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Following hot on the heels of his acclaimed 2nd album 'Solar Nights' German producer Tim Bernhardt, AKA Satin Jackets, returns to bring some much needed warmth to the winter with the release of the 'Golden Cage' EP.

Featuring three brand new instrumental tracks, the EP sees Bernhardt venture into more introspective territory, eschewing the more upfront pop direction of recent collaboration with Panama, 'Electric Blue', for something softer and more intimate.Â
Easing us into the EP, ''offee and Feels' is both classic Satin Jackets and aptly titled. A comforting blend of warm synth pads, gently unfolding arpeggios and plaintive guitar all wrapped in soft gauzy textures, 'Coffee and Feels' is just the thing to kickstart your day on a mellow autumnal morning.
'Meridian Gateway' meanwhile delivers the kind of optimistic yet wistful melodies that Bernhardt has time and time again shown himself to be a master of. Built around a series of poignant piano notes the track gently unfolds and reveals itself, shimmering like the first frost of the year catching the morning's rays.
Closing the EP we have 'Mercury Moments' which injects the susurration of distant voices into the mix of sparkling melodies, echoing chimes and finger clicking rhythms to stunning, emotive, effect.
Whilst 'Solar Nights' showcased Bernhardt's skill at crafting thoughtful left field pop music and coaxing the best out of lyricists and singers alike, the 'Golden Cage' EP reveals he's still a dab hand when it comes to crafting dreamlike nu-disco, as warming as a mug of gluhwein in midwinter.

Fieldwave is the new compilation from Nonclassical that unearths new compositions with field recording at their heart. Curated by DJ and sonic adventurer Nick Luscombe (Late Junction, Musicity), it highlights a new wave of sonic artists incorporating natural sound into their work.

The idea for this new compilation series is to reflect a burgeoning area of sonic creativity that has gone from very niche to something much more commonplace. As a DJ at BBC Radio 3's Late Junction, Nick would receive music every day that contained some element of field recording. Many of the artists contained within have received airplay on Late Junction as well as on Late Junction and other experimental programmes. The release features sound artists Kate Carr, Mark Vernon and Hojo+Kraft, singer-songwriter Daren Hayman (Hefner), and accordionist Tuulikki Bartosik.

To celebrate 25 years of the legendary series, KEMISTRY & STORM DJ-Kicks is re-mastered and re-issued for the first time since it's original release in 1999 on CD and 2LP. It all began in the late 80s: KEMISTRY & STORM had had enough of their hometown in middle England and moved down to London. Until then, Birmingham-born Kemistry had spent most of her tender years studying as a make-up artist in Sheffield while Storm was studying radiology in Oxford. The pair discovered acid house in London, partied at illegal warehouse raves, and at the end of the 80s stumbled upon 'Rage', Fabio and Grooverider's legendary and influential club night at Heaven, which can be legitimately dubbed as the origin of the entire Breakbeat / Jungle / Hardcore / Drum 'n' Bass movement. This is where they decided to dedicate their future entirely to music - as DJs.

You have reached the Infolines. Tonight, you will be given links to preview a reverence to the venues that helped shape an industry and generations of musical technological wizardry. ‘Packard’ features a compilation of cuts fitting to the experiences by those who once frequented the halls of Detroit’s urban decay.
Bendersnatch, kicks things off with a ‘Homage’ fitting of the mainstay venue paying reverence to the classic Detroit Techno sound. ADMN’s Machine 8 shows a lust for a bass grind synonymous with the engines machined in the halls of its urban decay. Remote Viewing Party’s minimal break ‘fuxwiddit’ whistles echo to us through the warehouse former machine shops. Maxlow makes sure you ‘heard’ what they must say pushing air from the subs ensuring you feel the room.
Keep an eye on this space and be sure to call in for the waypoint to the party.

Open minded EP opening on a 145 BPM kicker, straight solid and heavy in da bass from Spered... Then comes Ludien with his mental light speed kicks hiding a secret little melodies full of beauty and nostagly... The flip opens with Ito and a solid mental crucher, loud basses and hypnotic hardcore kick. Kebrat finally comes with a broken 165 BPM hardtek tune. Hardfloor loudness ! Fat ! With anonymous style.

The man behind The Girls of the Internet returns to his techno-leaning alias with five resounding cuts entitled ‘My Dreams Are Slowly Dying’.

Following Tableland’s debut release at the end of the decade that picked up support from the likes of DJ Bone, Laurent Garnier, Jon Hester and Nemone on BBC 6 Music, the Girls of the Internet producer re-joins his self-titled imprint in 2020. The Girls Of The Internet continue to feed their superb reputation of delivering funk-fuelled electronics that draws inspiration from a variety of electronic music styles from the last 40 years.

‘My Dreams Are Slowly Dying’ kicks things off with pulsating kicks, undulant euphoria in the form of dreamy leads and stabbing melodies that fluctuate throughout. ‘Pyramid Scheme’ surges into squeaky modulations, jazzy tones and funky atmospherics that rolls with vibrant energy while ‘Charlie + Suzie’ offers up shuffling rhythms, subdued yet emotive synths underneath clattering highs and snares that get introduced in the latter stages, before ‘Wormwood’ rounds off the enchanting EP with a calming house cut harmonising together exquisite keys, deep bass vibrations and uplifting oscillations which carry you away until the end.

DJ support from Laurent Garnier, DJ Bone, Namone (BBC 6 Music), rRoxymore, Shy One, Ooft, Young Male, Brendon Moeller, Severino (Horse Meat Disco), David Martin (Dimensions Soundsystem), Massimiliano Pagiara, Dan Curtain

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.

Palette 71 kicks off with legendary Warp artist Plaid on remix duties. Transforming the title track, re-synthesized 909 samp-les and lua scripted sequencing, Plaid builds melodies and ar-rangement to epic proportions in classic Plaid fashion.

Tejada’s new EP is an homage of sorts to the sample heavy production style of the late '90s. "Limiting the options and just creating and manipulating a batch of samples is my happy place,” says Tejada. The title track hints back to a personal favorite, Optical’s "Moving 808s." While the sound is quite different, the approach is similar: samples, editing, some fil-ters and not a whole lot more opens up a lot of creative possi-bilities without too much getting in the way. Of course, the bass plays an important role. Combing through some older influences of varying styles, the production became more in line with Tejada classics like “Timebomb” and “Western Star-land,” both sample collage pieces focused on groove.

The final track, "Infinity Room" also follows this production process while resulting in a slightly moodier sound.

The longtime portuguese dj-producer Dedy Dread lands on DJ's CHOICE label for his first full-on original production. "Don't Wanna Wake Up" kicks off the collaboration with the soulful Hawaiian-born singer Olivia Ruff, a velvety warm r'n'b banger which will certainly tear through the airwaves. On the flip side, a "bikini-dub" version by The Rebel – helped by the sax of Danilo Desideri (Funkallisto) – which will make you wish summer comes sooner rather than later.

Dimi is the new solo project and label of (Dimitrios Ploumpidis) one half of techno duo, AnD.

The Dimi label will be an exploration in sound, pushing techno, rave and dance floor sounds with a raw and powerful attitude.

DIMI001 kicks off with "Time Travel". Pulsating kick drums and vocal cuts interweave, creating groove with the snappy snare and lashing hi hats. When the huge synth stab and melody drop to take us straight to a hedonistic past put looking clearly into the future.

"Bang Your Face" enters the room with a tight, hard-hitting kick and serrated rave sirens building an infectious groove before being banged in the face with the old school euphoric synth line that drops in and out of the mix creating tension and dramatic shifts in the track.

"Groove Away" a throbbing bass and kick drum drop with a sinister stab for this funky techno monster. Hard in dynamics but with a maximum amount of groove this track thumps and slams while the spaced out synth line and rave stabs help keep this funky banger grooving all the way to outer space as the alien melodies propel us for take off.

"All In" syncopated delayed synth stabs build in this track with tight rhythmic percussion and distorted kick drum. The snare enters like a punch to the face but only solidifying the swing while the main synth line opens building tension ready to destroy everything in its path. This is Dimi showcasing his direct and unique take on techno music.

SEATTLE -- Pearl Jam will release their much-anticipated eleventh studio album, Gigaton, on Monkeywrench Records/Republic Records on March 27, 2020 in the US. Internationally, the album will be released and distributed by Universal Music Group. Produced by Josh Evans and Pearl Jam, Gigaton marks the band’s first studio album since GRAMMY award-winning Lightning Bolt, which was released on October 15, 2013.

“Making this record was a long journey,” explains Mike McCready. “It was emotionally dark and confusing at times, but also an exciting and experimental road map to musical redemption. Collaborating with my bandmates on Gigaton ultimately gave me greater love, awareness and knowledge of the need for human connection in these times."

Gigaton’s cover features Canadian photographer, filmmaker, and marine biologist Paul Nicklen’s photo “Ice Waterfall.” Taken in Svalbard, Norway, this image features the Nordaustlandet ice cap gushing high volumes of meltwater.

In support of Gigaton, Pearl Jam will embark on their first leg of North American tour dates in March and April. The 16-date tour kicks-off on March 18 in Toronto and wraps with a two-date stint in Oakland April 18-19. Full tour dates follow.

Pearl Jam's North American tour is in addition to the band's previously announced European summer tour.

Banging and Acid with a little Spiral state of mind on the A-side. Ths flip kicks harder like a next step for a Violent Case's weaponry.

4TRK-029 sees label head Dj Hyperactive team up with Jason Patrick for the Inflexion EP. The release kicks off with, “Shadows Of The Underground” a stripped down acid Techno track that builds in a mutating fashion with it’s 808 cymbals, filtering shakers, and pitch bent synth stabs Mississippi Mud Hound gets underway with a growling bassline that morphs throughout alongside additional synth elements and percussion bits. On side b, “Harrier Env” provides a jacking feel that manages to also have stutter step bass groove in conjunction with 909 percussion, a spacey drone, and a mysterious melody. Closing out the release is “Bandaid On A Bullet Wound” an atmospheric stripped down track with powerful bass, sci-fi bleeps, and a lead synth riff that pushes and pulls in intensity throughout the track.

Two are surely better than one. Following Lory D and Fadi Mohem, Toronto based producer Graham Bertie aka Nautiluss also steps up for his second outing on Seilscheibenpfeiler, marking the label’s 10th overall release. Once more, Nautiluss is transforming playful and rhythmically intriguing bass music into prime dancefloor cuts, encompassing a rich array of sounds and moods ranging from upfront rave action to delicate deepness.
„Guccifer“ kicks things off with a dark, shuffling beat, creating a subtle hardcore/jungle vibe with atmospheric overtones. „Snakes And Ledgers“ is a percussion-heavy tune led by a fat and thumping bassline and completed with muffled chants by Toronto rapper Matthew Progress. Next up is „WiFi Oasis“, again fronted by a memorably melodic and reverberating bassline while the track explores airy and enigmatic IDM territory. „Moment Of Clarity“ rounds off the EP with ethereal synth pads and big breaky beats, providing an ideal closing track for every extended club night.

Imagine a Kerri Chandler track anthropomorphized, then jammed into a Japanese purikura photo booth for a series of bedazzled, glittered, and airbrushed headshots. Imagine that image set to music. What do you hear? Westcoast Goddess' The Inner Snoopy, a frenetic house workout that is puzzlingly contemporary, classic, and alien.

The four-track EP kicks off with the title track, a cloud of cotton candy, supersaturated hot pink, threaded with twinkly bells and a bass shuffle that flips and flops around with cheerful abandon.

“Limelight Golden Age” and “Murder at Passion Cove,” the two tunes that follow, assume a quietly sinister tone, introducing minor-key piano pounds and pinched synth riffs that stretch to the heavens to complicate the overwhelming joyousness of the instrumental palette and arrangement.

A subtly ironic 12-inch that satirizes and lampoons the bubblegum, technicolor sounds from our hyperactive age while hearteningly finding beauty within it all.

Bah — words, words, word! It's wildly fun party music imbued with idiosyncratic humor and life-affirming happiness.
Play it loud, play if often.

For the first release of the new decade we are honoured to introduce LA-based Oxóssi who has conjured a captivatingly sinister sonic palette for his debut EP on the label.

Sama
A scorching 8-bar intro catapults us straight into 'Sama', the first track of the release, where abandoned-jungle-ruins atmospheres meet threatening wooden flutes and weighty wobs - Oxóssi is not messing about. The narration proceeds with a melody sung by a penetrating laser-beam-like synth, which adds a space layer to this organic banger, getting more and more detuned throughout the track while kickstarting a call-and-answer march between the flute and synth-wob melodies. Don't expect to uncover the secrets of 'Sama' at a first listen, this intricate creation will keep revealing itself listen after listen.

Saut Dans Le Vide
An alluring pad harmony and a hidden inspirational message from the artist introduce the fascinatingly titled 'Saut Dans Le Vide', a masterful arrangement of unrelenting piano chords, subtle choir stabs, dreamy flute leads and compellingly staggering drums. Elements keep artfully alternating throughout this convoluted composition which arouses a pensive, melancholy-nuanced hopefulness.

Undead
It's time to get glitchy here, as 'Undead' makes its entrance. Shimmering melodies rain down in a glittery shower of eerie purple confetti, surrounded by rattling white noise strikes and playful-yet-mighty bass hits. As the story evolves, an 8-bit synth lead briefly takes us to a post-apocalyptic landscape before we momentarily wake up from this psychedelic daydream, just in time to take a breath and dive back in for round two.

Kareem Cali & LaRosa link up for a debut EP on Sidney Charles's hard hitting Heavy House Society this March, while groove master Nick Beringer serves up a superb remix.

Kareem Cali & LaRosa have linked many times before on originals and remixes that have helped define the house agenda in recent years. They have a laid back but warm style that is functional but full of subtle detail and studio charm.

Opener B21 is a brilliantly off-kilter tune with warped synths and tripped out details all making it perfect after party fodder. The drums are driving underneath it all, so will be irresistible to the floor. Over Ground is more stripped back but just as punchy, with rubbery kick drums and squelchy synths making for a hugely dynamic groove that is infectious and restless.

Rubisco label owner Nick Beringer then steps up after establishing himself as a real underground talent thanks to cult EPs on the likes of Raum, Berg and Taverna Tracks. His version is perfectly hazy and dazed. The balmy pads swirl around like a warm wind, the hi hats are delicate as they spin above the kinetic kicks, and the whole thing oozes warmth and class.

This is another essential EP from this already standout label.

Tartelet Records kicks off 2020 with the re-issue of a rare Discogs gem from the early 80s by the legendary Danish composer and music educator Lotte Kærså and her band of young musicians, "Græsrodderne."

The re-issued LP entitled Jubiiilæum (Anniversary) consists of songs taken from Lotte Kærså two first albums "Jeg Har Set Det Selv" (I've Seen It Myself) from 1979 and "Hjemme I Vores Gade" (On Our Street) from 1981 - both of which have long been sought after items among
diggers and vinyl collectors.

In the nascent stages of her musical journey, Lotte Kærså's music was already imbued with a new kind of sound. Weaving genres from near and far, elements of exotic sounds such as samba, jazz funk, and dub-reggae come together with a distinctly Danish cheerfulness in the songs' lyrics.

Limited edition 180g 12″ record featuring 5 bangers. Comes with high-quality gloss sleeve featuring Gobsmacked skull artwork.

Taking influences from underground spaces and dark clubs, the GOBSMACKED! 12” series kicks off with a bang, dropping a five track vinyl from Diarmaid O Meara. The Irish producer describes himself as “trying to push the boundaries of electronic noise” and he couldn’t be more right. It’s just 30 minutes long and hugely pulsing, but packs more punch than a gym full of heavyweight boxers. “While working on new tracks in the studio, I’m always trying to create my own personal rave, and when I find myself in the middle of a dark and twisted sound, then I know I’m on to something,” he says of the creative process in his Berlin bunker studio.

The 12” includes a number of previously released digital singles by Diarmaid O Meara, which have been his chart topping and most widely played tracks, that have not yet made it onto black gold until this point. Featured as multiple Beatport number ones, peak time festival big room sounds, countless Boiler Room recordings, the 12” is a collection of club belters, tried and tested over countless sound systems and DJs.

At Diarmaid O Meara’s touch in the studio, the technotic sounds released from his control become alive, while dark vibes take a stormy ride through intense rhythms. Track titles like ‘Selfish Bass’ convey the vibe of music that chews up and spits out razor-sharp techno and rave fusions that race to tempos upwards of 140BPM. There are playful techno tracks like ‘In Your Head’ next to euphoric rave ups like ‘Live In The Night’ and bass contortions like ‘Ripcord’ that are masterfully concise but utterly devastating. Not to mention the ever hypnotic, chugging sounds meets massive crescendo of ‘Improbable Strip’.

“Whenever something crazy emerges through a rig, enough for you to you hear people screaming in ecstasy, and you know the production has delivered”, he says. And it is exactly this momentum that GOBSMACKED! wants to deliver – it sounds loud and obnoxious but also fun that draws on real appreciation for dancefloor destruction as well as countless hours of studio work. Therefore, it is no surprise that the artwork for the series also features the style of the well known Gobsmacked bunker parties run in Berlin venues like the infamous Griessmuehle, where said music has probably been overplayed to crowds with goldfish length memories. .

Third time is a charm they say. But if the first 2 times were already so memorable, what more can you ask for?
Nebraska comes in with a bang for his third release on Heist after ‘Soften the Wireless’ EP in 2016 and ‘Metaphor to the floor’ in 2017. It’s hard to believe it has been 3 years since his last appearance on Heist, but with ‘Y’miss me baby?’, Nebraska takes back center stage with another releasefull of disco flavored electronics. Italian disco man-of-the-moment Giovanni Damico comes along for the ride and delivers a stunning 80’s flavoredremix.
It’s not to say that Nebraska (Alistair Gibbs) has been sitting still since 2017. He’s launched his own label ‘Friends & Relations’ where he explores his cut-and-paste style even more with some seriously cool disco dubs and other sonic adventures. Furthermore, he made a guest appearance on Aaron Dae and JKriv’s Razor ‘n tape Reserve. Apart from his regular musical explorations, he has also published a book (Surprise party every week) where we get a glimpse of how Gibbs sees the world.
His view is one of humor and positivity and one of creating new meaning through rearranging context. This is certainly true for his music and this new EP on Heist. The title track ‘Y’miss me baby?’ oozes funk with a clever combination of samples from different contexts put together to create something altogether new, yet familiar. The track has a real 80’s disco vibe to it and the vocoder adds even more to the ‘Zapp & Roger’ flavor of things. It’s a laidback track that feels like it was recorded on a gloomy Sunday evening with no pressure on anything and just room for fun.
The vibe takes a complete left-hand turn with ‘Dip and Flip’, a high energy house track that rattles, loops and bleeps into a full-on disco frenzy.
The b-side kicks off with Italian disco wizard Giovanni Damico remixing the title track. He’s had a great run recently with releases on Lumberjacks in Hell and more recently on Star Creature, where he’s found a home to explore his own view on modern day boogie. His ‘jam’ remix flips the track into a freeform arrangement where guitars, disco claps, delays and retro synth licks all work together for a great taste of Italian boogie.
The EP finishes off in true Nebraska style, with yet another curveball. ‘Xia long bao’ sounds like a lost Nick Holder track from the 90’s with its loopy island style Rhodes and lazy chanting. The choice of samples along with the catchy groove makes this a signature Nebraska track and a quality closer for this single.
We are super happy to have Nebraska back on Heist and with this amazing EP, you are certainly going to create smiles on your dancefloor of choice.
Yours Sincerely,
Lars & Maarten

Stap me! When you think you've heard it all, someone comes up with more earth shattering music, restoring your faith in humanity (well, almost). Back in the early 2000s, after locating those first Moondog 78s, and adding them to the mix at Honest Jons, assembling the compilation that became The Viking of Sixth Avenue, was a kind of musical cloud nine - a voyage of discovery, attempting to chart the worlds that Moondog had created. Now it's Spring again - as winter encroaches - and Mississippi expose us to some never before heard material. It's killer grade, recorded by yet another genius, Tony Schwartz, the pioneering Folkways field recordist, the first man to record Louis Hardin, aka Moondog, who in the 1950s also recorded a day in the life of a dog canine variety and a New York cab driver, among many others.

Behold! A survey of Moondog’s earliest recorded works - many of them unreleased until now - through a collaboration by Mississippi Records and Lucia Records. From 1954 - 1962 field recordist Tony Schwartz frequently checked in with Moondog, his favorite street musician. Tony Schwartz made recordings of Moondog’s earliest compositions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.

Side one kicks off with an unreleased version of Moondog’s classic composition “Why Spend The Dark Night With You?” followed by the first ever complete recording of his “Nocturne Suite,” a beautiful piece of classical music performed with members of the Royal Philharmonic. The side ends with the complete “On The Streets Of New York” 7” EP, which was released on Mars records in 1955 and subsequently re-released by Honest Jon’s Records in 2004 on their excellent Moondog anthology. Side B features sketches of Moondog compositions never released, many with the man himself howling and chanting over his homemade percussion set.

Moondog’s music is as universal as it gets - part classical music, part Native American, part European folk, and part something completely unique. Moondog is one of the towering figures of 20th century music. This record comes with liner notes featuring never before released interviews with Moodog by Tony Schwartz and is housed in an old school “tip on” cover. All tracks fully licensed from the Library of Congress.

It's always unwise to judge a label that's still taking its' first steps, but Banoffee Pies has barely put a foot wrong since launching a couple of years back. Here, the Bristol-based imprint continues with its' successful split release formula, gathering together a quartet of tracks from up-and-coming producers. Beaner kicks things off with the bumpin', low-slung deep house grooves and delay-laden guitar samples of "It Takes Two", before Philou Louzolo raises the temperature with the looped horn samples and thumping beats of "Alter Ego". Flip for the dreamy Balearic house goodness of Ron Wilson's "Albino Turtle", and the bongo-laden, after-party deep house shuffle of Mome's "Assatta".

Standards & Practices returns after an extended hiatus with its first release for 2020 and the label's first-ever compilation. Showcasing six exclusive tracks from a variety of musically like-minded allies both new and established, "Out Of Practice Vol. 1" finds some of the most talented artists currently working in electronic music refining their sound and pushing their craft in exciting new directions.

Stave and Grebenstein's "Rack 4", their first collaboration since 2018's acclaimed "Live From Frankfurter Strasse", kicks off the proceedings with a view into a bleak, dystopian sonic landscape, while Italian producer VSK, known for his excellent EPs on Mord and 47 (among others) delivers "Pendulum", one of his best tracks to date - a visceral, unrelenting, broken-beat behemoth. Closing side A is Chicago native Todd Mattei 's contribution, "Lake Charles", a beautifully textured Frippian soundscape.

Kristian Jabs, better known to most as Pessimist, opens side B with "Rut", a sleek, stripped-down, techno track that positively drips with moody atmospherics and tension. Overlook and Karim Maas's contribution, the dense and claustrophobic "Chalk", is an ultra-heavy breaks track with hoovers and enough sub-bass to shatter blocks of granite. "7th Recording 29", an ambient piece which represents Jonathan Krohn's first recorded collaboration with long-time friend and associate Benjamin Mjolsness since their work together in the group Male - closes the compilation.

First Ep for the italian artist Co-Pilot! Electronics, Retrowave, breakbeat&Deephouse played with a sublime drumbeats : (the) future sound of Italy' Includes a fantastic RMX from the legendary DJ Solomon (cunz dimension Rec)

10” clear vinyl) Five years on since their last joint outing in Stroboscopic Artefacts Monad series, Speedy J and Lucy team up again as Zeitgeber on 'Seventeen Zero Four', a new three-tracker descending deep into the filthy, tenebrous outskirts of club music.

Five years on since their last joint outing in Stroboscopic Artefacts Monad series, Speedy J and Lucy team up again as Zeitgeber on 'Seventeen Zero Four', a new three-tracker descending deep into the filthy, tenebrous outskirts of club music. Torchbearers of techno as a life-affirming vehicle for human expression, as can be experienced through their multi-dimensional back catalogue of solo records and shared live performances at some of the finest clubs and events including Concrete, Goa Club and London’s E1, it's safe to say Jochem and Luca share a certain taste for taking things off the beaten path and into new perspectives. True to their bold approach towards production, 'Seventeen Zero Four' proudly continues the pair's tradition of chiselled floor-focused shifts and divagations outside the ringfenced domain of no-nonsense 4/4 mechanics initiated on their self-titled debut album in 2013.

Drawing first blood, the title-track 'Seventeen Zero Four' submerges us in a state of amniotic solitude as hell's all set to break loose around. Sonar bleeps drip and dissolve across invisible plateaux as thunder rumbles and roars in the distance, mirroring and shattering all linearity between the bars. 'One Zero Five' then implements a further straightforward groove, sequenced hats and kicks carving out a more familiar scenario for the dancers to appropriate, whilst maintaining that oddball, slightly off kind of minimal, dubbed-out blur. Rounding off the package, 'Twenty Zero Two' throws further jazz into the mix, letting its sine curves hula hoop into the upper layers of the outer-audio-space as a shrewdly engineered industrial swing drops the hammer for an epic last stretch.

The Distillers are excited to announce that the physical version of their 2018 single "Man vs. Magnet" b/w "Blood In Gutters" will be released on February 14, 2019 via Third Man Records. This vinyl 7', pressed at Third Man Pressing in Detroit, is the first chance to own new music from The Distillers in over 15 years.
To call The Distillers simply a punk band doesn't do justice to either the band or the word "punk'. Guitarist, lyricist, and vocalist Brody Dalle, uses her medium as a platform for a higher plane of visceral lyricism and independence. Few modern day punk icons have not only embodied the genre so truthfully but also transformed the depth of what it can mean so thoroughly. Originally formed in 1998 in Los Angeles, the energetic band, with Dalle at the helm, released a string of damaged and powerful albums, EPs and singles with California punk labels Epitaph and Hellcat, then released their third masterpiece of an album, Coral Fang, on Sire before going on an untimely hiatus and ultimately splitting in 2006. After breaking a 12-year silence on social media late last year, these two new tracks from the group are a triumphant return for their rabid and devoted fanbase.
'Man vs. Magnet' kicks off with crashing drums, thumping bass and melodious guitar, before transforming into a rough-and-ready punk anthem. The b-side 'Blood in Gutters' is full of a wistful, wild energy from start to finish, with Dalle's raw vocals gleaming as the chorus hits. Third Man is honored to be a part of The Distillers' continuing legacy by releasing the physical version of this single.

UNCAGE label is back with a bang thanks to a various artists release featuring Stojche, Luca La Rocca, Eric Axelsson, Vincenzo Maurice and Module One.

Macedonian rebel Stojche is first up with his pummelling drum programming and sleek synths peeling off a high tempo groove.
It is dubbed out and propulsive techno of the highest order.
Luca La Rocca - Focus is darker and more stripped back, an eerie final cut that packs a real punch, then Eric Axelsson offers a deep atmosphere with icy electronics dancing above rooted kicks that get you in a trance.

After a twitchy acid banger from Vincenzo Maurice is a digital only cut from Module One that is cavernous, mysterious and hypnotic. This is another high impact techno Ep from the ever reliable 'UNCAGE'.

New year, new you, new crew! Another rising star from France, Marina Trench, joins the WOLF Music family, following up an inaugural EP on DJ Deep's highly acclaimed Deeply Rooted with this accomplished and diverse four tracker of house goodness.

Absorbed by house music from an early age Marina Trench is already proving herself to be a humble, yet highly talented, force to be reckoned with. Waterside EP is case in point. The title track is summertime ecstasy through and through. Undeniably catchy and packed with a club-ready punch, Trench sets off at pace, revolving the track around a pinging techy bassline as layers of percussion, echoing pads and delicate vocal refrains from Marina herself glide on through. Peak time, earworm business that bangs.

Get up, ‘Get In’. Moving through the downright ethereal to some tough, dancefloor darkness. Sweeping pads and glitching arps ease you in before the breakdown leads to an unleashing of brooding bass chords and reverberating top end counterparts that marry with a mean acid bassline. Tough, tactile and firmly focused on the club.

On the flip, ‘Train Call’ is a chopped jazzy deep house roller. Heavyweight piano stabs intertwine with deft twinkles as crisp hats dance around thumping kicks before ‘Straight’ eases you off into the depths of the night. A sumptuous little slice of deepness - meditative, trance-like calls from the ocean and pensive pianos provide a perfect soundtrack for the early hours.

Calum Gunn has spent the past few years becoming a key figure in the European electronic avant-garde. As well as releasing his own music through labels like Entr'acte, FLUF and Tsuku Boshi, the Berlin-based Gunn also helms Conditional Records, one of the most forward-thinking computer-music imprints to emerge in recent times.

Gunn's Addenda EP, his debut drop for Central Processing Unit, contains some of his most dynamic work to date. While his commitment to experimentalism remains, these four tracks represent a clear shift in focus for Gunn - namely that, for perhaps the first time in his career, he is making music that is club-friendly. A whole host of dancefloor innovators are recalled when listening to Addenda - particularly Autechre, Analord-era AFX and several of Mark Pritchard's projects as well as Gunn's contemporaries Rian Treanor and Renick Bell.

These tracks never sit still, their rhythms constantly evolving and turning themselves over. Addenda's first two cuts use metronomic hi-hats to keep these ever-changing grooves in check. With its thwacking kicks and snares, opener 'Esephony' enters the fray with the heft of an early Wiley riddim. Atop these drums we find squeaky half-melodies interlocking and breaking apart, meaning that the overall effect is not dissimilar to the tweaking beats that Pritchard came up with as part of Africa Hitech. 'Esephony' is followed by 'Moebu', another track that harks to grime through its fluttering lead synth. The way that this single-note line snakes above a slow, steady drum pulse pitches 'Moebu' halfway between Last Japan and rRoxymore.

Gunn increases the tempo in Addenda's second half. 'Ternenmarz' introduces itself with more blarts of bass, but whereas these were steady on 'Esephony' they now jump around unexpectedly. Gunn holds the erratic kicks in place with twittering hats and snares - indeed, when you factor in its gnarly synth lines, 'Ternenmarz' steers closer than any other cut here to the high-grade electro drops that CPU has made its name with. Closer 'Pins' supercharges the snap of 'Esephony' to 145 bpm before Gunn softens up the track with reverb-drenched synths that nod to the sombre post-grime of Mr. Mitch's Gobstopper Records.

With the Addenda EP, Calum Gunn has achieved something that proves elusive to so many producers - making club tracks that are at once innovative and immediate, their experimental tendencies serving to elevate their dancefloor impact.

RIYL: Rian Treanor, Africa Hitech, Autechre, Renick Bell, Brainwaltzera

Emerging this January with a duo of debut EPs, Black (Vegan Tinder Lord) and White (Hexxex) , Ϟᑢrəən ϟHAᗌ/W blends pummelling techno, industrial grit and experimental noise for a mood-spanning sound inspired by everything from Google Street View to visiting the dentist.

The Black EP gleans from the heavier end of the club music spectrum, plunging into a hardcore well of nosebleed kicks and synapse-frying synths that bang with raw dancefloor energy. The White EP pauses for reflection, transforming Screen Shadow's spiky reveries into tightly-woven technicolour dreamscapes.

Track highlights include the humour-spiced, pitch-shifted "Vegan Tinder Lord"— immortalised by its disembodied, Amnesia Scanner-esque voice — and the percussive, hardstyle-tinged assault course of "Scanna Hex". Inspired by the unpleasant act of a dentist drilling a tooth cavity, "Bodies" burrows deep into your brain, while the glitchy experimentalism of "Corridor" gets under your skin.

Across the two EPs, vocals are processed and reshaped into other sounds using the sculpture-primed Nord modulars. These '90s instruments have since been discontinued, but remain a staple in the Screen Shadow studio and the upcoming live setup.

Artwork and music go hand in hand, with logo designer Number III (Paul Nicholson, Aphex Twin logo designer ) cooking up the striking black and white imagery.

Emerging this January with a duo of debut EPs, Black (Vegan Tinder Lord) and White (Hexxex) , Ϟᑢrəən ϟHAᗌ/W blends pummelling techno, industrial grit and experimental noise for a mood-spanning sound inspired by everything from Google Street View to visiting the dentist.

The Black EP gleans from the heavier end of the club music spectrum, plunging into a hardcore well of nosebleed kicks and synapse-frying synths that bang with raw dancefloor energy. The White EP pauses for reflection, transforming Screen Shadow's spiky reveries into tightly-woven technicolour dreamscapes.

Track highlights include the humour-spiced, pitch-shifted "Vegan Tinder Lord"—immortalised by its disembodied, Amnesia Scanner-esque voice—and the percussive, hardstyle-tinged assault course of "Scanna Hex".

On it's white counterpart ,"Hexxex" builds on a Drexciyan beat, while "Corridor" explores the sort of glitchy experimentalism that gets under your skin."Vaxuum" and "Time Orphans" mine deep ambient soundscapes, with the former constructed from a grainy loop and the latter built from rich orchestral tones.

Artwork and music go hand in hand, with logo designer Number III (Paul Nicholson, Aphex Twin logo designer ) cooking up the striking black and white imagery.

Dublin's Minos makes his debut on DBA with a rich spread of rollers covering the techno and electro diaspora backed by a Claude Young remix. His influences are techno, IDM and metal, from Downwards to Jeff Mills and Drexciya via Slayer. Originally from a live music background, he was converted to techno after hearing Mills play at the now sadly defunct Twisted Pepper in Dublin, and 'Sorry I'm Late' EP will leaves little doubt that it's Detroit's own brand of high energy, sci-fi sounding techno that inspires his work.

Minos has steadily been making moves in Dublin's fertile underground scene for the past few years as both a DJ and producer. He first released music as Urizen on BRW Records and is a part of Dublin collective wherethetimegoes with a number of other local artists. Never one for sticking to the same method, his production setup utilises both analogue gear and software to create music that continues to build on techno's history while looking to the future.

Claude Young Jr. is universally acknowledged as one of the most respected producers and DJ's to come from the legendary home of techno, Detroit. His best known studio mixes include ... AX-033
Claude Young 'Thoughts Of Phutura' (only official mix compilation for Jeff Mills' Axis Records) and his legendary Claude Young DJ-Kicks Mix for K7!

Berlin-based Frag Maddin bursts onto STRCTR with four hefty cuts. Maddin, whose hard-hitting sound has touched Mistress Recordings, Madhouse Records, W&O Street Tracks and Snatch! in the past makes his way into 2020 in style.



Side A’s lead track kicks of the label’s sixth release; the aptly-titled ‘Industrial Deafness’, is one warehouse-proof, downright dirty jumble of loose 4x4 drums and hardware groove. Nick Behringer’s remix forms its own subtle groove with a minimal house edge – more intimate bar, less cavernous warehouse.



Side B’s ‘Stuhltanz’ has floating flutes, jazz keys and one catchy vocal sample – a weighty kick and bumping bassline brings it together. And the DOS remix takes the euphoria of the special track one step further, adding a warm break and a complimentary sprinkling of acid.

We are proud to present another debut on Axces Records, this time from label head Alfredo92. The A side kicks off with Mimis, an explorative bass driven track with crisp snares and bubbling synthesizers. Next up is the title track Helfand, whose experimental sounds and textures take things in a mystic IDM like direction.
On the B side we Adax_pcp, a hypnotic club cut which further explores complex pulsating outernational rhythms. Finally to seal the deal we have Scalex, a twisted dancehall tune with splashes of futuristic sound design.

Succeeding last year’s collaborative single ‘Feel My Butterfly’ which saw Chicago house DJ/producer Parris Mitchell and Siberian producer-singer-songwriter Nina Kraviz go head to head via Riva Starr’s Snatch! Raw and Dance Mania, February 21st sees the two labels combine once more for a special, two-sided remix package of the stellar ghetto house track featuring reworks from the likes of Jamie Jones, Dance System, DJ Deeon, Radio Slave and DJ Slugo.

‘Feel My Butterfly’ stemmed from Nina Kraviz’s trip to Chicago where she met with Dance Mania’s label crew including their influential selector, Parris Mitchell. The track was birthed from a bout of rare collaborative studio sessions and is their first official release together - their only previous encounter being in 2014 when Kraviz remixed Mitchell’s ‘The Track Stars’, on Berlin-based label Deep Moves.

Assembling a handful of some of the most prominent names in modern dance music, Snatch! Raw teams up with Dance Mania once again to now present a comprehensive remix package of the duo’s acid-laden, dancefloor-ready masterpiece. Providing a touching tribute to the late influential American house artist and Wallshaker Music founder, Aaron Carl, the illustrious Welsh house DJ/producer Jamie Jones kicks things off by inflaming the track’s heavy bass and percussion by adding his own laser-style synths and atmospherics.

Reinforcing ‘Feel My Butterfly’ with helpings of meatier, old school house rhythm, the second remix sees London’s Dance System team up with Chicago house pioneer DJ Deeon to provide the track with some well-placed elevated pace and precision. On side B, the British-born Berlin-based DJ, Radio Slave takes more a of stripped back approach by opting to just few vocal snippets from the original and setting them to a tougher techno-infused aesthetic, whilst on the final rework, Chicago’s ghetto house spinner DJ Slugo redefines Kraviz’s hypnotic vocal lead.

This is the long-awaited second installment of the layer series by Eqwel and Jeff Thompson is to soon come. The fifirst release amd all releases that are part of this series is always minimally processed, using less compression with higher sample rates. The primary side has been cut with Eqwel’s original version, which carries on his style of artistic creativity. The track is layed with hard rhythm’d kicks with illustrious soundscapes incorporating sticky basslines. On the flflipside, track one is Eqwel’s answer to a club banging version of the original creation. This track starts strong and ends strong and the events that happen in between is beautiful and uplifting! This is defifinitely a banger for the clubs, that can be incorporated at the peakest of your sets. The fifinal track has been taken from Eqwel’s ” Audio Telemetry EP “. As always, these tracks are recommended to test and push your sound system!

Paella Hair Sex is the beginning of a new chapter in Alexis Raphael’s musical story. The first two EPs will be from the label boss himself, kicking off with ‘Digital Music Almost Killed Me EP’. Then attention turns to new artists joining the PHS family - please email demos to paellahairsex

Alexis came to prominence in 2011 with his seminal track ‘Spaceship’ and followed with a series of lush, sexy and warm house records that gained universal praise and put Alexis’ sound all around the world with fans from Australia to Peru. As the music and scene evolved, so too did Alexis’ sound becoming somewhat harder whilst still retaining some of his signature elements; references to acid house, hardcore and jungle, deep pads and sweet vocals.

However, by 2016, Alexis had become somewhat disconnected with the path of the music and scene he was involved in. It took a long time to put together what was wrong, but what followed was a three year path to this point now of launching PHS.

A return to and playing vinyl at the end of 2016 was the first step to finding his love again and feeling good about the music. This was followed by a halt to gigs where the music expected from him was different from what he wanted to play and a feeling of disconnect from the crowd. Then came the gradual move away from constant social media output.

The final and most important part of this transition was going back to making music simply without any thought of where it can fit or who can play it, or what label it will go into. In essence this is a return to how Alexis started - making music solely from the feeling inside.

And so PHS returns to some of that more sexy, emotive house music that Alexis was originally known for, but with a fresh sound for the new decade.

Paella Hair Sex is set to be a representation of the music Alexis loves, both his own and other artists.

The first EP: PHS001 – Digital Music Nearly Killed Me kicks off with the main room groover ‘Respect & Belief’ . A jazz-infused bass line underpins chunky rolling beats, punctuated with vocal samples calling for unity and love and laden with floating classical pianos and warm pads. A definite party banger !
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The second A side track “Sex Appeal” references back to Alexis’ original signature House sound. An emotive and sexy track bound to get temperatures rising on the dance floor .

Flip to the B-side and find the after party brother of Respect & Belief - ‘Liberty’. A seminal minute long speech paves the way to the single breakdown moment of the track when lush Jupiter-8 chords make way for an epic moment as the beats drop back in. A unique piece of minimalistic House music for the after hours .

The bonus track, House of Chorge. ends the EP with a bang. An upbeat cheeky groove that stays in your head long after the turntable stops spinning. But who is Chorge.?

Canyons are places of mystery and beauty. The interesting thing is, while they are one of the great wonders in the history of planet earth and attract scientists of all kinds of disciplines, they have also been a popular retreat for artists and musicians. You will have heard of Topanga Canyon, Rickie Lee Jones and Chicago recorded here. Laurel Canyon is even more well known, a mythical place where Crosby, Stills & Nash developed their unique vocal sound while hanging around Mama Cass' place. Or was it in Joni Mitchell's house on Lookout Mountain? Ok, you get the picture. There is something unexplainable, almost magical going on in canyons.

Maybe that's why Andy Platts and Shawn Lee were thinking of "Canyons" when they wrote and recorded their third album as Young Gun Silver Fox. With "West End Coast" and "AM Waves" these two very talented musicians, singers, songwriters, arrangers and producers already explored all things Westcoast, AOR, Softrock and Boogie. But - especially if you are a into the golden age of this sound running from circa 1976 to 1984 - you will be aware that there is no return once you started digging these unconditional musical delights with their timeless compositions, untouchable musicianship and refined arrangements. The great albums from that era appeared when punk broke and the musical establishment was shaken to the ground. Today they sound more up to date than ever. Who would have thought back then?

On "Canyons" Young Gun Silver Fox turned it up to eleven. They are nothing but "Kids" cruising in the fast lane, totally over the top searching for the "Dream Woman", touching down in Tokyo caught in a "Long Distance Love Affair", imagining the theme for a lost 70s TV series starring "Danny Jamaica", being on the winning side in a "Private Paradise", getting deep and soulful in "Things We Left Unsaid" and wondering how to spread "All This Love". Their bass lines, sound layers, brass arrangements and harmony vocals are immaculate. Everything fits perfectly. Just like this. "Who Needs Words" when everything is crystal clear? Exactly!

"Canyons", after all, are magical places of rare beauty. (Mr. Mellow - Porcaroc Club/Mr. Mellow's Sunday Scene/Soho Radio).

We Are The Brave boss Alan Fitzpatrick joins Rekids with ‘Step Away’, a euphorically chargedtechno release featuring two remixes from Planetary Assault Systems.

Having performed across the world at the likes of Watergate, fabric, Shelter and DC-10, renowned UKartist Alan Fitzpatrick has continued to bring driving techno to the forefront of electronic music culture since the early 2000s. With a ream of releases on Figure, Unknown To The Unknown, Drumcode, Hotflush and many more, he now launches into 2020 with his debut on Radio Slave’s revered imprint.

Fitzpatrick’s signature, thundering techno cut ‘Step Away’ opens with spacey toms, industrial kicks, delayed claps, pulsing bass and atmospherically sustained keys.

The hailed Mote-Evolver boss and esteemed remixer Luke Slater serves up two propulsive edits under his Planetary Assault Systems alias with the first remix being otherworldly with reverbed stabs, subtle arpeggiated synths, minimalistic drums whilst the second remix goes into overdrive with analogue beat programming, computerised melodies and a harrowing sub-frequency rhythm.

UFO Inc. starts the new decade with fast, dark improv-techno tracks by the New York DJ, producer and singer Heidi Sabertooth. The four tracks on UFO4 are an impressive testimony to her passion for vintage gear and are the result of an interplay of mainly three machines with which she also plays live: Roland SH-101, Korg ESX2 Electribe and Yamaha DX200 - Sabertooth knows her tools inside and out by heart and tried on this EP to sound as "live" and spontaneous as possible. She plays her machines like instruments and want them to have some life and breath in them because she grew up playing all kinds of wind and string instruments and played in bands many years before she became a DJ. Her approach to making tracks is to capture as much live experimentation and weirdness as possible, while still making something that grooves and kicks on the dancefloor. She is not so concerned about making things perfect, in fact sometimes she intentionally try to disrupt things if it starts sounding too polished or square: ,,I like things to be human. I think you can feel it in the recording when the hands are touching the machine - it is human/machine/spirit connection.?This is why I named the EP as such - With The Void - this is how I like to create: jump into outerspace, into the unknown, with my machines and we all have an experience together - a cosmic electric dance - and that's when I hit the record button." On UFO4 you can definitely hear the fun she and her machines had in the recording process.