokalisten der internationalen Rap-, Dancehall- und Soul-Szene aufwarten. Neben den New Yorkern Wordsworth von EMC sowie R.A. The Rugged Man, finden sich unter anderem Ward 21 aus Kingston, Jamaica, Voice Monet aus New Orleans, Blu Rum 13 von One Self aus Washington DC, als auch alte Weggefährten wie dem Wiener Skero oder dem Wahl-Münchner Blabbwona von Abstract Art auf dem Album.
Auf die Frage, wie es sich anfühlt, nach mehreren Instrumental-LPs erstmals ein Album mit Vokalisten aufzunehmen, erwidert Urbs mit einem Augenzwingern: - Generell war es für mich schwierig die Songs loszulassen und mich den MCs auszuliefern. Man verbringt viel Zeit mit einem Stück und baut eine gewisse Beziehung auf. Die Musik erzeugt Bilder im Kopf und hat oft eine schwer fassbare Bedeutung für den Producer. Dann geht ein MC drüber und es ist ein bisschen als würden die brutalen Freunde deines älteren Bruders dein Kinderzimmer verwüsten- in deiner Anwesenheit.'

Wieso das Album keinen Titel trägt, ist auch schnell beantwortet: - Dieses Album ist nun sozusagen meine Leistungsschau auf diesem Gebiet und durch den unendlich langen Reifeprozess, ist es auch schön intensiv eingekocht und auf dem Punkt. Deshalb auch keine Intros, keine Interludes, kein Titel, no Gimmicks, einfach 12 gute Songs - Punkt.'

Neben dem Album werden auch zwei EPs mit Remixes von Retrogott, Brenk Sinatra, Visoneers (Marc Mac von 4 Hero), Peter Kruder, Cookin' Soul, J*Star, Flip (Texta) und anderen veröffentlicht. Für das Artwork zeichnet DJ DSL verantwortlich.

Turbolenz is a new label from Offenbach run by Philipp Lenz aka Delenz. The first label's release comes from Shayde, the brain child of Delenz and his partner Richard Hötter. Titled - Ama il buco' (Italian natives get the joke here), it features a very diverse spectrum of sounds and moods.

- Ama il buco' a slow grower and steady groover that will get many bodies moving and is some ready-to-get-naked material for sure.
- Kühlschrank in F-Moll' is a rather dreamy, yet positive and escapistic affair. Insert your favourite sunrise after a long night out here.

The flip side starts with a remix by none other than Swayzak, the mighty tech house duo from London. Their take on - Ama il buco' is a crisp and cool peak time affair for a moment of contemplation - if that makes sense. The last track - Ofwebach' is obviously an homage to Delenz' home town Offenbach. Apparently a more uptempo and experimental terrain, - Ofwebach' is something else.

All in all, the result is a rock-solid 4-track debut release on Turbolenz or as they say in Offenbach and Frankfurt: Megastabiles Ding.

Taciturn Manner is Reggy van Oers's first full length on his own Telemorph imprint.

Pertained in a period of strained self reflection, several field recordings have become the core upon which the album has been created. A persistant continuous movement throughout the elements of the tracks causes a certain constrasting tension and gradually transforms into lush cinematic textures.

An intricate and mesmerizing journey, full of rich and surprising details, resulting in a rather emotional expression of his constraint style and coherent distinct sound.

With its seventh release, NEW YORK TRAX welcomes the revival of John Selway's 'Semblance Factor' alias. Selway became an indispensable element of the history of the New York sound by virtue of building an extensive catalog of high quality releases spanning almost three decades and multiple genres of electronic music. From his first electronic band Chaotic Sound Matrix, to his major contributions to the early productions of Deep Dish; from his first success in the techno world as part of the seminal New York duo Disintegrator to the most successful of his collaborations, Smith & Selway, and his deep and minimal techno label CSM; from the intelligent electro-funk of Synapse and Serotonin Records, the electro and synth-pop of Memory Boy to the wild improvisational eclecticism of the Rancho Relaxo Allstars, Selway has created one of the richest bodies of work in the world of electronic music.

'Defiance EP' is a venture into hard-hitting electro, acid, and raw industrial-leaning and experimental sound. Below the intense threshold of sound, there is a message for today's complacent society...

Phantasm is a new vinyl label and collaboration between Amsterdam's Sinchi Collective and the much-admired Night Noise outlet, based in Geneva. It kicks off with a strong EP from The Soviet Union aka Richard Baldwin, including classy remixes from Sinchi themselves and In Flagranti.Baldwin has a signature style that is cinematic and synth heavy and has been formed over the last decade plus. A fine DJ, experienced promoter and self-confessed addict of vintage analogue synthesizers and drum machines, Richard pulls his influences from early electronica, 80s film-scores, and shades of techno right up to the present day. This track was first written on a cold evening in December 2010 using a Roland TR707 and JX8P Synth. After collaborating with his songwriting partner the track was given a haunting vocal and released as 'The Disappearance of Becky Sharp', while the original remained on Baldwin's Soundcloud and got ID requests from all over the world. 7 years later it comes back to life in the form of its original instrumental, with a 2017 rework, plus remixes by Sinchi and In Flagranti.The superb original is a perfectly spaced out and a retro-future bit of synth heavy electronic music. Arpeggiated bass props up rueful chords and icy percussion brings that essential cosmic vibe. It's a timeless track that overflows with emotions and is sure to really make a mark in any DJ set thanks to its rich musicality. The 2017 Rebuild is even more lush and zoned out with sombre chords forcing you to reflect on the deeper meanings of life. In Flagranti—the Codek Records duo based in Switzerland—then lace in some hip swinging claps and make this one a deep disco track that is riddled with little synths, chords and melodies that exude warmth and sci-fi soul. Last of all, Amsterdam's Sinchi cook up a storm with corrugated basslines, long tailed pads and turbulent solar winds that make it that bit darker and moodier. This is a brilliant package of emotive music that is a real statement of intent.

Picture disc LP housed in gatefold sleeve. Includes CD with bonus track.
With his second release for the Swiss-based Hallow Ground imprint after 2016's Soisong reissue, Ivan Pavlov pays tribute to the late Sentrax founder and prolific musician John Everall, who passed away in September 2014. Sourced from analogue material provided by the artist widely known for his output under the Tactile moniker for a collaboration that never came to fruition, the six tracks are an exercise in minimalism and subtlety singular even in Pavlov's impressive back catalogue. On COH plays EVERALL, Pavlov focuses on swirling arpeggios whose colourfulness is mirrored in the Ruth Stofer's artwork for the limited picture disk release. From the joyful, handclap-driven »2016« to the hectic gabber derivate »OVERBEAT«, the Russian producer explores a minimalistic yet organic palette of synthesizer sounds that stylistically reach from the hymnic poise of »WAVETRAP« to the playful and warm vibes of »ALONE (MINIMAL SELFIE)«. While it might sound almost pointillistic on first listen, COH plays EVERALL unfolds its multitude of layers slowly over time. With a feature of Coil's Jhonn Balance on the CD-only bonus track »Hunger Remix«, Pavlov adds yet another facet
to this evocative marriage of sonic purity and emotional rawness. Over a throbbing rhythm, the late poet's dry intonation serves as an eerie coda to this tender tribute to lost friends. As a dialogue between this world and the other, CoH's digital manipulation and Everall's analogue source material as well as stark minimalism and tonal richness, COH plays EVERALL captures two kindred spirits bidding each other farewell.

Hackney Vandal Patrol is a brand new project from long time friends and neighbours Scott Fraser & Richard Sen. Focusing on their joint love of that deep Miami/ New York house sound, Vol I is the first edition in a series of LTD 12s. Heading back to Richard's heritage of being a highly respected graffiti artist, each one is hand tagged by Richard in his own unique style and numbered with an insert by Scott. The first release, ""Bound By Faith"" is a straight up and direct for the dance floor Miami style deep house cut, complete with Reverend Jesse Jackson speech on the vocal version. For the DJ crews there is a deeper ""Redemption Dub"" stripped back ""Bass Hit"" with added percussion and a re-programmed instrumental of the original....The Hackney Vandal Patrol were once despatched to patrol the streets around the mighty London Borough of Hackney.
Each 12"" is individual and collectable... strictly limited!

Ilija Rudman presents Andre Espeut 'Tears To Sound'
featuring Ron Trent Mix
Over the last decade and a half, Ilija Rudman has been responsible for many high quality releases, delivering distinctly warm, sun-kissed, analogue-rich material on labels including Bearfunk, Instruments Of Rapture, Compost , 20/20 Vision, Electric Minds, Is It Balearic Recordings, Rong Music , Classic Music Company and of course, his own Red Music imprint.
Even so, the Croatian has rarely made anything quite as deep and sensual as the material showcased on this first full EP for NuNorthern Soul. Top billing must go to the "Aquapella" version of "Tears To Sound", a spellbinding acapella cut that puts the enchanting vocals of storied soul man Andre Espeut front and centre.When Rudman sent the track to old friend Phil Cooper, the NuNorthern Soul boss thought it sounded like something he'd hear from US deep house legend Ron Trent. So, he approached the Prescription co-founder to see if he fancied remixing it. As you might expect, the results are astonishingly good.
Rich in rising and falling new age melodies, darting synthesizer motifs, languid piano flourishes and heavy analogue bass, Trent's wonderfully ultra-deep interpretation naturally gives pride of place to Espeut's seductive vocal. Even by the Chicagoan's infamously high standards, his epic Vocal Mix is incredibly special.
All versions of the single also feature two other original Rudman productions, both of which are wonderfully deep and dreamy. "Distant Feelings" is fluid, deep and yearning, with twinkling electric piano motifs and dreamy chords reclining over sizzling drum machine cymbals, no-nonsense beats and a gently pulsing analogue bassline. Those who enjoy the Balearic side of Rudman's work should also check out "Deep Sensation", a jazzy and breezy fusion of tumbling, vibraphone style melodies, rolling electric piano riffs and rubbery boogie bass. Both tracks are every bit as magical in their own way as the producer's thrilling Andre Espeut collaboration.

Belgian musician Dijf Sanders pens and produces soundtracks for distant, far-flung places that brood with exotica, psychedelia, jazz and electronica. His new album 'JAVA', is a psychedelic and modern search for the sounds of the homonymous Indonesian island. Armed with a set of field recorders, Dijf traveled to every urban and rural corner of Indonesia in the spring of this year. As a contemporary incarnation of ethnomusicologist Alan Lomax, he collected an impressive repertory of recordings, commissioned by the Europalia Arts Festival and KAAP Creative Compass. 'Kacapi', 'Kendang', 'Angklung', 'Calung' or 'Gamelan' are not the names of indigenous tropical diseases by the way, but those of local instruments that Dijf encountered on his adventurous musical quest. For two weeks the American expert ethnographer Palmer Keen stood by Dijf through his total immersion into the island's colourful culture and rich, ceremonial traditions. On his return to Belgium, Dijf headed straight back into the studio with the gathered material and invited some of his musical soulmates to put the icing on the cake. It is no coincidence that the three guests - Nathan Daems, Filip Vandebril and Simon Segers - are all part of Black Flower, a band that famously flirts with Oriental sounds. From hours and hours of field recordings, Dijf distilled ten psychedelic pieces which ride on waves of ecstasy and trance, and bridge the gap between two worlds. Tribal rhythms and warm melodies are fused to a seamless and beautiful musical work in utopia. The Brugge-born, Gentbrugge-based musician is one of those great Flemish talents. In the past, he earned his stripes with Teddiedrum and The Violent Husbands and has produced bands like Kenji Minogue and Blackie & The Oohoos. He has also released music under his own name including the critically acclaimed album 'Moonlit Planetarium'. Welcome to Dijf Sanders' wonderful journey into future exotica.

Forceful grooves and trippy soundscapes here business as usual for Junes, whose latest EP adds to a string of releases getting bagged by those looking to work the floor with tight and atmospheric rhythms. The Galdoors man's flair for unexpected combos is on parade in Circuit Rift, where a UK-style low end is flung into the mix with rough drums and 4am melodics. There's a funkier bassline and rolling groove at work in Awake, this time with rich layers of pads and blips. Brass Hand uses a different palette a sparkling, loopy riff and crisp drums though it's still signature Junes.

It was 1970 when Curtis Mayfield left R&B group The Impressions, to set off on his own solo path. What followed was a rich and highly celebrated career, during which Mayfield produced some of the most influential R&B, soul, funk, and gospel recordings of all time. Along with Marvin Gaye and Stevie Wonder, Mayfield is credited with helping to ring in a new era of socially-aware funk and soul music, all while raking in numerous Billboard-charting hits both as a performer and a songwriter. Though he died in 1999, he left behind a vast legacy of innovation and long-lasting music, and has been ranked by Rolling Stone magazine as one of the 100 Greatest Artists of all-time. Coming hot on the heels of his powerhouse hit soundtrack for the film Superfly was 1973's Back To The World. Mayfield's music always had a socially-conscious and political bent to it, but the tracks on Back To The World cranked this conceit up to an even higher degree, largely inspired the increasingly industrial world around him, and the social and environmental concerns that followed it. (The album's lead single "Future Shock" was named for an Alvin Toffler book on the subject.) Though not the smash commercial success of his previous efforts, Back To The World still landed in the Billboard Top 20, and is considered an underrated, and overlooked entry in the soul innovator's catalog.

The second album by Istanbul's clarinet virtuoso Cüneyt Sepetçi is an intense trip into modern Turkish wedding and party music. The foundations go deep into Turkey and the surrounding regions' history, which each generation innovates and develops. These days, no wedding or circumcision party is complete without the sound of the micro-tonal keyboard. A new addition, these Turkish keyboardists can play between notes, and supply banging club rhythms in wide variety of time signatures.Sepetçi uses the bedrock of Volkan Sever's synth insanity as a jumping off point for some truly crazy solos. His fluttering sheets of notes tie knots around the pulsating, fried synthesizer. For this recording session, Sepetçi brought in two drummers, Fatih Özden (tapan) and Samet Sertol (darabouka), to play along with the Turkish drum machine. A dense nest of rhythmic complexity is the result. And to further connect to this music's rich past, the ancient double reed zurna of Ahmet Özden and Yasar Uçar's European violin weave ancient melodies and incredible solos throughout.
These musicians are some of the best in Istanbul, and all of these songs are first takes, recorded live with very little planning. Sepetçi essentially leads the band through these complex arrangements as they play them.In Istanbul, one may see Sepetçi playing for change on Istiklal Caddesi, the famous Turkish walking street at the center of the city. Or one may see him on one of the TV stations, playing Anatolian songs in his inimitable style. He's even begun touring outside of Turkey—at Denmark's Roskilde Festival, and at concerts in Italy, Beirut, and Israel. I want to go to America. He says. Do they have mosques there

Calendar Crowd was the duo of Alan Heaton and Terence tiernan who met in their hometown of Widnes, Cheshire as schoolboys and played together in various bands in the '70s. In the '80s they formed a 6-piece band called Room For Humans 0and recorded one single'Telephone Telephone / Girlfriend'. When the band split and Alan and Terence continued as Calendar Crowd in a more experimental direction. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division.In 1982 they released their debut single 'Perfect Hideaway/Perfect Hideaway Dub' on 7'. Guitarist David Knowles joined them as they toured the UK and recorded and released their follow up EP 'Listen in to the Heart' in 1985. A reviewer at the time called Calendar Crowd 'A Moody Merseyside trio with strong atmospheric tunes and haunting lyrics.' For this reissue we've compiled both singles on one EP featuring all four songs. Perfect Hideway is a evocative and dreamy, the music escorts you on a tour of icy landscapes, with Terrance's deep, rich vocals guiding the way accented by bright brass stabs. Meanwhile the Dub has stripped back the vocals, added delayed samples and heavy pounding drums. On the B-side 'Listen in to the Heart' and 'Questions Answers' are darker electronic rhythm tracks with layers of ethereal keyboards and guitar melodies. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original Perfect Hideaway jacket featuring black and white October 1982 calendar with the tile hand written in red pen. Each copy includes a double-sided 8x11' insert with lyrics, notes and photos.

Temperatures are dropping and we're all feeling the effects. Bordello A Parigi is letting the cold winds of the north swirl inside its doors with Russia's Volta Cab bringing a fresh 2LP to the table. A spread of influences come together for the eleven tracks of Rise Again. Take 'Emerald's Phantasy', a piece built on layers of percussion that blends elements of disco with notes of techno. 'Dark Room' is a different affair. Arctic chords are cut with electro and distant vocals for an unsettling treat. 'Kruger' stomps to a terse beat before lush pads bloom in a work that builds to dizzying peaks. Warm blasts balance these colder moments, the rich grooves of 'Savage Fury', the floor filling funk of 'Board Scandinavia' and the removed romance of 'Sweet Exorcist' all show another shade to the Volta Cab sound and of course there's more. Rise Again is an audio collection of vibrant colours and hues, tracks pitch from icy blues to autumnal ambers and fiery reds; a musical kaleidoscope that stretches across a spectrum of styles.

British producer Portrait (AKA South London Ordnance) & Somne collaborate on new imprint - Aura Dinamica. The inaugural release arrives courtesy of the duo themselves with Speed, Noise, Machinery & The City. Born out of a series of particularly productive, fast-paced collaborative sessions in Berlin, the three track EP draws on the spirit of classic Plastikman & Basic Channel, eschewing greyscale linearity in favour of high-energy emotive leads, rich texture & groove -with moments of heads-down introspection enjoying as much space as outright dance floor fervour.

Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself his first syths and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released Green Ray in 1976. It is a work made with minimal equipment if compared to other French sythetists, not to mention their German peers, he worked on the EMS VCS3 synth and used a 4-track Teac and a Revox A77 Mk IV reel to reel tape recorders obtaining huge sound results. You can appreciate an influence from the Berlin school, Green Ray walks the same path of what artists like Tangerine Dream and the likes were producing at the time, Zanov had felt under the spell of Ricochet, but his head was boiling with ideas which gave the recordings a very personal, unique touch.

Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself an EMS VCS3 and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. By the time of his second LP, Moebius 256 301, issued also on Polydor in 1977, Zanov had already gathered a small collection of gear, including an ARP 2600 and an ARP sequencer, his old VCS3, an RMI Harmonic and a PS 3300. Again under the influence of both first and second generation of Berlin school musicians the LP will appeal to fans of Klaus Schulze or Tangerine Dream, but they will also find a big deal of Zanov's own personal sound on it, since as the musician himself reckons he had little contact with other peers of his generation, so besides a general love for the electronic gear used and the sounds you could make out of them the creative ideas behind his works were all his own. On his second album a richer sound is found, not only due to the use of the new gear, since some of its tracks where recorded using only his old EMS, but also due to his won experience after having taken his works to the life stages in the Golf Drouot boite, the Lase Olympia venue (on the basement of the famous Olympia), the Paris Planetarium or those for planned one month tour (of which in the end only four dates were accomplished).

Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

Initial Programs is a new project by respected ambient producer Mick Chillage. It is also Mick's first ever vinyl release and sees the Irish artist focus on deep, acid-tinged techno and melodic electro. The background to the release is a simple one; First Cut boss Richard Be was a long admirer of Mick's music and discovered an electro project he did as The Shape. Over the course of emails, pints and coffees, the music for Initial Programs' first record came together. The resulting three tracks are melancholic, late night jams, the soundtrack to high speed cruises on the streets of south Dublin.

Fernando Pulichino is no stranger to Leng Records. The bass guitar-wielding Argentine made his first appearance on the label five years ago via the cosmic disco/psychedelic rock fusion of Blue Impala, returning two years later with the similarly inclined brilliance of Giant Desert. Pulichino then resurfaced on Leng late last year with a superb, digital-only three-tracker called Natural 77.

Now he's back on wax, buoyed by the success of the acclaimed Shining EP on Is It Balearic
Recordings. This time round he's in Search of Indigo, shaping hazy, sun-baked soundscapes around his distinctive basslines, echo-laden synthesizers, meandering Fender Rhodes solos,
gentle dub vibrations and glistening, early morning jazz guitars. This is music for the heads, hips and feet, soaked in Fernet and left in the afternoon sun to slowly ripen.

Arguably the most arresting of the four cuts is the title track, a head-in-the-clouds vocal number rich in bubbly electronic riffs, laidback electro beats, ricocheting percussion hits, swirling wind
effects and rubbery funk-rock bass.

Pulichino's penchant for intergalactic disco shufflers once again comes to the fore on killer Sundown Visions', a saucer-eyed chugger that simultaneously throbs, pulses and sparkles
thanks to sparring synthesizer motifs and eyes-closed space rock guitars. We suspect Daniele Baldelli and Andrew Weatherall would approve.

Elsewhere, Pulichino indulges his passion for sofa-surfing jazz-funk on solo-laden EP closer Frontera', a relaxed and undulating jam rich in cascading electric guitars, fluid electric piano, delay-laden flourishes and deep space synthesizers. You won't know whether to lie down, dance enthusiastically or wearily shuffle, either way, play at sunrise or sundown for maximum
enjoyment.

The EP also boasts a first vinyl outing for the title track of last year's digital-only EP, Natural '77'. Seemingly partly inspired by legendary West Coast funkateers Steely Dan, it's a lazy, low-
slung affair full of languid guitar solos, freestyle vocal improvisations, bongo-laden drums and one of his most inspired and elastic basslines to date.

(Disclaimer: release notes refer to the combined CD double-album release "Hot Flash: Best of The Voltags" on which all tracks appear together. "Electric Nightmare" and "Danger High Voltag" are released separately on vinyl format)

It does not happen that often any more that unreleased music from 40 years ago surfaces. Even more unlikely it is that the songs put on tape are such treasures. The Voltags were right at the forefront of the local Washington DC New Wave/Punk scene of the late 1970s. Influenced by Kraftwerk, Gary Numan, The Clash, and The B-52's, they have released only one 45rpm single during their existence. But during the time span of not even 18 months, they had recorded enough material for an entire album - but the songs remained in the can.

This is the story of The Voltags, a short-lived band which could have become famous and mentioned in the same breath as the aforementioned music legends of that era - if their songs had been released back in the day. Dive in and enjoy the sound of The Voltags, it is truly special. We here at Perfect Toy are thrilled to be label to finally release their work and we sincerely hope that they are finally getting the appreciation they so richly deserve.

Detailed information:
Dave Bennett and Hangnail Phillips grew up in Brookside Park, Newark, Delaware, USA, a small suburban college town nestled midway between Philadelphia and Baltimore. Their first band project evolved into Pump Productions (Pump) under which they released their only 45rpm single in 1970 (one of the two songs, "Pappy's Rug", can be heard on "Down & Wired 3", Perfect Toy Rec.). Soon after the recording of the single the two graduated from High School and disbanded Pump. Both moved on to form two new Newark bands. Dave was a founding member of "Snake Grinder & The Shredded Fieldmice" and Hangnail co-founded "Rudy Baker & The Vegetables".

In early 1979, two friends of Dave's, Nick Norris and Mike Fisher, became partners in a music production company, White Clay Productions. One of White Clay's first artists was Dave Bennett who had just written two excellent songs: "Electric Jungle" and "Son Of Sam". White Clay set up a recording session and Dave assembled a group of friends to record the songs. Before the recordings were even mixed, Dave asked Hangnail if he would join in a band to support the single and other songs he had written. When James Keesey (drums) and Rick Reid (bass) were added the line-up was complete. For a while they didn't have a name and then one day Nick Norris was looking at a photo of Dave standing next to a "Danger High Voltage" sign. Dave's head was in front of the E in Voltage and Nick laughed "Danger High Voltag" and so it was soon suggested that the band should be called "The Voltags" (pronounced Vol'-togs). After months of preparing a repertoire they were ready to play out. Their first gig was (October 20, 1979) at a gay disco in nearby Wilmington called The Backstage. On December 30, 1979, White Clay decided to put on a big show at the State Theater to celebrate the end of the Seventies ("The End Of The Decade Bash").

For the next year, with the help of White Clay, they recorded 19 songs, both studio and live recordings with White Clay's mobile unit. If not for these "off the board" recordings, many of their songs would have never been recorded. There was always talk of a second Voltags single but the strains of working so closely together were taking their toll on them and Dave decided to leave the group in December of 1980. The Voltags couldn't be The Voltags without Dave, and by the end of 1981, Hangnail, James and Rick, too, were ready to disband.


- all songs previously unreleased
- mastered from the original reel-to-reel tapes
- limited vinyl release

Soul Has No Tempo are proud to present 'The Self' - the new album from London-based drummer/producer Richard Spaven.

Richard Spaven is one of the most sought-after drummers in progressive and contemporary music. Drumming for the likes of José James, Gregory Porter, Guru's Jazzmatazz, Flying Lotus, The Cinematic Orchestra, TY and more, he has gained international recognition, both on stage and in the studio. Richard is an influential, genre-defying musician - the result of working closely with a diverse range of artists, combined with his own rich musical taste. Gilles Peterson said it best - "there's much more than just rhythm with this man".

His debut album 'Whole Other*' (2014) touched on many musical palettes and bridged the gap between jazz and electronica. With 'The Self', Richard introduces us to his personal journey. The moment in time where a jazz drummer affirms his love for club culture, delivering an album that travels from drum & bass to broken beat, dubstep and more, all seen through the lens of a drummer. The club culture influence is apparent in the way Richard wrote and produced this album - sampling his own drums on the Photek cover 'Hidden Camera' and collaborating with Metalheadz MC, Cleveland Watkiss to recreate the London sound system vibe so integral to his background.

Featuring guest artists from diverse backgrounds - Jordan Rakei, Jameszoo, Kris Bowers, MC Cleveland Watkiss and Richard's established partner in crime, guitarist and composer Stuart McCallum, 'The Self' is masterfully combined with Richard's unique production and showcases his trademark drumming style of precision, creativity and finesse.

Matthias Mayer: Superschön!
Tensnake: great atmosphere on the album
Lehar: I really like it very nice work !!
Andre Lodemann: das album gefällt mir sehr gut
Andre Hommen: Finde das Album ziemlich bemerkenswert!
&me: great one
Alex Niggemann: Great piece of work!
Vince Watson: Sound lush!
Luca Bacchetti: Deepness!! Excellent work from Patrick!
Philip Sherburne: Sounds nice and moody.
The Drifter: Congrats on the album Patrick! Thx for this
Matthias Kaden: Super Genius Album from Patlac!!will listen it a lot ...TOP!
Kiki: The intro and "Marcy" suck me straight into the vibe. Let´s see how "Marcy" and "Blinded" sound at the IPSE warehouse on NYE sunrise time...
Chris Fortier: great album, have been playing.
Pablo Bolivar: This is absolutely fantastic!
Sandrino: knowing Patrick and his music for so many years now and this musical package sounds to me that Paddy finally found himself and even better expressed what he found. Happy and proud of my Hamburg friend. Congrats and thanks for the music!
Yokoo: Super nice, well done buddy!
Andre Hommen: Finde das Album ziemlich bemerkenswert
Matthias Mayer: Superschön!
BOg: Sublime album from Patlac. Such great music, rich textures and deep sounds. So many options. My full support !!
Adana Twins: Congrats Paddy Boy! Is geil Diggi :)
Tim Green: great sounding stuff here!! :)
Rancido: nice album!

* Each cassette comes with an individually hand-printed silk screen cardboard case and DL code, craftily designed by Damien Tran.

* Renowned for her tracks featured in Richie Hawtin's game changing DE9 Transitions mix, Akiko Kiyama reveals her another side under her new alias Aalko on No Man Is An Island. This is her Kebko Music label's fourth instalment and her fifth album. It is a culmination of Kiyama's recent practices in a wider music spectrum, going well beyond her minimalistic techno characteristic. It covers a variety of styles as she demonstrates her knack for breaks and ambient, reflecting her early influences from Ninja Tune and Warp. Each cassette comes with an individually hand-printed silk screen cardboard case and DL code, craftily designed by Damien Tran. Also, No Man Is An Island EP is set to be released on vinyl in this winter.

* Kebko Music is Tokyo-based Akiko Kiyama's independent music label focusing on releasing avant-garde music which is not bounded by any specific genres but embraces the whole range of techno, experimental music, field- & live-recordings and classical music. The label owner established her name by Richie Hawtin featuring her track in his well-known DE9 Transitions mix in 2005. Since then, her music style has gradually changed to explore the edge of electronic music. The core of the label is based on small handcrafted editions of cassette tapes. It aims to give a chance for all of artists and listeners to explore their musical experience and creativity.

New Flesh Records 19 Ever wonder what would happen at the first minuts of an Alien in-vasion Answer can be found on Geometric Vision', the debut EP of Hungarian electro don Norwell on French New Flesh Records. Real name Balázs Semsei, Norwell has turned out a steady stream of releases on labels like Dalmatia Daniel, Pinkman, Chabu Recor-dings, Seagrave and his own Farberwechsel imprint until now, always coming on strong with a personal artistic vision plus a sense of drama.

Across four craftily cuts on Umwelt's label, he revisits his own dystopian universe made of sonic frequencies fused into rich atmosphere with a strong array of emotions. From the haunting opener Geometric Vision' to the explosive final Conversation Patterns', Nor-well signs one of his best release to date.

Fascinating synth melodies supported by raw drums and insane electro textures compose this must have 12'' and an essential addition to the New Flesh catalog. Heavy electro darkness for serious heads, this is a soulful EP full of depth, impossible to ignore!

*The No Man Is An Island EP is a single cut from the debut album of the same name by Aalko, a new project by Kebko Music founder Akiko Kiyama. Renowned for her minimal techno track featured in Richie Hawtin's seminal DE9 Transitions album, the Japanese producer reveals her another side under this new alias. The project has already created a stir as Aalko has garnered support from Gilles Peterson on his BBC 6 Music radio show and premiered a live performance at MUTEK's Tokyo launch, where she drew the audience into an inspiring frenzy.

Aalko is a culmination of Kiyama's recent practices in a wider musical spectrum that go beyond the confines of her minimalistic techno characteristics. It conjures her distinctive soundscape where a variety of styles coexists: she demonstrates her knack for breaks, ambient and irregular time signatures, her acute ears for unadulterated tone and texture of sounds standing out in sharp relief.

Taking a floor-oriented side out of the No Man Is An Island cassette album, this single cut features three tracks that work wonders in a DJ context. "Body & Soul" is an erratic rhythm experiment jumping between several beat styles. "Mixture" offers Kiyama's unique interpretation on syncopated dynamics of breaks. Wrapping up the EP is 'B.I.C', a long-awaited exclusive track that ranked among Gilles Peterson's top 20 tracks of 2017. Its dubby functionality makes it a powerful tool that can work at various stages of the night.

These tracks give the nod to Kiyama's peculiar self full of sonic idiosyncrasies, showing no fear of breaking accepted conventions.