Поиск:see f

You could be forgiven for thinking Basso's been hitting the plant food of late. Last time out we took a trip with Trance, and now our esoteric expert nods his head, rolls his shoulders and drops a h-h-h-house record on our unexpecting asses. That's right folks, roll up the rug, push the sofa back and enjoy some ‚Personal Growth' from James Booth.
.
Operating a million miles away from the kick and hiss of the trendy lo-fi folks, the Berlin based producer favours subtle rhythms, delicate textures and tender melodies - turning out a string of sophisticated dance floor winners for 100% Silk, Church and No Bad Days. Now he brings his organic house stylings to the Growing Bin with a fresh five-tracker packed with all the warmth of a Tempelhof picnic on a balmy July afternoon.

Emerging from the watery depths of the Drexciyan ocean, opener ‚Mood' strides calmly through the morning dew, stretching those loose limbs and seeking out Hardcastle's rainforest. Drifting freely
through immersive, aquatic pads and soft focus melodies, the track takes in a little R&R before snapping electro percussion, cascading synthlines and a rolling rhythm up the intensity. The deepness continues on the A2 as ‚Dream Precipitation' offers a medicated vision of Debussy doing P-Bar while Lynch rolls the cameras. Syncopated hi-hats, jazzy keys and star-gazing sine waves wrap themselves around your cerebellum, expanding your mind as a steady kick moves your body into the pleasure zone. Booth takes a Derren Brown tip on the flip, imbuing ‚You' with the kind of mesmeric rhythm that can make the staunchest wallflower pull a Pink Panther on a packed dance floor. The exotic tumble of woody percussion and hissing castanets keep up a fascinating rhythm, driving the titular mantra and snaking synth melody through bursts of slapped bass and subtle 4/4. ‚Dhoop Stick' stays on board with the boogie hypnotism, weaving its way through celestial melodies, squelching bass and toasty Rhodes before ‚The Chorus' brings down the curtain with wailing FM vox, military snares and the dreamy synth pop charm of a lost Sheffield classic. Warm, woody and entirely organic, this is the birth of Green House...you heard it here first!
(words by Patrick Ryder)

After a two year hiatus, Kiani returns to his Far Out Systems alias for this EP, his first offering for a label outside of his own Tanzbar Records.

Thomas Neyens first left his mark on the dance scene under his alias Kiani & His Legion, with two releases on Red D's We Play House Recordings in 2013 and more recently on Something Happening Somewhere, quickly demonstrating his accomplished production flair. This led the Belgian establishing his own imprint, Tanzbar Records, where he dropped two EPs under his Far Out Radio Systems moniker - bringing a more 'dancefloor focused' sound. Now after a two year hiatus, Neyens returns to his Far Out Systems alias for this EP, his first offering for a label outside of Tanzbar Records.

'Spheres' kicks off the release, with its soft bassline perfectly complimenting the hazy synths, syncopated drums and the mesmerising nuances from the hang drum that feature later in the track. The slow burning style continues on 'Jane Goodall', with the track's atmospheric textures gradually overpowered by a steady selection of drums, percussion and off-kilter effects. 'Vaquita' sees Far Out Radio Systems up the tempo whilst still sonically retaining the melancholy, hypnotic sound of the EP, as the snare-led rhythm gradually gains in momentum over its seven minute duration. Closing this excellent four track EP is 'On A Quest', a pulsating number that combines soaring, ethereal synths with a club ready groove that is perfect for the shadowy dancefloors the Belgian DJ/producer performs to.



DJ FEEDBACK

Early support from

Joris Voorn: Great atmospheric EP!
Blawan: really nice stuff here ! really like Vaquita
DJ Deep: nice release
Aera (Innervisions): Vaquita is a real beauty!
Baikal: whole release is dope. big fan of kiani. big up.
Norman Nodge (Berghain): "On A Quest" sounds promising!
Richie Hawtin: downloaded for r hawtin
Ripperton: Great EP every track get something! Thanks!
Âme (Kristian): thanks
Red D (We Play House): Needless to say I have preordered this one on vinyl ;-) 'On A Quest' is gonna be the one for me. It's got that Kiani-going-emotional vibe I dig so much.
Anthony Collins: Jane goodall track is tight !
Nuno Dos Santos: ah sweeet thanx man!
Brothers' Vibe: Solid pieces, def support!

Originally released in October 2016 - 'Maajo' marked the inauguration of a new imprint: Queen Nanny. Spread across 4 sides of vinyl, the LP was a 'meandering journey' that saw a newly formed Finnish five-piece expand and develop a canon set by Herman Prime's EP under the same title that was released via Seagull in 2015.
Following it's warm reception, Queen Nanny returns with an all-star remix package that sees Luke Vibert, Call Super and Dengue Dengue Dengue all interpret selections from the original album. Altogether a tougher and more contorted collection of music - the remixes effectively pull Maajo out of it's habitual home-listening environment and drop it directly on the dancefloor to stunning effect - TIP.

Hope Works founder Lo Shea drops two murky cuts on Rekids with Thule and AE Recordings boss Thor on remix duties.
On top of running his highly respected Hope Works event series in the North of England, Lo Shea's reputation as a producer is unquestionable, with recent years seeing the Sheffield-based artist appear on credible imprints such as Phonica, Never Learnt, SZE, Transit and Dext Recordings.Metallic percussion is blended with growling bass in 'Let's Roll' before introducing spooky synths to generate a mesmerising aesthetic. Energetic breakbeat drums and intricate melodies then forge 'Tundish' before Thor reinterprets 'Let's Roll' by sucking you into a dub techno vortex; stripping shards off the original that cascade whilst driving you into an abyss.

Robyn announces the RMX/RBN vinyl series along with a new remix of Be Mine by Mark E. The limited vinyl will roll out in pairs every week from September 29th. See below for schedule.

The RMX/RBN project saw Robyn invite some of her favourite artists in dance music from across the globe to remix key tracks from throughout her career.

Set of 5 limited Remix 12"s, with remixes coming from Cassius, Joakim, Axel Boman, Zhala & Heal The World, The Black Madonna, Mr Tophat, Wolfgang Voigt, Mad Professor Harry Romero & Mark E

Mick has been active in the seedier corners of electronic music for more than 30 years, first immersing himself in the world of hi-NRG and new wave before embracing the house, techno, acid and electro explosion of the late 1980s. Aligned with DJ Hell in the 90s and more recently the Intergalactic FM crew, he's the quintessential selector. A life spent digging in the undergrowth for deviant dance music has given him the edge that makes a truly gifted spinner, without riding on hype or studio productions. However, Mick isn't adverse to the odd outing on vinyl, having previously appeared on International DJ Gigolos both solo and as The Kinky Lovers with sometime partner Isabella Venis, but these moments are few and far between. For this release on Arma, Mick has given us two edits that speak to his distinctive style as a DJ - the original tracks are cult choices re-moulded into deadly, subversive club weapons. The brooding darkwave of 'Himmelfahrt 89' is enough to turn the most indifferent bar crowd into swaying, baying denizens of the night, while 'Stay Silent' pummels out a relentless electro motif that teeters on the edge of destruction for 11 thrilling minutes. These aren't crowd-pleasing DJ tools, and neither are they slick and easy edits of obvious classics. This is a peek into the inner workings of a man with decades of experience working masses of flesh into a sweaty fever pitch using sounds you've never heard before. The mastering on Mick's edits was undertaken by none other than Dutch electro legend Rude 66, while the striking artwork on the sleeve sees Arma reach out for the first time to French artist Judex. The nerve-shredding, broken Op-Art assault was originally found in a book published by cult illustrator Sam Rictus. Cover Artwork by J

The return of Brain Machine, with their Peaks album, was one of the highlights of last year for Emotional Response. Juan Tripp (aka Jon Tye of Seahawks), Guido Zen (Vactrol Park) and Kyle Martin's (Spectral Empire/Land Of Light/Vactrol Park) acclaimed kosmiche opus is followed up with 2 remix EPs featuring some of the best proponents, peers and friends of deep electronic music.
Remixes One is given over to a quartet of trusted hands including man of the moment, Tolouse Low Trax, ambient visionary Gigi Masin, afro-techno-dub specialist Harmonious Thelonious and stalwarts Ronny & Renzo.First Detlef Weinrich shows his mastery of a unique percussive sound that has seen his identity become as respected outside of his native Dusseldorf as he is in it for his role as one of the founders and curator of Salon des Amateurs. A brooding, propulsive culmination, the original's haunting ambience is retained for a subtle, driving rework that hits the mark.
Surprise of the EP is Gigi Masin's remix of Crystal Clouds. Eschewing the original's celestial soundscapes, scattered percussion interplays with sub-bass to change the context, giving a rhythmic dimension while retaining the shimmering guitar and arpeggio infused cohesion.Starting the B-side is another Dusseldorf elder statesman, in the afro-visions of Harmonious Thelonious. Solo, as well as one third of The Durian Brothers, Stefan Schwander, has carved a distinct sound. Chrematistic percussion is matched with an atmospheric, dub-techno feel that perfectly fits the EP. Play loud for full understanding.
Finally, Remixes One concludes with the return of Ronny & Renzo. Long time associates of Brain Machine, their 10 minutes plus remix takes the glacial original's ambience to a darker plain, fusing rhythmic pulses with alluding acid intent.

On Arise , Zara McFarlane returns to a buoyant UK jazz scene with a head-turning third album. Exploring the musical possibilities of British-Jamaican identity, it's a cultural exchange that's born of London's current musical climate. Released on Gilles Peterson's Brownswood Recordings, it sees her working with much-feted drummer and producer Moses Boyd. Both rose through London's Tomorrow's Warriors programme, a finishing school for many young vanguards of the live, ascendant jazz scene springing up across the UK capital. Sharing Caribbean family heritages, it's a product of their joint exploration of the meeting points between jazz and the rhythms of Jamaica, reggae, Kumina, calypso and nyabinghi, shaded with hints of the psychedelic.

Zara's breakthrough 2012 track, a jazz cover of Junior Murvin's 'Police and Thieves', provided a jumping off point to further explore the blurred, colourful territory in between jazz and roots-reggae. Covering Nora Dean's 'Peace Begins Within', she breathes a syncopated groove into a soulful, reggae classic. A beautifully poised version of the Congos' Fisherman teases out the poignant lyrical content of the 1977 classic. Meanwhile new, original compositions from Zara, like 'Fussin' and Fightin'' and 'Freedom Chain', combine a deep, reverberating bass with a steady-stepping roots rhythm. Album opener 'Ode To Kumina' touches on the kumina tradition brought to Jamaica by indentured labourers from The Congo in the later part of the 19th Century. Part of Zara's deeper research into her Caribbean heritage, it alludes to a deep-rooted culture encompassing music, dance and religion.

Similarly, 'Silhouette' arose from that same research, in this case, however, it was about how records and documents often get lost in Jamaica. It kind of came out of the idea of black history and blackness and feeling like you're trying to find yourself,' she explains. Trying to be proud of your history and who you are. And never forgetting the things that brought you to where you are.' Alongside drummer Moses Boyd on production, the album features a stellar line up of some of the key players on the London scene Binker Golding on tenor sax, Peter Edwards on piano, Shirley Tetteh on guitar, Nathaniel Cross on Trombone and an unusually restrained turn on Clarinet from Shabaka Hutchings.
Shared between all of them is a tendency to find the common points between different musical ilks: from US hard bop jazz, to dub and London-rooted hybrids and permutations, the band on Arise reflect the musical diversity of their home. Boosted by new platforms, like East London showcase Church of Sound and a newly-refreshed Jazz Café, the record surfs the momentum currently propelling jazz-influenced music in the UK.

For Zara, Jamaica's musical legacy is deeply intertwined with her sense of the place itself. Spending whole summers in the hills of Jamaica, it's the sounds and smells which she most vividly associates with her stays there. In particular the local sound systems which were an everyday feature of the local area, be it in shops or bars, each of the small local shacks would have a sound system where they'd play music through the day and evening.

From where my nan used to live, in Cauldwell there's a sound system almost opposite her house,' she says. So you feel this boom of the bass, and then all the smells of the hills and the greenery of Hanover. When you land in Jamaica and you go to walk off of the plane, the heat and the smells hit you and it feels like home away from home for me. When I hear Jamaican music, these are the senses that come.'

With the label's 10th anniversary celebrations now done and dusted, Claremont 56 returns to action with something rather special: a magical debut single from a previously unknown talent.
There's not much we can tell you about Ferdi Schuster, other than that he is a talented young producer from Augsburg in Germany. As Claremont 56 is one of his favourite labels, he speculatively submitted some tracks for consideration. Label founder Paul Murphy was astonished by what he heard and believes the two tracks showcased on this 12' are amongst the best things the label has released for some time.
A-side 'Little River' is breathtakingly good. Opening with the sound o a babbling brook, it sees Schuster wrap plucked, sun-kissed acoustic guitar licks and jaunty vintage synthesizer motifs around a languid, samba-infuenced groove. As the track progresses, further magical musical elements come to the fore, including blissful electric piano solos and more mazy synthesizer solos, seemingly played on battere old equipment from the turn of the '80s. Schuster's love of the acoustic guitar is explored further on similarly impressive B-side 'Befreit'. Here, gently strummed chords and fuid Spanish guitar motifs catch the ear, as hushed cymbals and gentle hand percussion lap at your feet like the sea at sunrise. The German producer adds atmosphere through a combination of leisurely Hammond organ solos and a touch of Jew's Harp. When all of these immaculate elements combine, the results are little less than spellbinding.
Schuster may be taking his frst steps into releasing music, but his
compositional, playing and production skills are already fnely tuned. We can surely expect to hear more inspired music from him in the years to come.

BTG return with their 3rd release.

A debut vinyl release from Philadelphia's Gohda. A multi-coloured combination of shimmering grime synth work, spaced out beats that occupy somewhere between the boom bap of classic hip hop, the half pulse of dubstep and the skittering high-end work of southern rap knitted together with a soulful vocal & atmospheric touch not distant from that of the elusive Burial. Gohda's sound owes itself to both sides of the Atlantic but operates nowhere within them.

The vinyl only release sees remixes from BTG's very own Bulu, twisting the original into a dancefloor ready terminator & TMSV known for his genre expansive excursions on labels such as Black Box, Cosmic Bridge & Artikal again taking Gohda's soulful and playful original and turning it into a weighty dancefloor focussed banger.

Not to be missed for fans of genre defying, psychedelic bass-weight.

With a career that spans over two decades Manchester DJ Andy Carthy aka Mr. Scruff needs little introduction. He is regularly cited as a source of inspiration for many of the world's up and coming artists through his eclectic approach to both DJing and creating music. We are proud to say Andy has always been a keen supporter of the output on Gondwana Records, so when we re-issued one of his favourite records The Swimmer by Phil France it seemed an appropriate time to ask for a couple of remixes. The results of which are two wonderfully unique dance floor friendly takes on the track, Joy of Brass.

Robyn announces the RMX/RBN vinyl series along with a new remix of Be Mine by Mark E. The limited vinyl will roll out in pairs every week from September 29th. See below for schedule.

The RMX/RBN project saw Robyn invite some of her favourite artists in dance music from across the globe to remix key tracks from throughout her career.

Set of 5 limited Remix 12"s, with remixes coming from Cassius, Joakim, Axel Boman, Zhala & Heal The World, The Black Madonna, Mr Tophat, Wolfgang Voigt, Mad Professor Harry Romero & Mark E

- 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.

* Dom & Roland's Label has gone from strength to strength from its conception in 2006. Featuring collaborations by Dom with other Artists such as Noisia, Hive and Amon Tobin the label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'. It is currently in A 'Dubs from the Dungeons' Phase releasing sought after unreleased music from the 90's from various accomplished artists every month on limited edition gold vinyl.

* PHOENIX - DOM ft TECHNICAL ITCH

A straight dancefloor DJ smashout made from two of the featured artists most seminal tracks combined. Dom & Rolands Thunder and Technical Itch's Reborn. Nuf Said!

*TEARS IN RAIN - DOM & ROLAND

A futuristic roller from the 'Bladerunner' Era. It perfectly captures the mood of the film. A big hitter at the Metalheadz sessions in the 90's this was smashed by Doc Scott and Randall in many of their sets. Again featuring a reworked alternating clean and distorted "flow break" and big 808 bass this style of production pioneered the way for Dom's later work. This turning point in Dom's history is now finally mastered and seeing it's release on vinyl 20 years later.

* DJ PLAY: Randall, Fabio, Bryan G, DJ Die, Jumping Jack Frost, Grooverider, Peshay, Loxy, Andy C, Break, Fierce, Doc Scott, dBridge, Goldie, Ant TC1, Gridlok, Marcus Intalex, SB81, Ulterior Motive, Noisia.

* RADIO PLAY: Radio 1, Radio 1Xtra , NRG, Noisia Radio, Many other radio stations around the world.

* PRESS: Bandcamp Interview, MIxmag, DJ , Various blogs, Facebook, Twitter, Snapchat, Instagram.

TBD, the decade-old project from Doug Lee (An-i) and Justin Van Der Volgen, is back!.

Known for their set-defining big room monster jams, 'Below' sees them on a deep, heavy and very trippy analogue tip.
Synths wheeze and bubble while a thick syncopated bass and a giant kick drum keep the proceedings firmly locked to the dance floor.

On the flip, legendary Japanese DJ and producer DJ Kent steps up on remix duty under his The Backwoods alias .
Building off the original, he adds sharp percussion and tastefully refocuses the track, creating a perfect complimentary mix to the A-side.

This is the debut album of Swedish producer Daniel Andréasson, an artist that has both a sonically and artistic resemblance to the Skudge family of labels and artists.

Pushing his eighth year of releasing records, Andréasson has accomplished the task of creating a debut album that seem to tie together the sound of his previous EP's. Andréasson's sound is in line with a more outsider approach, but with a dance floor focus. A sound that he has been pushing since the beginning.

This approach shines through at the most on the tracks such as 'Mc35I# Rushup', 'Stay' and 'Dreams' as these specific tracks shows Andréassons more accomplished style. In between, the album keeps a perfect concept throughout. Taking breathers with its interludes and in general "shorter" tracks that hints of a ambient leaning urge to express himself, he never loses focus. A masterful debut album from a artist to keep your eye on!

Back after a short break, Bass Cadet Records' Orbit series continues with a 3 tracker from US legend Alton Miller. On the A-side lays 9 minutes of pure Detroit House bliss, with a version of his classic track "When Morning Comes" that has only seen light on a japanese special limited edition until now. The flip offers two brilliant club crafts that sparkle Chicago soulful Deep House in the vein of Ron Trent, Glenn Underground and co.

lvin Toffler was overwhelmed. When in the morning of October 4th, 1988-it was his 60th birthday-he was starring with a still somewhat absent look into a bowl of cornflakes, he thought that in the surface structure of the yellowish shimmering milk which was making an emulsion with the maple syrup and slowly but irreversibly corroding the crunchy crystals on the flakes, he could see through a window into a timeless dimension. Toffler, who at that time had reached the peak of his fames as a future scientist, was sustainably disturbed from his peek into this extra temporary peephole. In none of his books-'Future Shock' had just been released with yet another edition featuring a proud printed note on the book cover stating 'more than 5 million copies in print'-did he ever mention this occurrence. Even after his death in June 2016, no note on this incident could ever be found in his estate. The 'flake dimension' as Toffler called it in notes which were later shredded remains a secret of opaque, hard-to-grasp radiant power.

Maybe it's too simple to describe 'Pneumatics' as a creation coming from this cornflake world Without doubt. Are there any more precise terms or instruments to determine the multifacetedness and beyond-timeliness of the 'Pneumatics' soundscape There are still unknown. 'Pneumatics' is, after releases at Innervisions, Die Orakel und his own label Sound Mirror, the debut album of Orson Wells (as long as you don't count in 'Jupiter' - Wells's first LP which was released in 2014 with 48 copies on cassette-have fun digging for rarities and bargains!).
Perhaps Wells, known in Frankfurt under his real name Lennard Poschmann and as an employee at the record store Tactile, is only a messenger. Or a psychic. The sound manifesto that he apparently transmits from Toffler's secret dimension tells of a city of upside down pyramids ('Tianon'), of passes into the land of the five elements ('Multipass') and dead straight four-to-the-floor lines which appear bended within the spherical dimension (''Geodesic'). These beats are right on the heels of the ones of Intersteller Fugitives; the strings sound like that at any moment a vocal sample edited by Moodyman could warp over through the Cornflake wormhole. Pneumatics is the science of all technological applications powered by condensed and often by quite heated air. It is a matter of mechanics, compression, jackhammer, ramblings, high pressure levels, valves for blowing of steam. On 'Pneumatics' it's all about this. And more. Orson Wells's album gets to the point of the post-retro futuristic state of the dancefloors of the house and techno clubs of this planet. It is like a peek into another dimension, right on the golden cut of spacetime geometry.

(en) Constantly on the move, never standing still. Always looking ahead and never back. Everything sooner rather than later. This is what our modern lifestyles feel like, keeping us prisoners in the wake of time while everything around us is in a permanent state of change. It seems as though Andrei Anto- nets, aka OID, could sing a song, or at least produce a track about it. But rather than the soundtrack to our hurriedness, the Russian musician has seemingly created the opposite with his new track - Perma- nent Departure'. He achieves this by letting various sounds meander alongside a bass drum for about eleven minutes. Guitars, pads, Hi-Hats, everything comes and goes, arranged with tremendous flair. Antonets has already proven his capability to do exactly this with his project Alexandroid or with his work on labels like Pampa and Sealt Records.
The French Band dOP's remix on the B-side is much shorter but sends us on the same trip as the ori- ginal. Shortened to just eight minutes with a slightly new route, the dOP remix takes us directly to the club and peak time for the advanced. If we have to have a departure, then this is the way.
Also available as a digital mini album together with the MMR 28 and four other tracks by OID.
(de) Stets auf Achse, immer unterwegs. Den Blick geradeaus, nie zuru¨ck. Und alles lieber heute als morgen. So fu¨hlt es sich an, das moderne Leben, das uns gefangen im Sog der Zeit und alles um uns herum im permanenten Aufbruch ha¨lt. Es scheint so, als ko¨nnte Andrei Antonets alias OID ein Lied davon singen - oder zumindest einen Track dazu produzieren. Doch statt den Soundtrack zur Hast, erschafft der Russe mit - Permanent Departure' lieber einen kontemplativen Gegenentwurf dazu. Knapp elf Minuten lang la¨sst er dafu¨r weitla¨ufige Sounds entlang der Bassdrum ma¨andern. Gitarren, Pads, Hi-Hats, alles kommt und geht, arrangiert mit massig Gespu¨r statt purem Geto¨se. Dass Antonets genau das kann, hat er bereits zuvor mit seinem Projekt Alexandroid oder auf Labels wie Pampa und Sealt Records bewiesen.
Fu¨r die Ru¨ckseite lo¨sen die drei Franzosen von dOP mit ihrem Remix von - Permanent Departure' hin- gegen nur ein Kurzstrecken-Ticket - das uns aber genauso auf einen Trip wie das Original schickt. Auf acht Minuten und eine neue Route verku¨rzt, steuert der dOP-Remix ohne große Umwege geradeaus gen Club und die Peaktime fu¨r Fortgeschrittene. Wenn schon Abfahrt, dann bitte so. Auch als digitales Mini-Album zusammen mit der MMR 28 und vier weiteren Tracks von OID erha¨ltlich.

Toby Tobias joins Delusions again for what will be his sixth(!) 12' entitled The Rain. The prolific Londoner whose releases have graced such venerable labels as Rekids, ESP Intistute and Let's Play House, is back with a vengeance, delivering two mighty fine originals plus a remix from Nebraska.
In true Toby Tobias style, The Rain got made on an MPC, sliced and edited from a single live take through the desk then accidentally deleted so no further mixing, sequencing or editing could be carried out. But what is an A&R man's nightmare, turns out to be the record buying DJ's gain, as the improvised, dubby vibe and raw as ***k mixdown give the track an authentic feel and energy which could only come from the madness in Toby's method. Fresh from his brilliant releases on Mister Saturday Night and Razor n Tape, we have our man Nebraska do his thing on the remix of The Rain. Dropping down the BPM's a bit from Toby's more frenetic original, Nebraska add's a healthy dose of moogy lead lines to the lo-slung house
groove, perfect for warming up the dancefloor. Closing this release we have New Way Of Feeling which sees Toby in
playful mode with a percussion heavy, driving basement jam. FM pads form the centerpiece of the track whilst flourishes of Juno come and go, hints of early 90's IDM shining through on the glistening sine-wave melodies. All in all a glorious melting pot of ideas and influences all over this release which make for one of his strongest yet for Delusions

New Daphni 12" featuring full length versions from two of the highlights from his recent fabriclive 93 that have both seen action in Dan and his comrades recent DJ sets.

Nisantashi Primary School are Vlad, Lucy and Mykhaylo from Kiev. This electronic-pop trio embraces weird sounds and holds omnivorous but clearly discerning appetites for mixing disco, funk and dub grooves. Their debut EP is a mix of snappy and moody synth sounds, vintage-tinged bass lines and gritty rhythms.

The selection of tracks is a showcase of moods and influences: from the feverish and psychedelic "Mr. Fingers" with Fumaça Preta's Alex Figueira on drums, to the nocturnal dancefloor gem Hills'. Hints of dance records from 80's NYC, synth-based disco and krautrock come through, but an eastern european immediacy and faux-débutant approach brings its own flavor to the table.

While dance music from Kiev might seem surprising, what do we really know about this city's energy From the place where so many things are happening these days, maybe it's time to see something else unfold.

Soma welcome back long time collaborator Tony Scott under his Edit Select alias with The Bridge. Having recorded such classics as X-Track under Percy X, Tony has since found new depths with his Edit Select moniker which has seen countless releases on his own self titled label and more. With an album currently planned for release on Soma in early 2018, Edit Select takes his first steps onto his hometown label with this new single.

Suitably deep production is always the order of the day with any Edit Select release and this one is no different. Title track, The Bridge, begins with a chugging beat before gradually undulating into epic soundscapes. Flux takes a darker turn as twisted synths resonate throughout the typical atmospheric backdrop. Tonalist creates more rhythmic scenes with intense percussive elements keeping the track moving.

Not An Animal Records are proud to announce the debut of Man Power (aka Geoff Kirkwood)'s "Tropical Bastard0.95project.After 1st releasing as MAN POWER for the labels the very 1st outing Kirkwood now presents us with another first, the birth of another persona to feed his burgeoning identity crisis.Tropical Bastard 0.9510.95 finally sees Kirkwood fully submit to his cinematic leanings, with a panoramic, Italo tinged track that gives rise to a new unbridled optimism in his work whilst Tropical Bastard, 0.9520.95 gives license to his playful almost joyful side, something which he has as yet only hinted at.For the remixes, Lord Of The Isles dials down the melodrama of 0.9510.95 and amps up the groove, for a driving piece of Soca tinged techno as Frank Butters (Too Many Squares) turns 0.9520.95 inside out creating a night drive from the originals day tripper.Stay tuned for Tropical Bastard 3 & 4 on Not An Animal Records

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.'

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

As BPMF started making techno again, he surveyed his techno friends asking them what it was about his music they found the most annoying. The answers TR-606 hi-hats and portamento.
He proceeded to focus on these aspects of his music and today the results are here: "Abide the Glide Volume 4" wherein BPMF is pushing all the right buttons to get the DJ thinking about the sounds their pumpin. Jamie Morris provides an excellent DJ freindly remix of "Even Straighter", taking BPMF's idea and going even straighter.Old Man Raver Pants" proves that a 50 year old man can still party, so long as he's wearing his raver pants and while there's been alot of talk about alternative facts, "Alt-Slacks" is a dub inspired jam that seems like it's narrative might fall apart at anytime.Schmer label head BPMF has been making electronic music since 1984. As Free World released cassettes, was entered by WFCS into CMJ's Best Unsigned Bands competition and in 1985 earned the duo a spot on an Epic Records compilation. In 1986 they released "Amagi", an eclectic collection of experimental electronica inspired by underground new wave and industrial music of the 80s.BPMF and Taylor Deupree formed Decameron and released two cassettes on Havoc Music. Some tracks would appear on early techno CD compilations under pseudonyms. Havoc Music's own compilation "Techno Criminal Sub Cultures" is where BPMF first appeared in 1991.
With Dietrich Schoenemann and Taylor Deupree, BPMF assembled classic early 80s analog gear and as Prototype 909 they released "Acid Technology" on Instinct records; performed their first live show, met Abe Duque who invited all of his techno friends to the legendary Limelight Club in NYC. BPMF brought records and gear jammed live with them. The Rancho Relaxo All-Stars would release three albums and tour Europe together even destroying the original Ultraschall in Munich, quite literally tearing the place down. With John Selway, BPMF channeled early electro and new wave sounds forming Synapse and creating Serotonin Records to bring the funk back and help give birth to the electro revival scene.Prototype 909 recorded four albums and played 70+ shows. Synapse was the first American electro group to play live in Moscow. BPMF released tracks on Serotonin, Schmer, Instinct, Analog/EMF, Tension/Rancho Relaxo Records. His approach to electronic music is hands on and experimental, so more than having a "sound" his music reflects his values: spontaneity and a sense of urgency.

Freshly dressed after a double helping of made to measure goodness, Aficionado size up another summer time smash for the sandal-wearing masses.
Keen to capture the coastal cool of the Wirral peninsula, the label crack out the crystals and summon strange-wave sorceress Brenda Ray for another hit of her interplanetary excellence.
Wandering from new age haze to celestial rays on this tripped out trio, our genre blending genius takes the fourth world into the fifth dimension of psychedelic sound.

Our spiritual journey begins with the chakra cleansing 'Solartude', an out-of-body beauty which bathes us in swirling flute, dreamy chimes and shimmering tape delay before sending us off towards the Orient.
Eastern tones and hushed vocals ride a glistening sequence as this flawless fusion of exotica and dub suggests a medicated Martin Denny stumbling out of Chinatown and into a humid mangrove.

Next stop on the voyage of self discovery is 'Space Dustin', a lunar lullaby for lucid dreamers which sees Brenda spin Fairlight mallets, celestial keys and whispered vocals into an immersive ode to the outer rim. Floating free of space and time, perhaps you too can glimpse the excellent birds.

Over on the flipside and the temperature begins to rise. 'Skip, Hop To Bop' sees Brenda dabbling with dub Techno, setting Basic Channel synths and stirring strings to a skittering rhythm. Dislocated and disoriented we descend into a strange subterranean world of Rothschild parties, Lynchian noir and muffled Techno.
Surrounded by swirling voices, shuffling percussion grabs hold of you and all that remains is to sway.

Officially Aficionado.

This is the second 12" from Taken, the duo effort of Elias Landberg and Nihad Tule.
The duo has done a local show at Under Bron in Stockholm as well as Herrensauna in Berlin, this new EP sounds inspired and fresh as their live sets, setting the course straight away.
The reminiscent sounds of Techno's adolescence goes everything but unnoticed as the reduced and powerful 'Cluster' on the A-side showcases Taken's ambitions.
Going into deeper territories, the B-side 'Elysia' almost smells of strobes and smoke machines for the eye-opening moments of a proper party.
With this new EP from Taken, the sounds have really developed and show their excitement for things to come, from their almost three year debut on Skudge Records.
This is a keeper!

Patrick Schütz (Groove Magazine) '

'both good tracks''



Objekt

''cluster is nice and subtle''



Shifted

''Both track are sick. and its great to see the Skudge sound evolving!''



Anastasia Kristensen

''I dig Elysia a lot, good job

thanks!''



Markus Suckut

''both tracks a sick!''



Jonas Kopp

''Top release , thanks''



Ben Sims

''cluster def my fave, thx!''



Albert Van Abbe

''Taken for President!''



Henning Baer

''CLUSTER!!!!''



Cosmin TRG

''Deep, driving, euphoric, well done Elias and Nihad!''



Anthony Parasole

''dope as fuck''



Eric Cloutier

''"cluster" is massive! love it!!''



Norman Nodge

''Proper relaxed holiday techno, many thanks!''



Blue Hour

''Sounds dope''



Baikal

''cluster is dope''



Matrixxman

''great release''



Mark Broom

''Thumbs up from the Broom''



Mano Le Tough

''nice one. thanks''



Anthony 'Shake' Shakir

''Cluster has a dope groove for the entire track.

Elysia has a spell binding feel that is unrelenting
d
Skudge brings it all the time''

Belgium 'Popcorn' borrows its name from the 1969 James Brown LP, The Popcorn, which also became the moniker for the Popcorn Club in Vrasene, Flanders which, in its heyday, attracted 3,000 youths to its Sunday sessions. It was DJ Gilbert Govaert who pioneered the sound, blending blues, soul, jazz, latin, doo-wop and high-school pop in a unique melting pot that appealed to dancers seeking that chugging cha-cha beat.
Our POPCORN SOUL PARTY carries on the tradition with many tracks culled from the original playlists and others, such as the incredibly elusive Willie J Charles Feelin' Kinda Lonesome' which has become popular in more recent times.
This unique set will appeal to Popcorn oldies fans, new breed Northern Soul fans and R&B collectors alike. Look out for new-to-vinyl reissues courtesy of Ki Ki Page and Chance Halladay!
The Party Continues...

While frontiers currently seem to be (re)claimed and shutting down, we, at Série Limitée, prefer going against the consensus. We proudly launch the 10th release opening up doors to four new artists, Deep88, Sofotalk, Kisk and The Happy Man. From Italy to Spain, our little musical caravan travels and wanders on paths and tracks made out of raw house beat leaves, fusion jazz trunks and deep groove fields, to bring to you this new VA, our 10th, faithful to our long time recipe: 400 exclusive press. Deep88 is officially in charge of welcoming you inside and of setting the tone. He will take you in with his track Wave House'. Further up our musical trail, we'll start hearing the hints of the next step, our next stop: More Than A Memory', by Sofatalk. On the road again, and we head to the B-side of things. We stay in close connection with Italy with Clean Up & Down' from Kisk. There is no good party without a great closure, and it's all even better with The Happy Man, closing the journey with Pizza Hug'.

The debut vinyl release from label Supervoid Records, out August 21st, 2017, has already made some waves, with two of its three tracks finding their way onto several prominent mixes, including Ben Sims' Run It Red' and Resident Advisor's 513th podcast, performed by Markus Suckut. The release has also been given the nod by other heavy-hitters, including members of the Droid Behavior crew and a Berghain resident. Label owner and artist Dustmite has been remixed by Audio Injection and long ago, Distance. His track Bare appeared on Photek's DJ Kicks.

The music of 7073 was largely inspired by the experience of an intimate, 6+ hour set by Jeff Mills in a US warehouse some years back. There is a feeling one can get in such a setting, with the right sound, the right DJ and the right people - a feeling that anyone who is reading this is probably familiar with - where at some point in the night, when people are in their own worlds, it feels as though at any moment the building could just lift into the sky. Simply put, the track entitled '7073' is Dustmite's attempt to capture some of that magic. Tracks 'Advanced Persistent Threat' and 'Lightwall' stand out as fast, sci-fi-inspired techno drivers, a modern take on early 2000's fast-paced, irreverent but melodic bangers.

Having worked in the video game industry for over a decade, Dustmite has taken a unique approach to pushing his vinyl-based label apart from the rest: each record has its own unique QR code, which, when scanned, will contribute to the unlocking of bonus content via a modern, interactive visual experience on the Supervoid website. Not only does this mean each record has its own distinct identity, which can be used in interesting ways, but those who purchase a future Supervoid release will have a singular narrative across their collection, which the label can use as a seed for generating content, experiences and rewards, unique to each individual.

Soul Deep Recordings and Blade are pleased to present the Blackbird EP. The EP features 2 richly crafted rollers that will rock the dance floor. The title track, "Blackbird", has received support from LTJ Bukem and many other top deejays around the world. The song starts off with a heavy amen break and light background atmospherics. At each turn, the break seems to get heavier as layers are added to the mix. When the bassline drops, the groove is undeniable, and will have your head nodding in approval. The song chugs along and builds to a crescendo with it's epic pads and tasteful atmospherics. "Bella l'amour", is the second offering, and it shows a different side to Blade's diverse productions. The track begins with a light break, airy efx, and chiming keys, that set the backdrop for this tight production. At the drop, the drums fill in nicely and the warm 808 bassline punch through the mix. Overall, Blade delivers big on this release, and will surely satisfy his fans with this slice of D&B heaven.

Copenhagen's Echocord Colour returns this August with Stephen Brown's 'Power Factor' EP, featuring three originals from the UK Techno stalwart.
Scottish producer Stephen Brown is a name synonymous with Techno across the globe having been releasing material since the mid nineties on imprints such as Derrick May's Transmat, Subject Detroit, Skudge Records, Ben Sims' Theory and Holland's Djax Up Beats amongst many more.
Here we see Brown join the roster of Echocord's sub-label Colour, slotting him in alongside the likes of Mike Dehnert, Nick Ho¨ppner, Luke Hess and Deadbeat in the back- catalogue.
Up first on the release is 'Sandtext', a stripped-back dubbed out opening cut fuelled by a robust kick and minute percussive hits running alongside a sturdy sub bass drive and spiralling dub stabs before 'Wet' takes things even deeper via muted kicks, shuffling shakers and delayed synth chords. 'Back Stroke' then rounds out the release with an amalgamation of airy reverberated stab hits, rumbling low end pulsations and a thunderous kick drum to once again create an understated, hypnotic composition.

12" with printed sleeve, Artwork by Albrecht Gaebel

DJ bwin follow up Leibniz's inaugural release for the newly-founded hundert imprint with a three-track EP. »Trinity« draws on feverish breakbeats, hardcore influences and about 2,3 gigatonnes of bass. Having released a split EP with DJ OK on Ireland's First Second Label, »Trinity« sees the production duo venture into the realm of the ancient and the mystical, the inexplicable and the possibly made-up. Conceived as a triangle with one foot deep in the past and the other one in a future yet to explore, »Trinity« points all gunfingaz to the startling revelation that, hey, we're all living in a computer simulation anyhow. Informed by the ancient knowledge of the Dubstep elders and Jungle's relentless search for a grain of truth amongst the lies fed to us by the Lo-Fi House empire, DJ bwin bring together the unholy trinity of paranoid hoover chords, melancholic textures and piercing synth notes for an EP that henceforth shall be known as »banging atmospheric Hardcore Continuum derivatives for late-night hours«. This is not a pyramid scheme - or is it

After a long standstill, Elypsia Records is back in full-effect with an amazing release by SCAN 7, an artist collective from Detroit whose existence goes back to the early days of Detroit Techno. Scan 7 is considered by many as a pioneer of the underground Detroit sound. This new release features the original version of Scan 7's 'Burdens Down", a brand-new song written & produced by Detroit-techno newcomer Mr. Hooper featuring Maurice Jackson on vocals. The track - which has been performed live at the Movement Festival 2017 - has been very well-received by Detroit insiders who see it as a new classic song of the genre. The package also includes the Terrence Parker's Radio Edit of 'Burdens Down' and the gospel-influenced 'Thank You Lord".

Black Truffle is honored to present a new issue of Annea Lockwood's classic 1970 tape piece Tiger Balm, unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice.
Created while Lockwood was living in the UK, the side-long Tiger Balm is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman's breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern.
The B-side presents two pieces for percussion recorded here for the first time. Amazonia Dreaming (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures.
Immersion (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood's belief in the complexity that deep listening can reveal within seemingly simple sounds.
Francis Plagne
Presented in a stunning deluxe gatefold sleeve with archival pics and liner notes by Annea Lockwood including the score to Amazonia Dreaming.
LP design via Stephen O'Malley
Mastered and cut by Rashad Becker at D&M, Berlin February 2017

The Sugarhouse imprint hits its stride on their third release, which sees Maurice Jnr and Seb Miguel collaborate on three badboy tracks. Keep bouncin'!Original artwork by Alistair Hanson.

Parrish Smith has quietly been making a name for himself over these last years with releases on Knekelhuis and Contort Yourself as well as with his projects Volition Immanent and Sige Bythos. We see him appear on L.I.E.S. in a strong fashion through four varied dense tracks. From slowbeat EBM to Belgium klang to classic Den Hague crushers this ep forges its own path taking these cues and putting Smith's unqiue spin on them. Heavy yet still possessing groove and hypnotic rhythm, damage will ensue if used correctly. Fresh stuff from this up and coming talent.