Search:tune up

2018 played host to a bumper crop of sounds from some of Philly's grittiest, including Great Circles mainstays M//R and Chaperone. To close out the year that was, we are pleased to present Heckadecimal's 'Murder Tape.'

A Minneapolis-based producer and acid auteur, Heckadecimal has been a fixture within the vibrant Midwestern electronic music community for nearly 20 years. Founder of the legendary 'Anti-human' events and co-curator of the ever-prolific Always Human Tapes imprint - alongside Ryan Wurst and Peter Lansky - Heckadecimal's reputation is one of unrelenting creativity and tireless advocacy for sonic experimentation. His work has found its way to light via a slew of pseudonyms and stage monikers, including The Worm, noface and Wonder Sirens.

In short - Heckadecimal lives and breathes the sonic matter that he leaves pouring out of studio monitors, busted bar systems and finely tuned rave stacks, wherever his travels take him.
Live performance lies at the core of Heckadecimal's practice. When he stormed through Inciting HQ in Philly earlier this summer, he took command over an arsenal of hardware that reminded us of how Octave One or Shawn Rudiman might show up. These were machines that he had lived with; touched with custom modifications, hand-drawn stickers and pockmarks incurred in battle, one got the sense that the gear was a personal extension of the artist.

Perhaps it's a bit maudlin, but we feel a certain kinship with this project. Indeed, these tracks at times feel very much of a piece with the gnarled tonalities in which our stable typically traffics; all low-slung riddims that reach at equal lengths towards mutated IDM aesthetics and post-Packard Plant techno extrusions. These are future perfect grooves that glide along under the vast Midwestern sky, providing a fertile communication conduit with the City of Brotherly Love.

Give thanks for acid. Great Circles will see you in the New Year..

2019 will kick off in style at Blumoog music. Catalogue N.009 District Omega ep is a classy blend of electronic house and techno beauty. One of the key players in the development of electronic music scene Dan Curtin, joins Blumoog for another fine project. With over 70 singles and 9 LP's to his name Dan brings all his valuable experience into this number by chipping in 3 tracks out of 4.

A1 Pay to win, is an intricate, driving and bass heavy techno floater with a refreshing feel to it and with a couple of suspenseful breaks. M.R.E.U.X loved Pay to win and did a superb job remixing it on A2, a darker and more sequential approach redefine this tune but maintaining the heavy bass line. B1 District Omega is a percussive and uplifting 6 minute of upbeat house with crafty voice inserts. B2 ends this ep with a lovely jacking and jazzy house bomb with some virtuoso solos that will make you go wow!
Dan certainly knows how to tweak those knobs.

All the hard work is paying off for M.R.E.U.X with his Blumoog concept by releasing material that defines the musical evolution and contribution of techno veterans. Excellent work Dan and M.R.E.U.X! More to come in 2019 from Blumoog Music.

ad ass a-side with this long progressive tune of acid cheap kick... that can sound really good on a sound system, but soudns so low-fi on a HiFi^^... The flip offers 2 jewel of minimalItalian hardtek. A rising style that gonna boost the dancefloor up to crazyness ! MASSIVE IS THE LAST TUNE !! SOLID SHIT BABY !!

When Dunham Records/Daptone producer and musician Thomas Brenneck first heard the close family harmonies of the Sha La Das he had a revelation; he knew he had to get it on tape.



Direct from Staten Island, the four Schaldas, father Bill and sons Will aka Swivs, who also toured the world playing keyboard for Charles Bradley and his Extraordinaires, Paul of Paul and the Tall Trees and Charles Bradley and his Extraordinaires, and Carmine had come into the studio in Brooklyn to record background vocals on Charles Bradley's Victim of Love. It was a passion that drove Brenneck from the very beginning.



'Hearing them sing together in the studio was incredible', says Brenneck. He collaborated with Bill Schalda writing songs and applying harmonic sensibilities rooted in doo wop, blues and soul. It wasn't a stretch for Bill, after all he'd been second tenor when still a teen in Brooklyn vocal group, The Montereys in the 1960s (their 45, Face In The Crowd/Step Right Up on Blast records sells for $500 these days) who would play venues from neighborhood bars to the 1964 World's Fair in Queens.



'Bill is the genuine article, just like Charles Bradley and Sharon Jones, he came directly from the source,' says Brenneck. Indeed, Bill Schalda was right there amongst doo wop and r&b groups of the era, singing Moonglows and Flamingos tunes.

'You'd go out on the street and constantly hear a bunch of guys singing on the corner, they'd finish playing handball in the schoolyard during the day and then they'd start singing at night,' says Bill. 'We were all just guys in the neighborhood in Brooklyn, who gradually found each other.'



After their children were born, Bill and wife Linda moved the family across the Verrazano-Narrows bridge to Staten Island. Growing up, sons Will, Paul and Carmine remember summer nights singing group harmonies on the stoop of their home with their father Bill guiding them. 'He would bring us out on the stoop on Staten Island and he would teach us each parts of say, the sesame street song - we were his backing group very early on - that was fun,' says eldest son, Will.



On this, their debut, the talent is harnessed in 11 songs, each tender-voiced delight delivered with absolute conviction combined with musicians that have help define the Daptone/Dunham Records sound including Brenneck, Homer Steinweiss, Dave Guy, Leon Michels, Nick Movshon and Victor Axelrod. 'I wanted to take the Sha La Das outside of the doo wop genre,' says Brenneck. 'To take the whole vocabulary of doo wop harmony and reapply it to soul - so you get super soulful harmonies along the lines of The Manhattans & The Moments.'



From the opening atmospheric guitar strum of Open My Eyes via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of Carnival to the sublime crescendo of harmonies of the winsome Love in the Wind, each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic.

There's something special when a family can meld voices in close harmony. The Everly Brothers had it, The Beach Boys had it, the Schalda's have it.

Following up on their debut full length release, 79.5 drops a new and revamped version of their dance floor classic "Terrorize My Heart (Disco Dub)". A tune that leaves no room for gray and finds the ladies of 79.5 walking the line between vulnerability and forthrightness. Setting out with admonishments of love and infatuation that are quickly checked by the bluntness of women who've lived in the Big Apple for years, 'is it her or is it me, that's how it's gotta be'. Remixed and remastered with a new intro for the DJs, producer Leon Michels and engineer Jens Jungkurth managed to take an already smash of a tune to a higher level. For the B side we enlisted one of underground hip hop's brightest stars, Tall Black Guy. His 'Bounce Remix' of 'Terrorize My Heart' is just that. The Detroit producer takes the tune to a different level and turns it into a monster of a head-nodder. Loose drums and chord stabs provide backing track while vocal samples through out keep the track super hype. An easy dancefloor killer for the Hip Hop / R&B jocks.

If you read the name Shankar you may right away think of Ravi Shankar, the grand master of contemporary Indian folk music who was very popular in the 60s due to his connection with the music industry in the United States despite staying away from the pure pop music by maintaining his classic sitar and tabla style ragas to express himself musically. Ananda Shankar used to be his nephew who also made a journey to the USA to gather inspirations from rock artists like Jimi Hendrix among others. His first album from 1970, a conglomerate of classic Indian folk tunes and instrumental versions of the hottest rock songs of the day clothed in a veil of sitar melodies and backed up with tabla drum grooves, was an attempt to combine the spiritual approach of his cultural origins with the light minded blissful attitude of western psychedelic pop music. It worked well in the sense that it is still, nearly fifty years later on, a groovy little album that leaves nobody sitting around at any random hippie party. He took a five year break from recording to create what should become his second album and this is what I am about to present to you now. The cover-tunes were replaced by all original compositions with a lush instrumentation that features the typical sitar, tabla and bowed string instruments such as sarong and sera arrangements mixed with sounds that have a definite western origin such as rock guitars, Hammond organ and moog synthesizers plus full drum kits that take care to enhance the actual groove. Psychedelic rock, raga, fusion-jazz and funk flow into each other quite naturally giving birth to something fresh and exciting I would label as Bengali pop'. The borders between eastern and western music get abrogated here. If it was not for a few deeply mythical chants on a bed of drones here and there you could not even tell this was a record by an Indian artist. This album is quite accessible most of the time and comes with a certain slickness that makes it easy for the listener to understand and appreciate what is going on. Still there is the other side of the coin, the depth pop music often lacks. So in the end this might have been too far out for the average western mainstream fanatic back in 1975 when disco began to rule but it is an awesome sound trip for fans of psychedelic dance music like INCREDIBLE BONGO BAND and all eastern influenced popular rock.

The Lemonheads' first record in 10 years!
Covers album - Includes versions of Nick Cave, Yo La Tengo, The Bevis Frond, Eagles and more.

Extensive world tour over the 12 months, including Europe, USA and Asia. Banana scented scratch & sniff vinyl sleeve!

'The Lemonheads are no strangers to a cover, the grunge-pop heroes perfect the art.' NME

The Lemonheads follow up the critically acclaimed 'Varshons' from nearly ten years ago with another eclectic collection of covers.
Produced by director Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones), their tenth studio album brims with the slowly-matured vocal of Evan Dando as he lures a host of personal faves to his melodic lair. He really has become one of the great expressive singers of our time.
What they said about Varshons:

'Gram Parsons, Wire, and GG Allin: You'd be hard pressed to find three more disparate rock acts, yet on 'Varshons' they all sound like the Lemonheads - boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor.' Pitchfork

'Varshons 2' is a hokey jukebox filled with unique versions of Yo La Tengo, Nick Cave, The Bevis Frond, NRBQ, The Eagles, Paul Westerberg, The Jayhawks, Lucinda Williams and John Prine.
Like Hank Williams slumped in his car between gigs, strumming and hollering, reasoning and weeping, humming it on over, Evan and his Lemonheads make every tune their own.

A Credible Eye Witness teams up with enigmatic Ghost Ride to create a new aesthetic and musical identity to his ACEW project. Loud yet energetic "Stellar Tunes" introduces four dancefloor electro cuts characterized by European noir tones and US funk sororities. From the Detroitish influences of opener "Sound Odyssey" to the ultimate 90's groove of synth pop 'Political Collapse', passing through the cosmic analog style of emotional "Purple Sky" or the hammering vibes of psychedelic "Obsidian", the 12' brilliantly combines acid abstract sounds, experimental and structural elements that underline the mastery of Emilio Urbano in developing original and intricate electro music. 'Stellar Tunes' sees the Italian moving on a bit from his first productions to explorate funkier landscapes. Expect nothing but electro at its finest!

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

All things come from and return to the same source - such is the theory of Monism; an ancient philosophy, but also accounting for the music of Jeroen Search. Dictated by an ethos of exclusively recording live takes and the only ever editing happening while a tune is being created, each finished track is imbued with that unique magic of the moment. Such too is the nature of Monism, Search's first LP in over two decades of electronic explorations and personal as well as artistic growth. As with any of his music that has been released so far, the tracks on here hold a timeless quality, existing within their own frame of reference than - that is their immediate experience. Across a carefully arranged course, the album naturally unravels its many ideas, ranging from moments of pensive ambient pieces to thick washes of dub echo and layers of modulated synths, all while providing an endless array of hypnotizing bare-bone grooves in the process. A true Figure mainstay, Jeroen Search upholds his artistic relevancy without any reinventing or switching up the formula - rather by simply keeping true to his accomplished craft.

After the acclaimed 'Rather Not' mini album from 2016 TWINS (That Which Is Not Said) returns to Enfant Terrible... this time with a two track 7' vinyl... on the A-side you will find a synthpop / minimal elektro / cold wave tune with a metal beat reminiscent of John Foxx... the B-side features a harsh elektro piece... it is tense and uptight... almost techno even... this one could also have been fitting for a Gooiland Elektro release... and could (should) be a future dj favorite...

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

Limited Edition: 500 x 2 LP Gatefold Pressing. Bentley Rhythm Ace formed in Birmingham in 1996 when ex Pop Will Eat Itself bassist Richard March and DJ Michael Stokes discovered a shared love of obscure, oddball and eccentric tunes. Utilising lo-fi cut and paste sampling techniques combined with analogue synths and some wild turntable action their debut EP was picked up by Fatboy Slim's Brighton based Skint Records and released to widespread acclaim. The BRA live show added Fuzz Townshend on drums and James Atkin (ex EMF vocalist) on keyboards and the latter years of the 90s saw BRA firmly established as festival favourites with appearances at Glastonbury, Reading, V, T in the Park, Montreux Jazz and Fuji Rock amongst many others. Their irreverent approach mixed with big beats, thundering bass, wild synths and esoteric samples proved to be a hit with fans and critics alike. 1998 saw Bentley Rhythm Ace crowned 'Best Dance Act' in that year's NME awards. Their eponymous debut album was given a worldwide release after the Bentleys signed to Parlophone records and the band toured extensively in the UK, Europe, Japan, Australia and USA. As well as releasing a highly regarded DJ mix album on Ministry of Sound, and releasing a second album for Parlophone (featuring vocals from Black Grape/Ruthless Rap Assassins frontman Kermit), BRA also produced well received remixes for the Beastie Boys and Supergrass as well as soundtracking several TV shows and adverts. This "21st Birthday - Bonus Tracks Edition" of the album has been compiled by Richard March of the band and includes the original 11 track album along with 2 bonus tracks remastered and repressed to vinyl for the first time in almost two decades! Presented in a deluxe gatefold sleeve, complete with original artwork and comprehensive sleeve notes for all thirteen tracks written for this release by Richard March. Bentley Rhythm Ace (21st Birthday - Bonus Tracks Edition)

Matasuna Records has once again unearthed two Latin gems for its latest release: two rare tracks by Argentina-born musician Enrique Lynch. Lynch moved from Argentina to Peru in the 1960s and became artistic director and producer of the Sono Radio label. He released an astonishing amount of albums with his various bands over the span of nearly three decades.

The two songs will be available together on a vinyl single for the first time - and the track from the flipside will also be released on a 7inch for the first time. For this official reissue Matasuna was lucky enough to have access to the original master tapes. The tracks were carefully restored and remastered in Lima (Peru).

African Bump is one of Enrique Lynch's greatest tracks and the original 7inch is much sought after by collectors and DJs alike. The song immediately captivates the listener as the Wah Wah guitar begins to play and enters into perfect harmony with organ and brass. A thrilling disco funk beat, rhythmic percussion elements and a hypnotic hookline spice up the track and show what great musical treasures South America has to offer.

On the flipside there's a great cover version of the Soul and Funk anthem K-Jee by American band The Nite-Liters, which had a hit with this song in 1971 and even entered the billboard charts. Enrique's version adds some extra grooves with killer beats and breaks, a heavy bassline and wild percussion parts. A distinctive horn section meets funky guitar riffs and deep organ sounds. A fantastic funk tune that will set any dance floor on fire!

Die sechste Veröffentlichung in der Limited Dance Edition Serie präsentiert die allererste 12" Maxi Single von Anthony Emrold Phillip, besser bekannt als "Bro. Valentino". Die A-Seite 'Stay Up Zimbabwe' ist eine legendäre Shango / Orisha / Calypso Melodie aus dem Jahr 1979, die in die Karnevalszeit in Trinidad und Tobago eingedrungen ist. Bro. Valentino betäubte die Welt erneut mit 'Ah Wo (Band New Revolution)', ein Jahr später mit einer Melodie, die sich für die neue Stimmung der Inseln und den neuen Ruhm der Karibik einsetzte, die zweifellos von der grenadischen Revolution ein Jahr zuvor abgelehnt wurde. Diese erfrischenden karibischen Calypso Afro-Tunes, werden in einem wunderschönen Siebdruckcover und türkisfarbenem limitiertem Vinyl geliefert.

This highly prolific UK Drum and Bass producer returns with his second Tempo Records release. This work sees Alex' Judd rhythmic tweaks and overlays of texture with intricate melodies, heavy dub basslines giving the tracks a live & energetic feel. He draws out each track with his own distinctive craftsmanship and still giving them space to breathe. ''U Got me'' might be his best work to date but that's just our opinion. ''No Hype'' on the flip side says it all; music shouldn't be a hype but this release surely creates a huge buzz with all the dj's worldwide. This release comes as a limited 140g crystal clear vinyl pressing with full artwork sleeve + white glossy inner sleeve, including a mp3 download voucher + a free poster/inlay and all tracks mastered by Stuart Hawkes of Metropolis Mastering London.

Early Dj Support & Feedback
More Coming Soon!
Ltj Bukem thanks For Sending'
Grooverider good'
Icicle thanks, I'll Support No Hype On Rinse Fm'
Dj Flight nice Release, U Got Me & Loved Up Are Probably My Picks On First Listen. Will Play The Former This Weekend.'
A-sides no Hype', Thanks!'
Doc Scott thank You'
Drumsound & Bassline Smith nice One'
Gremlinz dope'
Hyroglifics (aka The Executioner) nice Ep!'
Villem hype Hype Hype'
Lynx yesssss Not A Media Hype!'
Chromatic nice Ep, Big Up Alex!'
Dj Clarky great Tracks On This'
Dj Chef (ministry Of Sound) big Ups Full Support'
Dj Tendai (swerve) loved Up Is Sublime'
Dj Kalm great Release Thanks!'
6blocc love The u Got Me' Track'
Earl Grey u Got Me Is The One, Badness.'
Arkaik will Be Supporting 'no Hype' Thanks'
Bulletproof Tiger (nyc, Usa) always A Pleasure To See Tempo In My Inbox. Biggups Y'all'
Dj Ros (addiction Fm + Label, Poland)'!'

...

Radio & Podcast
Coming Soon!
Icicle (rinse Fm) thanks, I'll Support No Hype On Rinse Fm This Thursday 20-09-2018'
Dj Chef (ministry Of Sound) big Ups Full Support'
Onedek (origin Radio Uk) awesome!!!!!'
Andre (soulsurfer - Bassdrive) now This Is A Strong Release... I Agree That This Is Alex Greatest To Date. U Got Me, Loved Up And Feel Good Are Immediate Favorites. Support In Club And Radio!'
Benjamin (the Dance Mission Dnb Show - Kiss Fm Australia) cool Music'
Overfiend (bassdrive) superb!'
Stunnah (bassdrive) big Release!!'
Chris Muniz (insomniac / Bassrush) mashing It Up Proper!'
J Swif (dnb Hq Podcast) dope Release Duded, 'feel Good' Is The One!'
Stanislav (zima - Czech Radio 1) gonna Play no Hype' Today... Cheers. Stanislav'
Matze (urban Wildlife / Syncopix Records) 5/5 The Rework Of Sweet Sensation Is Killer. The Crowed Loved It. Cool Arrangement And Use Of The Vocals. Feel Good With It´s Long Bassline Is Also A Most Functional Dance Floor Banger. Thanks For This One!'
Jose (nas Radio Show - Brazil) awesome Crazy Material Right Here'
Simon (see You Next Life Podcast & Night) soul Intent Fan Here So It's All Good. Cheers!'
Francesco (delta9 Recordings / Podcast) interesting And Diverse Album! All Are Great, Fav Are Loved Up And No Hype'
...

Reviews Blogs & Magazines :
More Coming Soon!
Julian (mixmag Germany Dnb Reviews) i Really Enjoy loved Up'.
Aliina (jungledrumandbass) big Up !!
Matthew (one Hour One Dj) great Tunes. Particularly Feeling The Two 2 Sides, Loved Up And Feel Good. Lovely Gritty Rollers.'
Rohan G. (dj Mag Spain) pow!'
...

The Copenhagen Duo Wilma (lower Case W) Aka. Jeppe Willumsen & Dan Madsen Formed In 2014 And Soon Got Off To A Hectic Start. Despite Their Varied Backgrounds The Two Quickly Bonded Around Their Common Love Of Early Dance Music. The Resulting Output Was Picked Up By Then Panorama Bar Resident Prosumer. He Used Their Tune Fabio On His Fabric 79 Mix Cd And Released A Four Track Ep With Wilma On His New, But Unfortunately Short Lived, Potion Imprint. Fast Forward A Few Years And The Duo Behind The Multiplex Reboot Have Just Gotten A Distribution Deal, When They Receive A Couple Of Tracks From Wilma - It Was Love At First Listen.

"I met Marcell at a gig I played at Karlstorbahnhof in Heidelberg earlier this year, he was serving beers behind the bar all night, it was a fun but not so busy party. The club shut the doors early and we were holed up in this old train station-come-club having a few drinks into the early hours. We sat down, chewed the fat and bonded over Jungle (and UK music in general). Marcell's buddy Phillip was insistent on me checking out his tunes through a small little bluetooth speaker!!! and these sorts of scenarios never quite play out how you'd like them too right! This one did!" Patrick Conway

2018 played host to a bumper crop of sounds from some of Philly's grittiest, including Great Circles mainstays M//R and Chaperone. To close out the year that was, we are pleased to present Heckadecimal's 'Murder Tape.'

A Minneapolis-based producer and acid auteur, Heckadecimal has been a fixture within the vibrant Midwestern electronic music community for nearly 20 years. Founder of the legendary 'Anti-human' events and co-curator of the ever-prolific Always Human Tapes imprint - alongside Ryan Wurst and Peter Lansky - Heckadecimal's reputation is one of unrelenting creativity and tireless advocacy for sonic experimentation. His work has found its way to light via a slew of pseudonyms and stage monikers, including The Worm, noface and Wonder Sirens.

In short - Heckadecimal lives and breathes the sonic matter that he leaves pouring out of studio monitors, busted bar systems and finely tuned rave stacks, wherever his travels take him.

Live performance lies at the core of Heckadecimal's practice. When he stormed through Inciting HQ in Philly earlier this summer, he took command over an arsenal of hardware that reminded us of how Octave One or Shawn Rudiman might show up. These were machines that he had lived with; touched with custom modifications, hand-drawn stickers and pockmarks incurred in battle, one got the sense that the gear was a personal extension of the artist.

Perhaps it's a bit maudlin, but we feel a certain kinship with this project. Indeed, these tracks at times feel very much of a piece with the gnarled tonalities in which our stable typically traffics; all low-slung riddims that reach at equal lengths towards mutated IDM aesthetics and post-Packard Plant techno extrusions. These are future perfect grooves that glide along under the vast Midwestern sky, providing a fertile communication conduit with the City of Brotherly Love.

Give thanks for acid. Great Circles will see you in the New Year..

Exactly one year after Lorenz's debut EP on Dirt Crew he is back with a super funky follow up. With the recent
'Marakuja' track on our 'Deep Love 2018' compilation he already set the tone to a much more fluid and organic live approach to his sound recording.

The opening title track 'Belair' is a heavy 'wurly' organ jam he developed mainly by playing live and afterwards finalizing it in his Cologne studio. After his recent tour and shows as part of the Detroit Swindle live outfit he really got into improvising and composing his tunes on the fly. The Funk is all over this one and it is a great uplifting 'sunny' jam to play out. Following this one is the slower and deeper 'Jubilee' that's adding even more soul to the 'Rhode' funk with an irresistible bass line and melody and when the clavinet break sets in it's nothing but Good Times on the dance floor! A certain rewind for us and favorite track off this new EP.

On the flip we added two remixes from his previous high in demand tracks 'On Top' and 'And I Said'. Lorenz has been working a lot on various projects with his good friends Strip Steve and Tensnake and both had their go on these tracks from last year. Strip Steve took the parts of 'On Top' and turned them into a deep Detroit flavored House Jam with stabby beats and beautiful strings added. Last but not least Tensnake fires up a high octane remix of 'And I Said' that leans much towards old school New York house rhythms and the additional 'Sax' topping gives it a groovy 90s feel to it. For sure bringing back that great happy and funky flow of the original.

We hope you dig this funk and soul laden EP by Lorenz Rhode as much as we do! Enjoy!

The demons of night are out again: Seoul's one-stop shop creative collective Byul.org returns this fall with its third international album, entitled Nobody's Gold, out via Alien Transistor (worldwide) and the group's own Club Bidanbaem imprint (South Korea). Comprising 14 new songs, it's a dizzying, haunting affair that channels the group's manifold influences and references points (from post-punk to Stockhausen and back via club culture) and yet sounds intriguingly coherent.

Moving in and out of the shadows, Nobody's Gold breaks forth as pure sonic landscape - a universe of its own, folding and unfolding into both more experimental patterns, yet also with occasional hooks and dark catchy structures, gracious build-ups flickering among the hazy roar and thunder. After the screak and squeal of 'Lamb with a Wolf Mask,' the foreboding sounds of 'The Museum of The Two of Us' segue into a synthesized party tune about a missing friend being chased by police ('Nari Yuko Yin'), one of several vocal tracks with a sinister edge. Taking things up another notch, 'Friendly Enemies' is probably the closest this group will ever get to creating a stadium-ready anthem. On the other end of the spectrum, 'The Place Where Designers Go To Die' is a magnificent void with an immense and irresistible undertow...

Never too jolly (not even while 'Day Drinking at a Seaside Town' or during takeoff via epic pop tune 'Bats We Are'), Nobody's Gold compiles soundscapes with a very tangible, corporeal presence - iridescent sonic sculptures placed in unlikely settings (e.g. outer space, see: 'Dirty Dirtiness'), born at the fringes where night blends into day and vice versa.

Inspired by everyday life, half-remembered drug/club experiences, Pascal Quignard's disturbing La haine de la musique, Stockhausen and Bill Evans, the new LP sees the collective remain true to its DIY foundations while repeatedly questioning our listening habits and 'the exaggerated love for the concept of love,' as they put it.

Founded around the dawn of the millennium as a group of poetry-loving friends who'd occasionally meet for drinks, Byul.org has long become an extremely prolific and versatile collective within Seoul's scene: Main song-writer TaeSang Cho and his mates Yu Hur, Jowall, YunYi Yi, SuhnJoo YI, HyunJung Suh, and SoYoon Hwang went from publishing to recording, from releasing tunes to design, art direction and more. Although their list of clients includes Atelier Herme`s and the Venice Biennale (they did the Korean Pavilion twice), the group still remains a drinking circle of close friends at its core: Pals who simply like to create and carouse and dream and live and perform and play tunes together.

Russian born and very gifted musician Aleceo is a new addition to the ongoing rooster of Copenhagen's prolific Music For Dreams label - Aleceo came to attention of label boss Kenneth Bager with the brilliant first Ep 'Clouds' - (all tracks included here.).
Aleceo has his own musical voice, he produces and composes music that is rich in harmonies and melodies - he sits somewhere between Balearic and Deep House - combining the past and moving forward and this double vinyl 'Teletrip' is an excellent taster of his many talents and a real body of work.

'Liebe Tanzen' is a sunny mood full of vintage Roland vocoders, imagine yourself in a Zeppelin watching the earth from the skies and hearing handclaps, acidic noodling and beautiful rhodes combined with a high-pitched soulful voice repeating 'Take My Love' and you have the mood of a modern soul track supported by the balearic brigade. 'Dipping Into You' is a deep house mood featuring the beautiful voice of Jelila- sounding like a late 80 ties Boy's Own track played in a barn just when the Sunrise appears.
One of the outstanding killer tunes and a real grower on the debut album by Aleceo is the single 'Whisper To the Wind' a track recorded with Canadian singer Wulf SoulFire - ten minutes of powerful Roland 909 drums, talking verses and a sublime chorus.
'Nevesomost' - a cinematic, melancholic acidic journey that was inspired by the old USSR Sci Fi movie 'Moscow - Cassiopeya' where a group of children was sent to Mars. 'Monotone' recorded in Bali and sung by guest singer Masha Verymaryland - a french song about a girl who loves to dance and sing with arpeggios, Xylophones that sets the mood for a dreamy French Riviera. 'Clouds' is first class ambience feat the Siberian multi-instrumentalist Sergi

Kampanella playing the Mandolla. The title track 'Teletrip' is tv samples mixed with 80 ties new wave drum machines. 'Priceless' is a downtempo documentary live recording Aleceo did with his American native friend Kita. 'Dome' full of accordions, balalaika, handclaps and melancholic keys tells the story of Dome of God - the place of peace and happiness and makes you wanna sit by the seaside.

'Know Him' is inspired by gospel from the Mississippi church. 'Mzi' wouldn't sound out of place in a Leo Mas warm up tape from Amnesia in Ibiza - middle 80ties with its obscure breakdown full of 30/40ties voices.

Bonus is the inclusion of Kenneth Bager's reprise of 'Dome'.

The album 'Teletrip' by Aleceo feels like a forgotten balearic album with a modern twist suddenly washed upon the shores on the White Isle.

Horace Andy first recorded 'Life In the Ghetto' back in the 1990's with Victor Cross and William the Conqueror as an anti racist broadcast. Here the Mad Professor and Horace vamp up the monster Lovers Rock meets

Roots track and with a flash here it is so slap this sucker on ya turntable and listen to a righteous tune! Produced by The Mad Professor and featuring Black Steel on keyboards, guitar

and bass, Victor Cross on piano and William the Conqueror the vibe is back with a bang.

This is a long overdue reissue of a fantastic album! Here we find a pure disco classic from the US scene of the late 70s. The original copies retail at plus $300, that's only if you can find one at all! So those who love to spin good music, but are unwilling or unable to lay down too much money can now lend an ear to this fine vinyl! The opening track is 6.5 minutes long and consists of ongoing grooves with a hint of rock thanks to the melodic lead guitar. The driving rhythms are irresistible with soulful and strong female lead vocals that capture you right away. This reminds me strongly of the lengthy Donna summer dance classic, released during the same period 'Better than walking out' which became a dance floor sweeper. There is nothing complicated here, just sheer groove interwoven with catchy melodies. 'Lovin' you is so easy' follows and is a mid-paced soul anthem that comes as clean, slick and close to pop music a tune can come, but the melody of the chorus will stick to your mind. The arrangements are tight revealing several layers of instrumentation on second take. The lead singer's expressive voice matches with the best of its genre. A grand dame of soul familiar to a wide audience. While we ruminate about the different stylistic ingredients of this album we reach ''Woman', an entire instrumental with a straight groovy beat paired by cool funky rhythm guitar that lies beneath a soundscape made by the electric piano. Both seem to interact tightly and communicate with another. This tune just moves you physically with ease. Lushly orchestrated ''Our love is special' turns out to be a wonderful soul pop anthem of the kind that stays with you when you have only enjoyed it once. I'm almost certain that most fans of the late 70's soulful dance and pop will spin this record over and over again. This is what the DISCO LADIES are made for. Their music has this certain disco feeling but the classic 60s Motown Soul roots are so obvious and keep the whole collection of songs so grounded, that the music will go straight to the heart, nestling there for a long time. ''I second that emotion' is again a mid-paced groover that has this fluttering beat with great instrumental figures build upon this footing. One might hear elements of reggae, gospel and funk melting into an utterly joyful soul pop tune that eventually would become an evergreen in the clubs. Last but not least we are treated to ''Woman', again the arrangements of lead and backing vocals are amazing! These are footed by equally amazing strings and horns. These melodies, soulful, expressive, intense and full of joy! The last tune is a vocal version of 'Woman'. Definitely being the highlight of the entire album and a worthy finale for a record that sticks out of the masses of disco music productions of it's era! All this makes a wonderful and delightful reissue ! worthy of joining every black music aficionado of the 1970s.

Recorded already in 1983/84, these soulful songs still show a relation to 1970s soul pop with lush
arrangements that work with real instruments and have a vibrant atmosphere. An all in all memorable songwriting
and the incredible vocals of Mavis Staples from The Staple Singers make the album stand the test of time, even 35
years after the initial recording sessions and 25 years past its first CD/MC release. Licensed by legendary BRIAN
HOLLAND and for the first time on vinyl now by EVERLAND!

Mavis Staples has come to fame and fortune as member of the family vocal group THE STAPLES
SINGERS from the late 50s onward to the mid 80s and she has released a fair amount of solo albums as well,
many of them in recent years. - Love gone bad' is a solo effort from 1993, originally titled - Mavis Staples' and only
released on CD and cassette back in the days. So EVERLAND have now done the right thing and put out the first
ever vinyl of this gem. And a real gem can be found here. Soul music in a down tempo with a slick production and
lush arrangements that still have this vivid expression making it real music by real musicians. The songs contained
on this album all date back to the early 80s, from a session not released until 1993. The melodies and the way the
compositions flow go back to a mid to late 70s soul pop style that incorporates elements of funk and dance music
but in a moderate pace. You can easily float upon the dancefloor and drift away in silky dreams. Some tunes have
a synthesized beat with a typical 80s sound, but these are compositions that stand the test of time and 25 years
after their initial release and 35 years after these recording sessions they shine on as diamonds of black soul pop
and R'n'B music (not to be confused with Rhythm & Blues). Mavis sings like a grand lady of soul with a timeless
quality that makes her stand out from the crowd of similar crooners. Even in the most gentle moments here the
tunes have an irresistible groove that moves the listener. But you can also sit and listen and explore piece by piece
digging deeper into the arrangements to unearth great bass and guitar lines. You will sing these vocal melodies
over and over again in the days to come until you throw this onto your turntable once again. I wonder why this did
not see a regular release back in the 80s as it would have led Mavis Staples to the top positions of the charts, Pop,
Black Music and Billboard. She was meant to make an impact and although she was already in her mid 40s when
she recorded this collection of soul nuggets, she brought a lightfooted youthful spirit in, which gives so much life to
her songs. A must have for all aficionados of female fronted soul pop.

With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).

Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.

We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.

Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.

Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!

Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.

Play It Say It welcome New York artist David Berrie for a first EP on the label and one that offers three dynamite pieces of punchy, high impact and inventive house music.

Raised amongst the diverse culture of NYC's nightlife, Berrie started sneaking into clubs as a youngster and since then has risen through the ranks to have now played iconic rooms like Output NY and DC-10 Ibiza. Fusing his musical history with other genres to create his own, unique style of house and techno, David has taken his passion to the studio and served up essential tunes on Hot Creation and Cuttin' Headz.

Opening the account is 'Revolution', seven superbly programmed minutes of slick and involving house beats and knotted bass. It's a restless, body shaking track to make the floor move with futuristic synths fleshing it out and bringing a vital sense of machine soul.

The equally compelling 'JB Loop' is another dynamic bit of electronic house music. Rubbery drums bobble and bounce about with wild computer sounds and infectious bass all ramping up the energy levels and making for a standout track.
Last but not least, 'Rear End' is a supple, intricately designed track with slippery synths, spinning hi hats and bass surges all wrapping around each other to make for real minimal funk. It's a track that oozes Detroit vibes and cannot fail to sweep up the floor.

These are three characterful and masterfully produced cuts of high-class dancing music.

NYC's Disco powerhouse West End Records should need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers.

From the West End vaults we are pleased to present Ednah Holt's 'Serious, Sirius Space Party', a thundering, slo-mo, bass-heavy slab of NYC electronic funk that will sound familiar to those who paid close attention to what the maestro Larry Levan was doing in his sacred booth at the Garage in 1981, or to those who tuned in to peep what the master Afrika Islam was doing on his now semi-religious, hip-hop blueprint 'Zulu Beat Show' on WHBI. That's right, you can guarantee if those 2 guys were playing your record in the city at the same time then you had an underground 'hit' on your hands. The fact that it crossed over from the discotheques to the streets and back again speaks of the appeal of this super heavyweight jam, the legendary team up of Kenton 'Kenix' Nix, Larry himself on the mix, and former Ritchie Family vocalist Ednah Holt makes for some heady listening. One for the after hours dancers, B-Boys and B-Girls and lovers of the downtempo workout. A true and essential NYC classic.

All tracks featured re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG.

Zodiak Commune Records presents the fifth release in the Insectum series with a new EP. This masterpiece called "Flying Deer EP" is produced by common player Jaquarius. Get hypnotized by his pure analog Acid sounds and grab this 303 x limited collector!

A1 - The Burden Of Dreams: Wake up inside your personal nightmare... Get rid of this burden of dreams!
A2 - La Chasse au Demogorgon: Makes you wanna move your dancin' feet. Uptempo spiralized 303 tune.
B1 - Docteur Gradus: Influences of the old days. Freaking feedback aciiiieed!
B2 - Chaotic Memory: Glitchy electro acid! Creates chaos you want to remember.

House Music With Love return with another one of their fresh EPs, this time from the dream team of Kaldera and Lazarusman with remixes from Urmet K, SURAJ and Simina Grigoriu & Moe Danger.

Kaldera a producer from Northern Europe and Lazarusman a poet from Southern Africa and their rhythmic, spiritual journey always makes for real musical adventures. That is the case here with Oceans of My Mind, a deep, swelling house tune with great chords and a dark bassline. The thought provoking vocals drift up top as the turbulent grooves roll on and bring real class to the floor.

The Urmet K remix is more blissful and laid back, with breezy chords and gentle beats rolling you into a trance. SURAJ then layers in plenty of cosmic melody, gives centre stage to the poetic spoken world vocal which brings a romantic feel to the tune. Then last of all Simina Grigoriu & Moe Danger close things out with a more direct, techno leading version that has brilliantly frazzled chords and deriving drums taking you deep into an eerie night.

This is a versatile and vital EP that covers plenty of ground in real style.

Vinyl Only - LTD 200 copies - 125 BPM Techno, deep and dancefloor... Superb machinery, produced by Mik Izif (Physicial, Alternative) and Dolby D (Dolma, FT Sound...)... 2 very good producer and at least a fat press cut at Shane The Cutter's place... Tunes are just crazy with one Bass Techno on the A and one broken techno turning 4/4 after the first break and returning break after the second brak... Too Good !!! LIMITED 200 COPIES !

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

This 2 track single provides just a hint of what delights the full Raregroove Spectrum album contains - Lance explains that much of the inspiration for the re-works comes from his experience as a DJ; "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

First up is a reinterpretation of a super obscure deep funk acetate 45 released by Keb Darge, Egg Roll - the follow on track is Lance's take on The Soul Vibrations The Dump.
The forthcoming album reaches further - and includes James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Please meet the young production duo of Davin Coady and Geoff Foley known as 'Between Ourselves' from Water-ford/Ireland, one of the Irish key cities for the more deeper flavours of underground House-music. They have previously released on labels such as Republik and Galaktika. Their offering is comprised of 2 tracks. The first track 'Red Mist' is a melodic driven tune with an epic monster-break that hur-tles the listener to an uplifting climax. The 2nd Track 'Guidance' hits the spot with a catchy bassline in the break, the 'hook' of the tune. None other than Berlin based Ruede Hagelstein created a remix for 'Red Mist'. Indeed he is a man for those special tunes that will always stay on your mind. He stripped down the original to its bare essence keeping the epic feel - a dirty dark masterpiece. Andre Lodemanns edit of 'Red Mist' pushes the floor potential to the max with his customized drum sounds.

Our good Parisian friend Max Fader aka S3A is back on Local Talk with a diverse four track EP that delivers on all levels.
It all begins with 'Premiere Rexidence', disco infected big room track that comes with some heavy vocal and horn samples.
Next up is 'End Track For a DJ' which is exactly what the title suggest and comes with old school house beats, classic Chicago piano riffs and some lush strings. Massive!

On the b-side S3A goes back to what he is maybe most know for, 'Searching Force' is an uplifting disco-funk house jam with big samples and jacked up beats.
Last, and possibly our fave tune is 'Deep Mood Vol 4', a supa deep house cut with low end theory chords and a bassline to kill for...raww!
Oh, and those Michael Watford vocal samples just adds to the deepness.

It's not the fall that hurts, it's when you hit the ground - that's what - Failing Upwards' is all about. On Lehult's fourteenth release Lucky Charms breaks away from 4-to-the-floor territory to deliver a fun trip through skippy drum workouts and jazzy warmth. Spread out across the full A-Side is 'Einbahnstraßen-Sound". Heard first on the Lehult Worldwide FM Special last year, this highly requested tune finally sees the light of day in all its trippy, warm, analogue glory. 'Oase' takes things a notch deeper by layering lush synths, swarming melodies and ski field recordings over a laid back electro-groove. 'Rex Dubius' translates the vibe of the first two tracks into a more straightforward, dubby groove - not without the skipping beats and the warm counterparts, though.

180g vinyl, limited pressing

Fantastic 80s pop music with a soul and funk touch and an outstanding singer. A must have for fans
of Billy Ocean, Barry White and similar artists. Perfect playing, perfect production, perfect songwriting.

On the edge of the lightfooted disco movement there was sophisticated funk music and one of the often
overlooked protagonists oft he scene was Mr. Sterling Harrison, born in 1941, passed in 2005. His legacy contains
two solo albums from the early 80s and this, dear friends of funk music, is his second from 1981. Copies in good
shape fetch prices up to 800 Dollars so we should give this current reissue on EVERLAND warm welcomes. Is it all
worth the enthusiasm Oh, you can bet it is. Sterling Harrison had left behind the 70s and was ready for the 80s.
The sound is up to date, clear, clean and powerful. The music still shows the fire of the earlier funk records but the
synthesizer passages, the whole production proves that we are now entering a new age. 80s Synthie Pop is part of
the mix, despite the main ingredients are soul, funk and a bit of disco here and there. The vocals are overwhelming,
sung with great emotions and a feeling for the freaky edge of soul. The tunes here come as diverse as they can be,
each one with his very own face, but they all have the same spirit courtesy of Sterling Harrison. Each one should
have had a spot on the top ten pop charts in 1981 but in this case this album would probably be legendary in
another way. This music will drive every 80s black pop enthusiast wild. When after all these powerfully driving pop
and dance tunes, with a more relaxed reggae groover in between, your feet ask for a break, just go for a sweet soul
ballad in the best Barry White style. Smooth and slick, yet still performed with depth and spirit, such a song might
calm you down until the next dancefloor sweeper will hit your ears. The overall atmosphere of this record is truly
happy and enlightened. Good vibrations pour from every note, played here by a team of highest order musicians. A
perfect record for 80s black pop aficionados who admire Billy Ocean's 80s albums for example. This record is a
typical example of the contemporary pop music of its era, but this is what makes it even more charming. And the
songs will definitely stick to your mind after just a few spins without losing their fascination. A true gem for true
music lovers.

* Belia Winnewisser is returning to Präsens Editionen with Radikale Akzeptanz. The record is her debut album as a solo artist and it marks her second release on 'the curious label arm of Lucerne's zweikommasieben magazine.'

* Radikale Akzeptanz, a furious amalgamation of (synth-)pop references and more abstract sounds, combines long running traits from Winnewisser's practice in various band projects with rather new interests from her studies in sound art. Thus, bittersweet off-pop-hymns with bubble-y melodies can be found next to austere examinations. Add a good amount of time spent in clubs and you get a Skull Disco-esque banger at the end of this gutsy album.
The title Radikale Akzeptanz—or radical acceptance—stems from a concept in evidence-based psychotherapy. Even more than the concept as such that is about accepting uncompromisingly your situation, however, it is the expression's mere sound that is of interest to Winnewisser. Homey and adventurous, gentle and challenging, at ease with itself and full of tension(s).

Edition of 300copies, artwork (incl. booklet) by Vinzenz Meyner.

Quotes:
'Interesting stuff! It has a surprising bit of post-rock language in it to my ears, just executed with electronics.' - Byron Westbrook (Hands In The Dark, Umor Rex)
'A pleasant listen! Especially 'III,' 'Trapped In My Mind,' 'The View' and 'Albasty.' Also, found that the idea behind the title is weighty to the extent it can be related to relevant issues of today's ways of interaction!' - Arcagelo de Castris (Macao, Dance Affliction)
'Sounds like John T Gast, Caterina Barbieri and Klara Lewis making tunes on a space ship!' - James Marrs of Laura Lies In
'This is really good.' - Hypermedium's Timos Alexandropoulos 

Press / Promotion*Airplays on NTS Radio by Flora Yin-Wong, Hypermedium and more, airplay on Radio Raheem by Arcagelo, feature on Noods RadioVarious (release) events upcoming, incl. a show at London's Café Oto, an exhibition in Lucerne and gigs next to Lorenzo Senni, Puce Mary and more.
Premiere of 'WAHDWTH' on Bizaarbazaar.PE / zweikommasieben mailing list = 2000 subscribers

Social NetworkingPräsens Editionen - Facebook = 550 likes / Insta = 500 / Spotify = 350 subscriberszweikommasieben - Facebook = 5200 likes / Insta = 2000 / Twitter: = 680 followers

* Paul Bradley returns with another wicked EP, this time pushing further back to a more 1992 sound, along with his customary 1993-1995 tear ups. Each tune has been lovingly crafted to appear at first quite simple, and yet closer listens reveal hidden depths to every track, and a sly sense of humor that both elevates and enhances each piece. The 'Kin Cosmic EP gets the full colour sleeve treatment and deserves every bit of it....

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Hybris is Evan Vischi. After years of being a studio recluse, Evan surfaced in the DC scene and released collaborations and solo projects under the name Robot Death Squad. He then moved to the Czech Republic to focus on advancing his own sound and began releasing under the name Hybris. Towards the end of 2009 his tunes were spotted and picked up by Kasra, and his debut single was released on Critical: Modulations (The Cleaner/ Raindance) in June of 2010. With several forthcoming releases on C.I.A., Blackout Music, and Critical, and DJ support from some of the scene's heaviest hitters, Evan is now committed to pushing heavy and precise dancefloor beats to the next level. For INVISIBLE, Hybris collaberates succesfully with the mighty NOISIA and drops 3 new solo tracks on this very special double pack vinyl. Great new sounds on the always evolving Invisible imprint.

Industrial badman Sei2ure back on PRSPCT release with a huge 2 track vinyl EP.

Some say industrial hardcore is dead. If that were the case then this one is for sure the one to bring it back to life!

On the A side we have Send You To Hell. A 175BPM monster containing almost everything both Sei2ure and PRSPCT stand for. Driving pounding kick drums, catchy hooks and that perfect dose of snare drum warfare making this the perfect track to kill it on both Hardcore & Drum & Bass events. Huge track!

On the flip we have Push The Prozac. A 190BPM beast tune pushing up the tempo a bit without losing the groove and that dark Industrial vibe we love to death and have been missing so much.

Again another release on PRSPCT that is All Killer, No Filler. Enjoy!