Cerca:the producers

British duo, Wayward have enjoyed a compelling 2018 establishing themselves as respected producers with a trio of celebrated EP's including their 12' debuts on both Fort Romeau's Cin Cin Records and Australian based label Beats Of No Nation. They open 2019 with a return to the rapidly ascending Silver Bear Recordings. This time around, they perk up with the stunning Raval EP written whilst living between Barcelona and London throughout the summer. Featuring two originals from the London duo as well as remixes from woman-of-the-moment Nightwave, plus Shall Not Fade and Phonica Records affiliate, Earth Trax.

Debut EP by Serbian producers and record label Chorbika, taking in a crossover of electro and organic dance music over it's 5 tracks.

The songs are a fusion of Marko's taste in electro style and Jelena's roots in rock music and the material they produce is home-made, a product of their everyday life experimenting with sound.

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

Lowell Dunbar and Robert Shakespeare are the renowned Jamaican rhythm section that has worked with a range of international stars, including Bob Dylan, Mick Jagger, Joan Armatrading, Garland Jeffries and countless others. They first came to know each other in the early 1970s, when both were based in rival bands playing in clubs on Kingston's Red Hills Road and started working together at Channel One studio in the mid-1970s, when Sly was musical arranger for the Revolutionaries house band and Robbie the main bassist for Bunny Lee's Aggrovators. After a stint of international touring in Peter Tosh's Word, Sound and Power band, which exposed them to the tastes and markets of overseas audiences, the pair joined forces more concertedly with their Taxi label, producing hits with Gregory Isaacs, Dennis Brown, Sugar Minott and the Wailing Souls. At the same time, as the driving force behind the Compass Point All Stars, they brought Grace Jones to prominence worldwide and made Gwen Guthrie a star through reggaefied disco, and then brought Black Uhuru into the top spot in the wake of Bob Marley's passing. Then, when Jamaican music went digital with the 'Sleng Teng' craze of the mid-1980s, Sly and Robbie made the shift in that direction too, becoming among the most prominent producers as the 80s gave way to the 90s. Dubs For Tubs: A Tribute To King Tubby is a digital dub salute to the King issued shortly after his terrible murder; it is mostly comprised of synthesizer re-cuts of classic Jamaican rhythms, with 'Dub For Joy' being a tough re-working of the Heptones' 'Love Me Girl' and 'Dub To Make You Move And Groove' a take on their 'Party Time'; Dennis Brown's 'Here I Come' is here mutated to 'Dub For Roots People' and his 'Here I Come' anthem shifted into the spongy 'Dub For All Seasons.' An intriguing offshoot of 'Sleng Teng' is among the other highlights.

Music Mania and Indica Dubs is proud to present the eighth release in their Mania Dub series. This happens to be the third LP, following the classic, 'Light Up Your Spliff' (MD003) and new album 'Dubplate Selection Volume 3 (MD006), comes another of the UK Dub scene's most popular producers; Vibronics, with one of their most significant and popular albums from 2000: Dub Italizer. Vibronics, the future sound of dub, have been vibrating the world with bass since 1997. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label.

The album consists of some of Vibronics most signature songs, including Jah Music, Positive Direction and On Jah Side! The artwork of the album cover and labels have been kept as close as possible to the original, with minor edits to remove some unneeded information. The master tracks have been provided by Steve Vibronics for us to ensure the original heavyweight sound!

Silk Road Assassins, a trio consisting of Tom E Vercetti, Chemist and Lovedr0id, return to Planet Mu with their debut full-length 'State Of Ruin' two years after their first EP 'Reflection Spaces'.

The trio recorded over two years, working together to start with, then across different studios and via the internet when their lives became more separated. They also finessed the album at Abbey Road studios, making use of some short time to add in extra layers.

The three producers day jobs are in production music, music designed and created specifically for film and games, and this album uses these skills to explore the musical forms that they love. The album explores how trap and grime's minimalist form can be built and curved into musical architecture: elegant, opaque and layered, turning the sound into lush, melodic world-building.

The work gone into the album is revealed on repeated listens, every sound on this record feels built to sit within it's delicate ecosystem. The fundamentals of the music are given their own sense of purpose: hand claps spray, bells tumble, guitars splinter and lush melodies waft over and fill the track's spaces like light, glinting across snapping, crisp rhythms and deep bass tones.

After their highly acclaimed debut album »Decadent yet Depraved«, Berlin and LA-based producers Belief Defect invited a variety of artists to join their »Remixed« project. The following 12' EP is a first four-track release of this project. The original tracks of the album are only an approximate starting point for »Remixed«. In contrast to »Decadent yet Depraved«, largely conceived in song structures, this EP is about transferring the pieces back into abstract space, and each remixer does it in his very own way. Alessandro Cortini's one-take live recording is a lesson in classical ambient music. Telefon Tel Aviv's remix is timelessly modern and extremely delicate sound design. Rather opposite concepts are coming from Surachai's brutal pattern design and Kangding Ray's expressive and analogously saturated repetitions for the dance floor.

"The "Future Reference EP" see's Deepblak label head AYBEE pushing ever forward into the outliers of electronic rhythms.
Always avoiding convention "The Future Reference EP" continues to expand on the producers affinity for forward thinking dance music rooted in soul expression."

Jaye P Morgan's 1976 million dollar private press featuring the cream of the LA jazz and funk scene and one of David Foster's first productions is finally reissued. Wewantsounds is delighted to announce the release on deluxe LP and CD of Jaye P. Morgan's ultra rare private press originally released in 1976. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind and Fire's album I Am and went on to become one of the hottest producers on the scene. Featuring an extraordinary line up of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. The LP edition will come with the original 4 page insert full of session photos and credits.

With a line-up that reads like a who's who on the 70s Californian scene, this album was a bold move for the singer who had made her mark in the 50s and 60s as a popular music singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer / arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white Soul album with a breezy California feel.

Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as Seems So Long and Earth, Wind And Fire's Can't Hide Love (for the anecdote, Foster, Champlin and Graydon would soon pen After The Love Has Gone which would become a mega hit for Earth Wind AND Fire two years later), together with a handpicked selection of originals, the sound alternates between uptempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind and Fire, Jaye P. Morgan is pure, undiluted Funk music and an essential LA classic which Wewantsounds is glad to make available for the first time.

Split album by Joe Corfield and Slim, two of UKs most promising beatmakers. It's the follow-up to the 'KO-OP 1' album by Smoke Trees and Juan Rios on KO-OP, the sub-label and community dedicated to the art of beatmaking founded by reknown hip-hop label Melting Pot Music from Cologne, Germany.

When we started KO-OP in the summer of 2017, little did we knew where this journey would take us to. Ever since we had the pleasure to work with 21 artists from all over the world and have put out almost 80 tracks on lp, tape and digital. Now we are happy to share with you KO-OP 2 - a split album by two of our favourite producers from the UK: Slim and Joe Corfield. Slim is one half of London rap group Summers Sons. The Sons are signed to MPM where they have released two albums ('Undertones' & 'Uhuru').

In February 2019 Summers Sons will play their first German tour together with Children of Zeus. Slim has released instrumental cuts on KO-OP, Brownswood and Banoffee Pie, plus a beattape on Yogocop Records. Joe Corfield hails from Birmingham and has released a string of albums via Radio Juicy and Yogocop.

He is coming with his very own sound. Futuristic and soulful, with a great ear to detail. It was actually Flofilz' idea to have them both on one record. 'KO-OP 2' will be released on one LP with two individual covers by Rahel Süßkind, a Berlin based artist (and part of Money $ex Records) who is responsible for all KO-OP artwork.

New York residing DJ/Producers John Barera & Will Martin update their longstanding body of collaborative work with their first 2MR release since last year's exceptional 'Proceed To The Root' sophomore album... And it might just be their best work to date. Continuing the celestial theme of their last EP 'History Of Space'; the EP is the result of a whole new writing technique and heller time spent jamming on Will's Chroma Polaris synth. Comprising four tracks that simply ooze machine soul and loose-limbed groovemanship, 'Life, The Heavens & The Earth' is an ageless document that digs deep into the foundations while staring out into the cosmos. The tone is set by 'The Meaning'. Outer planetary electroid savoir faire; its crisp breaks are countered by the bulbous textured bassline throughout. It's followed by the title track 'Life, The Heavens & The Earth'; a spatial excursion built around a classic break and coloured with poignant arpeggiated cascades. Deeper into the EP we glide to strike warehouse gold on the venomous acid of 'In The Depths Of Madness', a layered analog jam that writhes and slinks dynamically in the spirit of Pierre, before closing with a track the duo feel is their most accomplished composition to date: 'Searching For Time'. Not just a title we can all relate to but a poignant emotional workout that touches your soul in the same way you first heard the instrumental of Information Society's 'Running'. Beautiful emotive electronica from a duo who keep getting better with every release. The journey to the root continues....

Continuing on the thematic thread of soundtracking an imaginary short movie, label founder DJ Tennis aka Manfredi Romano, asks some of the greatest contemporary club producers to take on the task of interpreting this idea in their own unique style. Romano explains that 'the score is a translation of our imagination, memories and emotions into music, with no protocols.' Opening the soundtrack, Vatican Shadow swaps his thunderous techno for a more cosmic and gentle approach, setting the tone for an equally serene soundscape from London based DJ and producer Midland. Japanese Future Terror head honcho, DJ Nobu, layers dense cerebral textures exuding the punk spirit of Life and Death. A similar rule defying energy can be heard by Ninos De Brazil who fuse carnival percussions with straight up old school techno. Both Scuba and Uchi bring the futuristic synths of a space age tomorrow we've all been waiting for. German producer Isolee interprets the task with his minimal productions and Italian producer Cosmo closes the compilation with Psychedelic Soundscapes turning into a distorted gabber missile. As the decade edges closer to it's decade anniversary, Romano proves yet again that Life and Death is a label which evolves through each reincarnation of itself, never failing to impress.

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

This collection brings together rarities from well-known artists like Abstract Truth, Suck, Otis Waygood, Freedom's Children, John & Philipa Cooper, McCully Workshop and Hawk, as well as lesser known acts like Buzzard, The Fireflies, The Idiots, Tidal Wave, and The Invaders. Although the South African rock movement of the late sixties and early seventies was not a major commercial success, its participants heralded an exciting new age in South African rock and started a movement aimed at changing the musical tastes of fans in a spectacular way. Stadium concerts became the vehicle for feeding the youth with heavier rock sounds, and behind studio glass were producers like Clive Calder, Billy Forrest, Graham Beggs and Selwyn Miller who acted as change agents to transform conventional pop into heavier 4 to 5 minute songs. The movement's struggle for recognition through airplay remained unanswered and only the true fans of rock knew about their existence. Licensed by the Fresh Music label in South Africa and available on vinyl for the first time, complete with insert and liner notes.

Sticks & Stonez make their debut release on Glitterbox Recordings with the stunning 'You're My', featuring rising star Liv East on vocals. This special 7' vinyl release illustrates the East London duo's capability as producers, taking influence from modern house and disco, the combination of the instrumental horns, slick production and East's smooth vocal makes for a blissed-out record that transports you to hazy summer days. The stripped-back instrumental version also features on the release, offering an insight into how the carefully curated track balances its musical elements.

Sinnamon's '83 NYC boogie scorcher 'I Need You Now' gets the official remastered, reissue treatment - complete with the 'Fierce Reprise' dub mix alongside the accapella, providing essential sampling material.

Marrying the old with the new, 'I Need You Now' is drenched in funk bass slickness and colourful chords, yet embraces a wealth of synthesized sounds from electro sequencers to synth-based strings, giving it that early '80s post disco, boogie feel. Bernard Fowler of Peech Boys fame steps up on guest vocals bringing a deep, R&B tone to proceedings, complimented by the all-female vocal prowess of Sinnamon adding their trademark feminine touch to the track.

First up on the flip side, the six minute 'Fierce Reprise' mix. Reversed rides that suck back into the skull, tape delayed vocals and spacey synth echoes blend together, as elements are overlaid and dubbed out for maximum, heavyweight, proto house vibrations.

Last up, a favourite and much used vocal accapella that's been sampled by a whole host of early house, hardcore and garage producers from 808 State and Criminal House to Ray Keith and Paul Johnson.

An essential bit of kit for anyone with a penchant for that early '80s boogie flavour.

Part II The title of the project is: "An Intermediary Plane of Existence", an in-between world, a shadow zone, two universes, the place between the entrance and exit of a portal. Most electronic music producers probably know the feeling where they, after producing and recording a track they are extremely content with, are suddenly overcome with a slight fear: "what if my computer crashes, what if the file of the recording gets lost somehow and the music gets lost, it's gone forever...". That feeling and the fact that all music, ever written and even the music that has yet to be written, is "somewhere" when it's not
being played or made. It's either written down in notes, stored in
someone's mind, cut into a piece of vinyl, recorded on tape, converted into 0's and 1's hiding somewhere on a hard drive, a cloud, a CD or a USB stick. It's been taken form the place it was before it was made and stored in another place, in an intermediary plane of existence, waiting to be played, to come back to life and listened to again. We wanted to do this various artists album not with just any talented artist, but with people we've met the past years who became our friends and people we admire for their music and personalities. Friendship is also something that most of the time resides in an intermediary plane of existence. When a friend is not in the same room, city or even country it doesn't mean the friendship is not still there. If you've never even met
someone in person, it doesn't mean you can't be friends. Even if you haven't spoken to your friend for a long period of time, it doesn't mean the friendship doesn't exist anymore. The same goes for love I believe.
Some people you will never stop loving, alive, or dead. Both owners of P-RT-L lost their fathers within a week from each other last year, but I also know people who haven't seen or spoken to their dads or moms in over a year, yet somehow it feels completely different not seeing someone for a long time if you know a person is still alive, even though it's not sure you will ever see him or her again. Their dads went back to the place they were before they were born and they will never come back the way they knew them. Just like all music that went lost before we as humans had the ability to write it down, store it on a medium or pass it on otherwise. That exact music, just like their dads, is lost forever. I know this will probably sound a bit too philosophical for some of you readers, but it's something that keeps me awake at night, sometimes. This albums is a way for us to celebrate the fact that the music on it, will never be lost because we as humans have found a way to store and contain it in a place where we can easily reach it, for ever. We hope you will enjoy the music! P-RT-L Featuring artists: Alex Bau ,AnD,Anouk De Vos, D-Leria, Daniel Kane, Dasha Rush, Frame Six Micol Danieli

Don't Bite Records are happy to announce the release of producer/rapper Tom Dice's solo LP. The witty title has been more than prophetic. These are not just rhythms of Dice but rhythms of life. Reflection, auto biography and idiosyncricity are abundant, as shown on the final track, 'Irrepressible'. 'Put on a uniform, conform, consume, dance to another man's tune that's off key. That never was and never will be the essence of a man like T.o.m D".
From 'The Death of Me''s dark refrain 'How ironic I died from a shock electronic.....clutching at the MPC, finally..... music got the better of me, the energy', we know that Dice is fearless in pushing the envelope and the boundaries of what can be lyrically possible. However Dice acknowledges his influences and the importance of their recognition on 'Authentic'.
On 'Tears Run Dry' Tom touches on feelings of alienation: 'I'm not a loser cos I can't win, I'm just an outsider still looking in' whereas on 'Feelings' he examines the connection between emotion and physical feeling. 'Feelings- computers don't have it, they try to emulate that basic human magic'
On the LP Rhythms of Dice and particularly the track 'Rhythms of Dice' he is rhyming from a producers point of view. 'All you guys who do like 6 tracks a day...how good are they You need to focus your mind or really just stay...wondering....You heard my beat in a studio and just wandered in'
Tom is ably assisted by long time collaborators/ label mates The Phantom and Jumpsteady. While he explores the exploitation of the thug genre on 'Thug killer', he also comes with a new style on 'Interchange' where he and Jumpsteady rap the first 4 bars of each others rhymes causing 1, seamless, verse. We hope you enjoy this tenth release from Don't Bite Records which continues to strive for individual style and originality and embrace our motto that "Only pirates take that which is not yet theirs!"

London based Grime MC and Producer Jammz continues to build upon his I Am Grime Imprint, and once again caters to his instrumental fan base, with the instrumental release of Warrior 2 (on Vinyl only). Written and produced in 2017, this release stands to be the most well rounded body of work Jammz has released yet, and shows Jammz's growth and development as one of Grime's most promising mainstay producers. In recent years Jammz has managed established himself as a very sought after producer, with previous releases such as Keep it Simple & the world being underground favourites (of both fans and DJ's) which have managed to remain in rotation even today. Once a part of 2014's 'pirate radio renaissance', Jammz has also managed to infiltrate his way into the playlists of DJ's such as Sir Spyro & Logan Sama (amongst others) who always have a Jammz instrumental to hand. Yes - I Am Grime is the label, however Jammz takes this opportunity to explore the boundaries of Grime, playing with a range tempos and influences on this EP, with music ranging from 130BPM to 150BPM. Songs like 'Everything Dead' nod to Jammz's Jamaican and British influences, with minimal weighty baselines and vocal stabs, whilst songs like the 'Intro' and 'Interlude' see Jammz experiment with the idea of Grime without drums or percussion. B side tracks like "Set You Free' and 'Play That' nod back to an earlier era of Grime and Garage; with simplistic brass-backed riffs and vocal chops. Additional production credits come from the likes of Sebastian Sartor, Bristol favourites Joker and New York Transit Authority, USA's Collapsing Scenery and Jack Dat who also has his production hat on for the occasion. Over the last 3 Years Jammz has spent his time building his I Am Grime Imprint, which is fast building a reputation for releasing sought after releases. With a newly announced Rinse FM residency and a brand new line of merchandise - it's safe to say Jammz isn't going anywhere anytime soon.

Following the success of 'Stellar Tunes', Italian maestro A Credible Eye Witness and his partner in crime Ghost Ride have returned into the studios to bring you this very special phenomenon. Top notch 'Random Research' introduces four tracks of pure electro madness, starting off with well named 'Synthesis', a fusion of both producers creative talent into one of a kind track that celebrates their immoderate taste for mind blowing electro modulations! Pounding 'Magnetic Force' offers a powerful electro monster based upon hammering beats and hypnotic vocals. A pure Dj tool, perfect to drop in the middle of set exactly when you want to lead your crowd into harder areas. Textured 'Metis' on the flipside continues where 'Magnetic Force' stopped to offer more psychedelic and urban melodies. Combined to a groovy bass line, the track appears to be a real winner while 'Leda' slows down the rhythm for more relaxing and no-nonsense electro tinted with acidic loops. The 'Random Research' EP sees two uncompromised artists explore uncharted territories, unusual dancefloor paths to take the listener to a higher level of electro. A must have 12'' ahead of its time, even better than 'Stellar Tunes'. Are you prepared enough for that

Following a first compilation in 2016 and a series of parties, Rinse France & Piu Piu join forces for the first release of her own label : Grooveboxx Records.

Together, they present 'Memorias', the first EP of her new imprint.

Quite explicit through its title, Grooveboxx catalogue stands for an exploration of the grooves across its modern shapes, it embodies the quest of trance throughout music and question the body and the individuals on the dancefloor.

The first release is composed of 5 percussive tracks from producers and DJs Aleqs Notal, Myako and Geena.

All tracks are exploring samples coming from the Musee du Quai Branly's ethnos collection along with some some field recordings captured in a garden in Paris where south American tribes were exhibited during the ""Universal Exposition"" in Paris.

With Salvia Cosmica Myako takes us to a progressive voyage surrounded by all kinds of spirits whispering melodies to our soul while the tribe's marching band marks our footsteps with its strong percussions. Enter the forest.

Influenced by Chicago & Detroit, house producer Aleqs Notal graces us with a percussive jam baptized Finger Prints.
6:45 of pure rhythmics honoring the roots of the music its been sampled from. The rite begins.

La Dansa Del Risa is a conversation between birds and humans overlooking at the tension one night in the forest can impose on our western fears of nature. Stay close to the flames.

Antinote senior, Geena blesses us with Selva Spirit, a slowjam reverie filled with eerie pads and peculiar drum sequences.
We're almost there.

Last but not least, Jungla Encantada seals the EP with a deep wisdom and mastership of the jungle's best kept secrets. It's slow pace and flute melodies appease our senses while mysterious dialects becomes our native language.

The journey is complete.

Itgr004 "from Da Neuf Trois" Avorton Ep Remix. Is The Ep Remix Of The First Ep Of Increase The Groove Records. To Support The Occasion, We Used Some Of The Finest Producers Of The French House : Joss Moog, Braque, Aurelian Aka
Km3 And Adjus & Pilote.





Remix)

A special and personal release for Verdant Recordings as label boss Andy Green curates some favourite producers onto a double pack of deep, melodic techno with dub overtones. 'Verdant' is fusion of colours and sounds to fall into maintaining the labels now established aesthetic Presented in full printed sleeve with artwork by Ulf and Fleur - first 100 copies contain unique and individual art by them.

SWINGTING017 is a bouncy JA-to-UK bashment banger that features a hefty combination of producers and vocalists from both the Equiknoxx & Swing Ting camps. The tune finds each artist at their most playful, riding the sparkly, jiggy riddim impeccably.

Jump to the Bar was built and voiced in two days at London Bridge's Red Bull Studios, late Summer 2017.

Day one involved Gavsborg , Time Cow , Platt & Samrai arriving from various residences of friends and family in the vicinity of the English Capital (shout to the Epsom crew). Alway early-birds, Gavs and Cow set to the task on various machines and available gear to construct the rough instrumental, with Platt & Samrai assisting on percussion and programming. Soon lush synths, tough kicks, flanged hats, grimy bass and snappy claps were combining neatly and the backdrop was set.

Day two featured Kingston's queen of the cool kids club Shanique Marie flying straight into the big smoke to lay down a witty hook in minutes before earning a lie down on the sofa. Original Brum-town don RTKal rolled in from the West-Midlands (driven by Farda Neeko) dropping a one-take freestyle (egged on by an excitable studio gathering including Randy Valentine, Mr Williamz & Specialist Moss) that later became his verse and the pre-chorus. With the clock ticking on the session, the flask was neatly passed to Mancunian stalwart Fox for the final flourish, giving shouts to buckfast tonic wine & organic herbal treats.

Supported by Toddla T (Coldest Record), Jubilee (BBC Radio 1 Residency), Chal Ravens (Top Flight), Max Glazer (Federation Sound Radio) as well as being added to Spotify's Dancehall Official Playlist.

The Tel-aviv Based Label Parallax Brings Yogg And Pharaoh Together For Their 8th Vinyl Release.
It Starts Off With The Epic Title Track, A Laid-back Bassy Groove Surrounded By Crispy Hits And Shifted Electrical Noises, Building Up To A Climatic Second Part Which Fuses A Lot Of The Producers' Unique Soundscapes, All On A Hypnotic Pounding Rhythm Section.
This Is Followed By A Quirky Broken Electronica Short, ompti', Chopped-up Modular Sweeps And Lush Melodic Hints Create This Uniquely Structured A2 Track.
The B-side Starts Of With maurice', A More Direct And Intensive Techno Cut, Which Also Breaks Into An Energetic - Wobbly 2nd Section Which Also Features Many Of Their Unique Sound Explorations In A Dramatic Final Section.
B2, abadei' Has A Deeper Buildup Approach For Most Of It, Starting From A Pure Yet Uneven Rhythm Section, And Growing Into A Mass Of Counterparts And Layers Of Noise And Crackle.
The Ep Ends With An Unlisted Locked-groove, An Intense And Dirty Industrial-techno Groove.

For half a decade, Doncaster deejay Parly B has been a fixture of the UK and international sound system scene. His first album on Glasgow's Scotch Bonnet Records, Lyrics Spree, builds on 2016's EP 'This Is Digital'. Blessed with a voice as deep as Bounty Killer's, a crowing gimmick reminiscent of the great Dennis Alcapone and a bottomless bag of verbosity, Parly is the complete microphone talker. He rides a shopping trolley load of digital rhythms by likeminded producers - including Danny T & Tradesman, Stalawa, Interrupt and Mungo's Hi Fi - ranging from upbeat celebratory skanks to sweltering body winds. Tracks include the exuberant 80s vibes of the title tune, the brass-driven UK sound of You Mi A Look featuring fellow Mungo's mic man Charlie P, and the moody reality chant Skylark. Lyrics Spree is infectious, verbally dexterous dancehall, spraying lyricism in your direction

* The third of the Death To Digital EPs drops hard. This one, like the first two, aims to provide a selection of distinct and varied old skool tunes, from producers with very different approaches and sounds, but very similar attitudes. Wislov just gets better with every release, and his track The Time Is Out is certain to put a smile on your face. Meanwhile, KF label stalwart Dj Deluxe FINALLY gets his KF Radio anthem 'Glorious' released, and what a wicked tune it is. Apparently the sample has something to do with wrestling, but dont let that put you off, its glorious all the same! Recent KF signee Abyss displays his rare talent for touching that sweet spot between drum and bass and jungle, that era of The Invisible Man and LTJ Bukem, when the atmosphere, bass and breaks were where it was at. Many attempt this style, but Abyss has it perfected, and Falling is like a 95 classic you have never heard until now. And of course, Shoreman, hot off his Deep Waters EP, shines super strong with Growing Stronger.

One thing The Vryll Society aren't short of is admirers, Lauded at just about every turn by press and public alike, the release of their debut LP for Deltasonic Records is hotly anticipated thanks to the promise this band have shown through their live sets and recent single releases.

Discovered and nurtured by the late and much missed Deltasonic founder Alan Wills, they fitted the type for him perfectly. He instantly saw in them similar attributes he'd previously found in the early days of The Coral and The Zutons. The confident swagger, the solid union formed by their band-of-brothers gang mentality, their willingness to stand outside the conventional and often stifling jangly Liverpool scene, and the work ethic. Always the work ethic.

Wills instilled in The Vryll Society something which has become over the ensuing years a key element of what they are, what they've become, and of the music they produce. He gave them belief. A belief that hard work and determination will bring them to the place they wanted to reach.

'Alan taught us that all you need to conquer the world is a rehearsal room, your instruments, a good work ethic and a positive attitude and you'll get there. He kind of taught us the rules and the attributes that you need to have to be successful so we've just continued on that path' says frontman Mike Ellis.

Ellis has stated that it was that attitude and that work ethic which got them through the subsequent tragic loss of their friend and manager in 2014, driving them forward through those times, propelling them to harder work, and bonding them even closer together as a unit.

That unit have spent the intervening time creating and honing their own brand new-psych sound, and building up a fanbase with their superlative live shows. Drawing from an eclectic palette of influence from deep funk to Krautrock, electronica and prog, they've created a heady, intoxicating, pin sharp, and tightly wound mellifluous groove, washed over with cyclical motifs, acres of effects laden guitar hooks, and shimmering, textural technicolour soundscapes. It is at once blissful, dizzying and madly infectious. It's that eclecticism, that kaleidoscopic swirl of influences which brings together hip hop flavours, with the prog stylings of names such as Aphrodite's Child and The Verve - pre Urban Hymns - when the drugs were still working. The dynamic leaps and folds through all these influences is where you find The Vryll Society's own brand perfect pop. Its all there in the loops, in the hooks, the drive and the vibe of this unique band. But this isn't frippery, these aren't throwaway cheap thrills for our disposable times. No, this is heavier. This is music too feed your head.

Live too, The Vryll Society are a formidable force. That gang mentality binds them together over the ideas formed by spending long hours together in the rehearsal every day. Hotwiring these ideas into the heads of the crowd through extended psych jams and deep solid grooves gives a different show every time, and with each and every set, the offer gets better. Recent travels have seen them take SXSW 2017 by storm as guests of BBC Introducing as well as major festivals such as Glastonbury and Leeds/Reading.

The songs that fill the delicious grooves of Course Of The Satellite weren't so much written as devised or developed, brought together organically over months in the band's underground lair, or over weeks in Liverpool's Parr Street Studios. Working closely with producers, Wills' right hand man and Deltasonic brother-in-arms Joe Fearon and Tom Longworth, the album took shape organically, biding its time and finding its way. The result is a work of impressive confidence and stature. It's a record that believes in itself, and for all the right reasons. This is an effortlessly cool album, the sort of record that makes friends easily. The world is ready, willing and more than able to take The Vryll Society even deeper to their heart. The path Alan Wills showed them awaits. It's a path that leads to greatness.

a1 | Course Of The Satellite
a2 | A Perfect Rhythm
a3 | Andrei Rublev
a4 | Glows And Spheres
a5 | Tears We Cry
a6 | When The Air Is Hot
b1 | The Light At The Edge Of The World
b2 | Shadow Of A Wave
b3 | Soft Glue
b4 | Inner Life
b5 | Give In To Me

Young Cosmonaut Having Decided To Fill The Silence Of Space With Ethereal And Dreamlike Of House Music, His Productions Resonate Throughout The Cosmos.
Very Young, He Dreams Of Interstellar Travel Through The Broader Electronic Music. He Left The High Reliefs Of The Alps To Prepare For New York And Began Producing Hip-hop Under The Pseudonym Kayloo. Quickly Recognized In The Industry But Initially Inspired By Producers Such As Pepe Bradock,
Janeret, Hugo Lx, Kink, He Does Not Forget His Dreams Of Stellar Conquest And Now Comes Back To The
House Music.
His First Space Mission Will Take The Shape Of A Self-produced Ep In Vinyl Format To Be Released At The
Parisian Distro, Syncrophone.

Eastern Bloc Warsaw is a new Polish record label founded by Piotr Klejment, based in Warsaw, Poland - the first country in Europe where the transition from the communist system to democracy took place. It is a definition of desire for freedom combined with respect and a sense of belonging to places. The main goal of label is to promote music and artists from former Eastern Bloc.

Piotr Klejment started music journey as a DJ in 2005. His DJ sets mixed together very disparate styles. Years ago, along with friends, he founded a group called Underground Perception. They invited a lot of prominent artists (for example Juan Atkins, Kevin Saunderson, Joey Beltram, Marcel Dettmann) and gave them a chance to play for the first time in Poland in the legendary M25 Club. He stayed there as an artistic manager and resident for three years. His two first releases appeared on Technosoul Records (also a collective of DJ's & producers from Poland, which member he also was). The releases came out with remixes by Perc, Sleeparchive and Polish techno legend - Echoplex.

Photography on the cover of EP 'Midnight Confessions' shows authentic Warsaw bloc .

Bristol-based producer Drone finally makes his bow for Coyote Records with the release of new four-track EP, 'Light Speed'. Written over the first six months of 2018, 'Light Speed' forms Drone's most accomplished and absorbing release to date, bringing new textures, layers and depth to his music and to the club - a space where his beats have been a mainstay in the sets of producers like Kahn & Neek since debuting on Hear Other Sounds in early 2017. A regular at Coyote's Bristol parties over the course of 2016 and 2017 and inspired by the clinical, freeze-dried grime of label contemporaries like Last Japan, as well as Sector 7 bosses Boofy and Lemzly Dale, Drone has probed, honed and developed his sound to marry the raw impact of his early beats with detailed, widescreen scope. There are nods to the soundsystem culture of his new home city of Bristol on the coarse textures and booming, dubby low-end of 'Narroways' for example, while title-track 'Light Speed' captures the icy, shimmering Coyote sound aesthetic in full view. B-side tracks 'Probiscus' and 'Fangz' continue this theme apace, bleeding into one another like patchwork to showcase a grime sound moulded by the club, but finessed away from it. Born in Hastings, Drone has spent the last three years studying Music Production in Bristol, during which time he's guested on Rinse FM, released on London's Hear Other Sounds and Boofy and Lemzly Dale's influential Sector 7 imprint, as well as self-releasing a limited edition USB - comprised of a slew of unreleased beats - in February 2018.

Moodmusic is ready for release number 200! After more than twenty years of output and dedication the label is now more than proud to offer the next release underlining the history of Moodmusic. For catno. Mood200 we gathered together three outstanding artists who follow up their first release under the name MKS. We are talking about none other than label boss Sasse himself, Sandrino and Langenberg. After the great success of the first MKS release it was only a matter of time till the three producers come back with some more black gold. The main track 'II' is coming on vinyl. Onesided for your pleasure.

London's FYI Chris joined Toy Tonics!

After releases on Rhythm Section, Church and West Friends - the 2 DJs, producers and record shop dons from London/Peckham chose the German Toy Tonics label for their next release.
The guys know what's fresh in club culture. They been store managers at one of London's coolest record stores: Rye Wax/Peckham for the last 2 years. And they are becoming one of the most interesting names of the post-house scene of London.
Their first encounter with Toy Tonics was though label boss Kapote. They quickly realized that there are big similarities in their musical vision and way how dance music should develop... so what makes more sense to make an EP together

So here it comes: FYI Chris next level electronic funk music! MPC style.

Have fun!

This is the second release from the Parisian label Aperçu, which has uncovered European producers for this compilation featuring 4 titles.The story of this compilation came about gradually, with one thing leading to another as the artists involved met up all over Europe and their musical affinities became apparent. Two years after their EP Stara Zagora,Metshka and Roman Delore are issuing the second release of their label, Aperçu, promoting three producers well deserving of attention. Ben Kaczor, the resident DJ at the legendary, intimate Elysia Club in Basel, Switzerland has his own label, KCZ, and is an adept of dark, sharp-edged sounds such as in 'Navel,' which plays out like a hypnotic, melancholy adieu but with well-defined kicks.Temiri, a native of southern France having spent time in Berlin, now lives in Switzerland as well. With the Swiss mountains and Geneva's rave parties shaping his sensibility, he created 'Love Intentions' - a soft gift to the world. HiromaKeo, a Lisbon-based French producer, champions a wide-ranging, contemporary approach to electronic music. After three years spent comanaging the collective and label ESITU (between Lille and Brussels), he has started a new project in Portugal: Vilamar. In 'SonheiContigo' we find his signature precision and the Japanese influences he likes.
Last but not least, Metshkaand Roman Delorecontinue to appear at parties and events in Paris and to work on hybrid events through their Pauza collective. At the crossroads of techno, ambient and experimental music, here they give us 'Ocre,' a work of slow violence.

Few producers can capture atmospheres and moods like Heinrich Dressel. The Minimal Rome boss left jaws on the floor with his first appearance on Bordello A Parigi, The House of the Rising Synth demonstrating the breadth of this Italian musician's sound. Now Dressel returns, this time with a full eight tracks for Lost in the Woodland. In this analogue forest anything is possible. From the whimsical resonance of the title piece, a sonic pathway through a verdant soundscape is laid. Gentle melodies caress and embrace before the road bends into shadows filled with dramatic twists and unseen dangers. Romantic moments are juxtaposed by triumphal chords and daring drums signalling immediate panic or outright victory. This is a woodland of divergent emotions, one where sounds give way to feelings and where Heinrich Dressel is the piper leading his followers through what can only be described as an unforgettable journey.

The journey continues... deeper into the unknown universe, stretching the seams of time and space.

The maiden voyage for this new label out of Birmingham was a success. The second release is a collaborative effort from Nicky B (Simple Elements/HOG) and fellow Brummie, Anthony Ellis - working together as Koheziv Mindz.

The tracks are the result of years of tuning in to the sounds seeping out of the speakers in choice local clubs and buying the latest imports on vinyl from Europe, Chicago and Detroit.

The day-to-day living in Birmingham has certainly etched into their creative consciousness, the hustle, bustle and alien like chorus of a vibrant environment resonates through their work, from a city that never sleeps.

Emotive, incredibly lush and shot through with the kind of romanticism displayed in the work of second generation Detroit pioneers Kenny Larkin and Carl Craig. This is a glimpse through a keyhole, a snapshot of two producers taking steps into a bigger world, a whole galaxy.

There are two remixers on board, hand picked to see how the artists would interpret the originals - Darren Nye (Firescope/polarity) and Mihail P (Verdant Recordings/Distant Worlds)- both artists add weight to their already impressive back catalogue of work and display why they are hot and tipped for the top.

Submerge your mind into the rich celestial tapestry of sound, safe in the knowledge you're among good company.

The title track NEPTUN is filled with creaky, deep dub elements while the Exercise One remix of LEISEWEISE surprises with crispy sounds and an odd but beautiful ending. Both tracks showcase the artist talents: straight-forward technoid beats and lovely melodic structures.
As a part of Berlins after-hours club and art space SISYPHOS, the label SISYPHON is a platformfor musicians / producers and combines the hedonistic wild-life of the club and the impulsive sets of its resident and guest Djs. SISYPHOS reflects the DIY principles and alternative lifestyles of the owners, team members and artists who created and continue to re-invent the club.

As A Part Of Berlins After-hours Club And Art Space Sisyphos, The Label Sisyphon Is A PlatformFor Musicians / Producers And Combines The Hedonistic Wild-life Of The Club And The Impulsive Sets Of Its Resident And Guest Djs. Sisyphos Reflects The Diy Principles And Alternative Lifestyles Of The Owners, Team Members And Artists Who Created And Continue To Re-invent The Club.

The seventh volume of Drumcode's annual A-Sides compilation hits with no less than 10 debuts for the label, with Charlotte de Witte, ANNA, B.Traits and Scuba's SCB project, among the collection of topline artists to release their maiden productions on the imprint.

Over two decades into its lifespan, Drumcode keeps evolving and excelling, pushing techno forward while remaining wholly respectful of its roots. This reputation for progression was further fuelled this summer with its inaugural festival at the NDSM Docklands in Amsterdam, featuring a long list of heavyweights including Nicole Moudaber, Joseph Capriati, Amelie Lens and Ida Engberg, among others.

As ever, the A-Sides compilation provides a timely opportunity to showcase the full range of its sonic repertoire, with Adam Beyer scrupulously selecting unreleased tracks that have taken prime position in his sets over recent months.

Formidable duo Dense & Pika kick off part 5 with their powerful composition 'Lemur' renowned for their standout studio output they consistently conjure up a unique take on their distinct sound. Tastemaker's favourite Jel Ford makes a welcome return to the fold as he ushers in techno rhythms with bustling breaks with his track 'Nightshade'.

On the B side resident DJ of the infamous GZG parties in Holland, Man With No Shadow supplies his rave infused twisted cut 'Manilla', where his warped bass combines with shattering breaks & heavy weight drums.

Lastly, Locomatica & Blaukoma present 'Unfold' a brooding techno workout with crisp drum programming that features a euphoric vocal bursting with emotion. Set to cement these two producers as acts to keep your eye on in the near future.