quête:two vibe

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

Our 7th production is about to come! (official release date on 12th of January) Once again in a different kind of music : this time Hip-Hop! Produced by Luke Vibert (Ninja Tune, Warp, Planet µ, Mo Wax, Rephlex...), with all rhymes by BluRum13 (One-Self, Bullfrog) and recorded by Kid Koala & DJ Grandtheft... in 2004! The album was at the time kept aside by Ninja Tune (only digital release) because of similarities with One-Self project (led by Dj Vadim).
13 years later, we are offering this UK Hip-Hop jewel secretly hidden on vinyl!
New tracklisting especially made for vinyl, which comes with exclusive track on bonus colored 7".
Some more good news : this reissue made the two friends work together again for a new collaboration coming out on 2018!

Two great 45s with an early R'n'B / carnival vibe. Recorded in New York in 1953 but this is real New Orleans music.

Hailing from Mali, Amadou Bagayoko and Mariam Doumbia first met as children at Mali's Institute for the Young Blind—both lost their vision at an early age. It was here that they started performing in the institute's Eclipse Orchestra, eventually marrying and began recording together in the '80s.

Over the span of three decades Amadou (guitar and vocals) and Mariam (vocals) developed an international following having recorded eight full-length albums and toured around the world. Their album Welcome To Mali (2008) was nominated for the Best Contemporary World Music Album' at the 52nd Grammy Awards. Tour highlights for the duo include supporting U2 on their U2 360 Tour, performing at the 2010 World Cup for FIFA's Kick-Off Celebration and performing alongside major acts across multiple genres such including Blur, Coldplay and Pink Floyd's David Gilmour.

The album also includes the hit single Bofou Safou,' which Stereogum calls the funk, the whole funk, and nothing but the funk.' The band discussed La Confusion and performed new music on a recent stop at KCRW's Morning Becomes Eclectic' during their recent sold out North American seventeen city headline tour — watch HERE. The band played major markets including New York, Los Angeles, San Francisco, Chicago, Washington D.C., Philadelphia, Montreal.

Amadou & Mariam recently released the Bofou Safou EP via Because Music. The EP includes the first two La Confusion singles, Bofou Safou' and Filaou Bessame,' alongside remixes of the EP's title track by Fatima Yamaha, Africaine 808, Henrik Schwarz and more. The term bofou safou' is a Bambara (the Malian national language) nickname given to nonchalant young men who would rather dance than work. Of the new EP, the group notes, We really like the remixes that were made for the EP. You get to hear our music in a different form, which is great. All five remixes manage to catch the essence of our song while really pushing those enticing afro pop and electronic vibes further.'

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!

* 2017 year marks TEN YEARS OF INTEGRAL RECORDS and looking back upon the label's incredible back catalogue, what a decade it has been for drum & bass music that we hold so close.

* Initially set up as a passion project and a platform for showcasing future talent, the label has been consistently releasing cutting edge drum and bass since 2007. The ethos of the label has always been about quality control and finding those special vibes that no question capture heart and soul. Honing their unique musical language, selections are carefully handpicked by head honchos Artificial Intelligence and more recently in collaboration with label manager Emma G that fit with the forward thinking, original spirit we know as Integral.

* Now 40-odd releases deep and renowned for breaking some of the most exciting artists on the roster today, the label also boasts signature classics from some of the scenes most prolific residents. Names include the likes of Lenzman, Lomax (one half of Loadstar), Alix Perez, Calibre, System, Zero T, Technicolour & Komatic (Technimatic), LSB, Steo, Dawn Wall, Mohican Sun, Phil Tangent, Satl and just recently, A.I. themselves.

* Celebrating the seminal journey thus far, a double album will mark this very special occasion. Part One will showcase a selection of the finest from over the years in a chronological journey of the label's sound (for digitial release.) A second curation will simultaneously launch across all formats of entirely new and most exclusive material to date, reinforcing Integral's place at the round table of bass.

* A perfect teaser for what's to follow, the Album Sampler will drop this November featuring two stunning tracks. First up, '1000 Souls' comes courtesty of A.I. - tones of the deep, lush and soulful set the sultriest of grooves. Beautifully moody keys entice, chill and soothe. On the flip, 'Defiance' from Mohican Sun follows suit. With a gritty percussive edge, haunting melodies and a desperately emotional vocal to boot, this music will draw you all into the most mesmerising of dancefloor spells.

* Mark November 24 as the official release of the TEN YEARS OF INTEGRAL Album Sampler across all formats. Bag your limited vinyl copy now.

Forriner is Lee Forster and Oli Worriner.
I made music together with Lee for years (alongside Mick Rolfe) as Last Waltz.
He also worked as Lizards with James Hadfield (James released solo for Me Me Me 02),
Oli Worriner, is a talented young northerner who's already making a great name for his solo output, both under his own name and his Traela Alias, as well his label 'Tunnyl Recordings'
I'm really flattered that they've let me release their first full solo release, and I love how they've brought out each others deeper and more emotive sides in these 2 tracks.
Shit Robot is a hero of mine. I basically wore out the grooves on a bunch of his DFA stuff from just over 10 years ago, and I've avidly bought everything he's released since.
I met him this summer for the first time when we shared the bill at a festival, and was so happy to find that he's also lovely guy in real life.
They say you should never meet your heroes, but I don't subscribe to that as this meeting led to not one, but two fantastic remixes for Me Me Me 08.
The originals are a bright mix of melodically analogue left leaning house, while the remixes zero-in on a punchier dancefloor vibe, with an epic version Goodnight, as well a more heads down Disco Dub.
So yeah, links within links, and keeping it Northeastern again I guess.

We started with the principle - the cosmic idea that we were taught by our father from a very young age - that the stars and planets make a sound, that deep in outer space there is audible harmony.'With its cathedral-like, richly resonant acoustics, the new HBE album is a brilliant expression of this interplanetary principle. The album is by turns urgent and contemplative, funky and reflective, varied in its textures, but entirely of one piece. Underpinned by concepts of our earth's place in the cosmos, held in place by meditation, swirling with notions of history, science, theology, ancestry, there is a rich conceptual brew here. But always, what talks loudest is the music. The album rings with what back in the 1950s the jazz critic Whitney Balliet called the sound of surprise'. At a time when the phrase Spiritual Jazz threatens in some quarters to become a tired cliche, this is a record that makes you believe again in the genre's validity.

Talking to Cid, one of the Ensemble's two trombonists, one phrase recurs: back to the beginning'. We wanted to go back to the beginning, when we were kids, real young, and our father would wake us up at 5 AM to practice for two hours before breakfast.' One outcome - initially unplanned but subsequently embraced - is that unlike their two previous albums on Honest Jon's, this is an album without a drummer. When we started, as Wolf Pack, just brothers on the street with our horns, there wasn't a kit in sight.' Book Of Sound retains plenty of rhythmic heft, but the absence of a drummer opens up space for a notably varied instrumental palette. Acoustic guitar, piccolo, synthesiser, alto sax - none of them typical HBE Instruments - all have their place on the album. Most striking perhaps are the vocal lines that thread through the album and give it a palpable warmth. In Wolf Pack, we rapped and played, this time we took it a step further.'

Sessions were recorded in Brooklyn and Chicago, and brilliantly mixed at Abel Garibaldi's studio in the Loop ( Abel was like a musician on this record'), and it's the Hypnotic's hometown that permeates. For Cid this is a deeply Chicago record: it's got the vibe of the lake, the vibe of the prairies opening up to the west'. It also has the vibe of those Sun Ra Arkestra albums recorded in Chicago in the 1950s, and - of course - the Phil Cohran albums from the 1960s.

It's Phil Cohran (the father of all seven members of the Ensemble and their first teacher, and not just in music) who is the album's guiding spirit. For Cid it's a major regret that, in the months before their father's death early in 2017, Phil was not well enough to play on the album. He loved the whole idea, and we had the perfect place for his zither'. But Book Of Sound is a magnificent testament to their Cohran legacy. You know, it's tough trying to satisfy everybody with our music. It's hard enough satisfying ourselves, let alone the jazz scene, the hip hop guys, what have you. With this album we just dropped all that as a consideration, and tuned into deeper principles.'

Idle Hands continues its quest to support new talent coming out of Bristol with a fresh 12" from local beatsmith Crump. Up to this point, he's been quietly slipping out razor sharp reduced house cuts on various artist releases for Extended Play and Banoffee Pies, but it's high time he had a 12" of his to truly showcase his sound.

The two tracks on this single tap into a consistent thread on Idle, fusing the minimal sensibilities of contemporary European house music with a swung, dub-weighted presence fit for soundsystem consumption in the fair city we call home. Much like previous releases from Leif, Christian Jay and Matt Karmil, this is a demonstration of stripped down music loaded with swagger.

"Ice & Spheres" pivots around an ear-snagging 2-step shuffle that cuts through any mix, but there's scores of subtlety woven in between the drums to reward the attentive listener. Snatches of vocal, distant field recordings, low-blowing synth licks and other unidentifiable sonic matter lurk quietly in the mix to cast a spell on the sleep-deprived twitcher and warm-up head-nodder alike.

Sporting a brighter disposition thanks to the sheen of its chords, "Mechanisms" provides a different vibe on the flip. The beat throws down with a rugged nod to West London broken styles while still tapping into that aforementioned continental 4/4 sensibility, injecting a refreshing variation into the densely populated minimal house landscape while maintaining the meditative qualities that keep the genre close to our hearts.

After two hip-hop albums (Got To Get Down in 2016 and Impact in 2017), the unpredictable Afro Latin Vintage Orchestra comes back to its fundamentals with a new instrumental album:
MORPHEUS which repositions the band in the spirit of their previous spatial, almost cosmic albums Last Odyssey (2012) and Pulsion (2015), both released on Ubiquity Records and acclaimed by spiritual and fusion jazz lovers, library music fans, as well as rare grooves diggers (ALVO's first 4 vinyl albums now being out of stock).
Each new ALVO new release is a millesimal which evolved and learned from its predecessors.
Masta Conga, who's still leading the herd, has for main purpose to explore the musical space-time, gaining ground on never before revealed tracks, followed by his now faithful team of atypical and
farseeing musicians.
Compared to Miles Davis and his On The Corner by Wax Poetics, the band dives again in this realm of psychedelia and beyond', in particular with the contribution of Indian musicians. Twirling
around violins, superimposed patchy keyboards and effects, just as if their conductor wasn't already sufficiently influenced by Pierre Boulez and others such as Hiroshi Murakami... The result is however more uncluttered and loaded with multiple vibes than its predecessor Pulsion, which already carried the ceremonial characteristics of cult movie soundtracks. Tracks Moksha',
Air' and Morpheus' are the perfect demonstration, and far beyond their names. Simple grooves, lunar, but terribly efficient, emphasized by a mix that puts focus on these fiddly contributions of ethnic instruments, on percussions and horns on a drip of delay, reverbs and other space-echoes.
On the other side, the very rhythmic Descarga Uno', Descarga Dos' and Super Dopamine' show that the Parisian crew hasn't lost its good habit to look around latin, ternary, and syncopated
rhythms, in the ALVO only style! A new millésime, a Grand Cru maybe, but for sure to taste and appreciate in all weathers including space ones.

Muzik & Friendz purple patch continues, literally, with a purple screen printed vinyl release from Belgian duo Le Babar & Pat Lezizmo 'Last Call' featuring Anano delivers two impressive originals coupled with a heavyweight international remix package making this the 7th outing for the Belgianbased label.
'Last Call' the original mix brings together tight classic house grooves a killer bumping bass line and the sexy vocals of Anano into a house track with real crossover potential. Denmark based Alvaro Hylander's mix goes deep, balearic and full of filtered rhodes, lush percussion with a tribal edge and breaks highlighting the sweet vocals, a perfect bar grooves shoulder shaker.
London based Frenchman Giom plays the ace card in the package with a foot stomping remix full of his own signature drum workout and ability to weave melodies and filtered breaks into a
package that has seen him release on the likes of Defected, Bunny Tiger, Toolroom and top the charts with his own label Supremus. Already tried and tested on his last US & Canada festival tour we fully expect many outings at the closing parties and festivals later this year.
Closing off the EP nicely the piano led 'Move Me' brings an upbeat and old school vibe full of stabs, vocal chops and a lush sax infused break perfect for sunsets and warm ups to boot.
Designed with the music collector in mind the limited vinyl release will be available packaged in hand made sleeves made from recycled materials.

2022 Repress

HQ Gatefold, 3x12 140g Vinyl, black innersleeve, download code
EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden's Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it's with great pride and respect, that we can announce the release of Extrawelt's third album for Cocoon Recordings. "Fear Of An Extra Planet" completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT!
Musically, of course, there's enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title "Fear Of An Extra Planet" sounds cinematic, like some art-house science fiction film, without giving too much away.
However, from the first seconds of the opening track "Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream like quality that made James Holden's label so influential.
New Release Information Second up, "Gott ist Schrott" takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples that gives us a taste of what's in store. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like 'in pursuit' feeling.
With - Das Grosse Flimmern" we cautiously approach the album's high point. It's still in keeping with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade us with an energy and impetus that always radiates from their music. Next in line is "Silly Idol" and here Arne Schaffhausen and Wayan Raabe opt again for a more minimal tack, focusing even more intensely on the dance floor to reveal a pulsing, twisted heart to the album.
"Punch The Dragon" is the hidden gem of the collection, utilising and melting together the most bombastic and playful elements. This one is totally off the hook, a sensory overload in an acoustic widescreen format! Then we have the title track "Fear Of An Extra Planet" which perfectly sums up the album concept. It opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analogue drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album.
As we near our destination, "The Friendly Coroner" really does honour its name. The morbid charm of the title is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. In our mind's eye we see a cheerful medical doctor removing his bloody gloves, hanging his smock in the closet and vibing out in his neon drenched workspace. And there we sit, glued to our cinema seat, submerged in the different textures EXTRAWELT have conjured up on "Fear Of An Extra Planet". Over the course of the last title, the strings usher in the final acknowledgments as the credits roll. The dramatic end of "2084" leaves us transfixed in front of a black screen in a large, dark room safe in the knowledge that we've just witnessed a science fiction epic.

The third instalment of our Versus series see's the return of two previously featured artists plus some super fresh blood. Croydon's king of darkness Paragon comes with
more seriously dark vibes with 'Dominions'. Acid Lab makes his second Versus appearance with the beautiful
'Can't Run'. The don of Haunted Science Amsterdam
chapter Transient bring some dark techno atmosphere's with his epic 'Scripture' and label owner Soul Intent finishes the Volume Three off with a straight up dancefloor roller called 'Bite It'.

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

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

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



DJ FEEDBACK

Early support from

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

The following three-tracker release is one of those that are about to take you on a very clear ride. We will start with some tensioning and rising loops and will keep you up while the swiftly vibes are getting to you. With The first composition on A side, Alex won't give you a break - it's a one breath composition where you don't have any time for a second thought. When it looks like both chunky bass and kicks are going away - a very sharp-shaped and acidy synth will remain on the watch and will ensure the continuously driving thrill. Getting to the Second part of this side, what can we say, straight from the beginning a thick bass line makes it s introduction in order to lead you into some awakeness on a early morning on the dancefloor. Stepping into the game, Diferit on the remix for B side is bringing you a blend of both tracks u've heard before. Very rich in vibrations of different spectres and proveniences - from very clear and clean kicks to a bouncy bass line to the very zippy and zappy sounds of his unique style. The pleasure of having these two minds behind the second release of Aforisme is ours.

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

The MLH crew brings House music tracks based on raw rhythms, infectious stabs and hard hitting grooves, written somewhere between Chicago, New York, London, Berlin and Paris.
After their first solo EP, MLH bring back the 90's New York vibe with two veterans of this sound : The Dat Project aka William Rosario and Transitive Elements aka Enrico Mantini

Minneapolis Exchange is excited to bring the next exchange; a long awaited release for us. As promised, the exchange is the goal so for this exchange we bring you music from our crew in the US.
Side A is exclusively brought to you by two amazing Minneapolis artists that are literally head first in the Minneapolis House Music and Techno scene. These guys are out there on the front lines every weekend and many week nights, they don't sleep! Welcome two tracks from Jeff Swiff and Christian James.
Next up is side B, this is the exchange part ya'll! From Chicago we have Dan Ryan and from Los Angeles we have Ricky Tinez. These two bring in a seriously raw and darker vibe to the release, let the tracks speak for themselves and enjoy!

Fresh from his 'Vanishing Point single on UK label Hypercolour, which saw the lead track hit the Beatport Leftfield House & Techno sales chart at #1 for four weeks, A Sagittariun is back on his Elastic Dreams label with the 'Slightly Ajar' EP. As always, A Sagittariun brings an eclectic melting pot of flavours to each of his EPs, blending Detroit techno, ambient house, highly charged electro, dramatic synths and transcendental vibes. 'Stingray' combines future techno beats with apocalyptic bass and melodious keys, with an almost early 1980s synth pop vibe to it, whilst 'Burning Crystal' is the kind of introverted and deep ambient electronica that has shaped the two A Sagittariun albums (2013's 'Dream Ritual' and 2016's 'Elasticity'). 'An Infinite Number Of Possibilities' is relentless, frenetic and funky, as a myriad of warped sounds and riffs flash past the heavy drum work, and '720 Degrees' closes the EP with crunchy 808 electro patterns, FM bass and huge melancholic strings straight out of the Derrick May rule book. A Sagittariun will be performing at the Berghain, Berlin on 26th August, showcasing a new live set before embarking on further dates at the end of the year.

KLYNE first caught everyone's attention with their critically-acclaimed debut EP 'Paralyzed' on Aesop, as well as their debut remix - a rework of Disclosure's 'Omen' feat. Sam Smith - before signing to Because Music and going on to release their first two singles, 'Don't Stop' & 'Water Flow'. Both tracks hit the #1 spot on Hype Machine whilst garnering support from i-D, PIGEONS & PLANES, THE FADER and NOISEY as well as receiving airplay support from BBC R1, 1Xtra, 6 Music and Beats1 with 'Water Flow' racing to over 6M streams and counting on Spotify. 'mellow electronic pop that's like a long-lost cousin of Jai Paul' - The FADER 'infectious and effortless... groove-laden soulful masterstrokes' - VICE / Noisey 'minimalist vibes, captivating vocals... impeccable melodies' - Pigeons & Planes 'more fire from the young Dutch duo... the boys are off to a strong start' - i-D

Camea returns with the third release on her Neverwhere imprint, titled 'Vanish', this Spring. In her new single, she digs deep on her drum machine into Studio 1-esque territory, using alluring classic minimal techno grooves as a back drop for her seductively soulful, selfconflicted vocals. Camea not only captures a timeless micro-house vibe in this piece, but she continues to push her sound forward as well as her love for avant-guard techno. Up next is Delft imprint boss, LA-4A, best known for his analogue vintage Roland drum machine productions. He has laid down an irresistible 303 break-beat club mix of Camea's track in the A2 spot. His dance cut of her vocals over bass driven percussion is a perfect counter piece to the original, and compliments the sound from his recent acid techno album 'Phonoautograph'. On the flip side, Berlin techno legend and Ostgut Ton/Berghain resident Tobias. gives his graceful interpretation. He has reworked the original into a tasteful, dark, spacious 8-minute minimal techno piece, with percolating panning and filters on the vocals. As usual with Tobias., he clearly conveys his undeniable expertise and instinct for exquisite dance music. With this release, Camea is also marking the 2nd anniversary of her cult Neverwhere Radio show this Spring, having produced twenty-four, two-hour episodes with exclusive DJ mixes and guests. The show currently has residencies on Digitally Imported, Tsugi Radio and Ibiza Sonica, and Camea has quickly established herself as a driving force in the left-field techno community, and a passionate advocate of underground radio.

The House Music Institute is the new label by Pete M.. A recognized face on the Madrid underground scene, Pete M. has been making the city dance for the past two decades mixing House with Future Disco and Techno.

His first EP, LOFT 301 - Fourth World' includes two original tracks plus a remix by Jonny Sender.
Pete M. created two original tracks with a late night vibe using a classic groove and 4/4 rhythms combined with 808 analog sounds and beats.

Pete reached out to Jonny Sender for a remix who's recently released a number of original productions and remixes. Sender, bass player in the legendary band KONK, was part of the early '80s downtown scene in New York City as well as being a long time DJ. Jumping off from the original track, Sender brings some jazzy early '80s flavor while keeping the vibe strongly rooted in the present.

Inmotion Music LTD brings back two dynamic artists Marco Effe and James Mile. Both Marco and James have been firmly cementing themselves in the Techno and House music scene for several years while gaining well wide support from DJ's across the globe..
The Mehringdamm EP consists of 3 original tracks and a remix by Spain's Eduardo De Callle.The first track, Mehringdamm is a classic rhythmic-driven belter that packs a hefty punch. The jacking 909 drums and lush synth keep the tension through out.The B-Side is slightly more experimental but has expertly captured the Eduardo De Calle.vibe. James Miles ends the EP with a jacking 909 work out named Stomp.

Astray is the Sublabel of Away, Berlin.

Berlin's party series and the eponymous vinyl label celebrate the launch of its sublabel ASTRAY with the 'Road Force EP' by Discrete Circuit. While AWAY with previous contributions from Joe Claussell, Mr. Ties, and Move D leans more to the housier side of things, ASTRAY will take a different path by taking some darker, techno-centered steps. Following the idea only to release productions by both label founders, Discrete Circuit and H4L, as well as unique collaborations which either of them will form with outside artists, ASTRAY's second EP will premiere the joint studio work of Discrete Circuit and DJ/producer Blind Observatory. EP INFO After releasing on labels such as DVS1's Mistress Recordings, Mark Broom's label Beard Manand Darko Esser's Wolfskuil Records, Discrete Circuit's new EP provides four progressivetracks mirroring his interest in a steadily growing techno narrative as well as mind manipulating onomatopoeia. On the A-side he's evolving his floor-aimed capabilities in two different ways: Starting with subtly quoting the infamous Motor City, the title track's on-edge techno design quickly accumulates into some kind of hounding; not knowing if you're the hunted or the hunter. 'Stress Resultant' increases the pace, whereby the restless vibe is contrasted by melodic synth patterns embodying a sort of playful corrective. The flip side introduces Discrete Circuit's experimental facet: 'Controlled Error' exhibits the dialogue between harmony and chaos in which shrieking, yet claustrophobic shades play hide-and-seek ultimately unfolding a gloomy funk, while the EP's last 'Circuitry' is completely carried by shape-shifting, pulsing soundscapes.

Welcome to Mateo & Matos under their acronym of "Raw Elements". "Raw Basics" is the first of two re-issue which will be released on Flash Forward licensed from Final Cut Records ! Timeless classic deep house with strong bassline, with hypnotizing ghetto vibes & jackin fluids from the Yorker duo that fear no dancefloor !

Richy Ahmed's Four Thirty Two imprint continues to shine a light on the freshest talent emerging from the house music underground, and on the label's third release, the London based Senzala get to flex their muscle on a fine release, backed with a remix from Ahmed and Jansons AKA Lovehertz.

Having previously released on the French label Mr. KS & Friends, and Politics Of Dancing, the Senzala boys, otherwise known as Jonni Santos & Sam Holland, deliver the goods once more on the 'Phase' EP.

The title track packs rolling 909s and looping filtered disco riffs into its punch; never letting the energy levels drop. Vocal licks and techno-laced stabs drive this club-focused track fantastically, with a glossy production that really shines through. Richy Ahmed and Jansons come correct with a Loveherts remix; a heavyweight analogue bassline dominated the mix and the vocal parts slide down the arpeggiated riff as incessant synth stabs ramp up the heat, taking their remix right to fever pitch.

The Senzala boys grind out more solid house grooves on 'All For You', deploying disco samples and vocals that are filtered and twisted around the tough drums to great effect, whilst on 'Agora', the mood remains unfaltering as feel good riffs and warm keys wrap around Senzala's steady beat to complete a stellar release that's packed with energy and infectious vibes.

Another Picture has the honour to welcome DJ Honesty to the label's crew! The Berlin mainstay keeps on delivering for two decades and counting. Now residing in sunny and meanwhile ultra-lively spot Lissabon/Portugal he shows up with two pieces of pure electronic groove with a dubby technoid flavour. Studio knowledge at work! Usually known for positive vibes with a still abstract feel now DJ Honesty reveals a darker shade of experience. Get involved with a tougher edge and face some deeper emotion and sonic consequence - see you on today's dancefloors.. DJ Honesty's releases come as various projects and collaborations: Honesty, Honeydrop, Slope (with Daniel Paul) and Suparaw (with Woody) on such labels as Cabinet, Sonar Kollektiv and Quality Vibe to name a few. He is part of the touring Cab Drivers live crew. Don't miss!

La Freund Recordings presents a new EP from Amsterdam based producer and modular synth enthusiast Sjamsoedin. Three varied tracks and two heavy remixes by Simon Weiss (Rush Hour / Voyage Direct) and Claude (a.k.a. Fulgeance) form the new label's second release.Sjam Sjamsoedin has been around the electronic music scene for over fifteen years, releasing music under various aliases. Since 2011 Sjamsoedin has been experimenting with a deeper and warmer sound built around strong grooves, combined with his love for (modular) synths and effects. Orion is Sjamsoedin's first full length EP under his own name.While "The Drums" and "Pastel" find their inspiration in the Chicago house sound of the good old days, "Orion" has more of a lush electronica vibe to it. Both remixes add a heavier sound to complete the well rounded EP.

This Rough Guide features deeply cool cumbia influenced by 1960s Western rock and the hippy movement, spanning the spectrum of psychedelic cumbia from the 1960s pioneers to today's innovators. A classic selection ranging from the vintage Peruvian recordings to classic contemporary bands from Colombia, Chile, Mexico and beyond highlighting how cumbia was reborn in the 1960s to make it relevant to the younger generation.

Includes a FREE download card allowing you to download the full album

Peru has had its share of great electric guitarists bending strings to the rolling beats of cumbia - from Enrique Delgado to José Luis Carballo - who came from its own important domestic tradition of criollo guitar music as much as rock). So it's not an exaggeration to say cumbia peruana (and regional variants at times referred to as cumbia andina, cumbia selvática, and more recently chicha) has had the lion's share of Carlos Santana influences evident in the mix.

Interestingly the Peruvian psych sound so prevalent in the early 1970s had a profound effect on the originators of cumbia; hence we offer the two fine examples from 1970s Colombia that follow. We round out the mix with a gaggle of contemporary artists from Chile, Mexico, USA, Peru, Colombia, Argentina, and Germany, bringing the psychedelic tropical vibe up to date while still retaining the trippy trappings of yesteryear.

3xLP+CD Artbook
(en) - Nearly two decades after the last official GAS album release, Wolfgang Voigt returns to his iconic Ambient project with a brandnew full-length.
- NARKOPOP continues the classic GAS aesthetic of symphonic scope and subtle variation, taking the listener on an otherworldly journey to the depths of rapture and reverie.
- Available as luxurious hardcover CD incl. 24 pages booklet.

In the body of work of Cologne artist Wolfgang Voigt - who, like few others, has informed, shaped and influenced the world of electronic music with countless different projects since the early 1990s -, GAS stands out in particular as a saturnine sound cosmos based on heavily condensed classic sequences. Even after nearly 20 years, the sound of GAS doesn't seem to have lost any of its luster, as shown by the commanding success of Kompakt's fall 2016 re-release of the essential back catalogue as a 10xLP/4xCD box set.

The overwhelming feedback from a loyal international fan community and worldwide media outlets attests once again to the sheer timelessness of GAS. Which is why it will feel like hardly a day has passed since the release of the last official album 'Pop' nearly two decades ago, when Wolfgang Voigt resumes this specific creative path with the upcoming new full-length NARKOPOP.

Even in the here and now, the unmistakable vibe of GAS immediately hits home, taking the listener on an otherworldly journey with the very first sounds, drawing him or her into an impervious sonic thicket, down to the depths of rapture and reverie. From wafts of dense symphonic mist emerges a floating and whirling feeling of weightlessness, before the listener steps into an eerily beautiful forest of fantasy, pulled in by the allure of a narcotic bass drum.

While earlier GAS tracks were often based on the hypnotic effects of looping techniques, the 10 new pieces on NARKOPOP unfold their magic in a more entwined manner, sometimes with the sonic might of an entire philharmonic orchestra, sometimes as subtle and fragile as the most delicate branch of a tree with many. A main characteristic of Voigt's oeuvre, the coalescence of seemingly contradictory stylistic aspects such as harmonious and atonal, concrete and abstract, light and heavy, near and far is also a decisive feature of NARKOPOP.

In accordance with the transgressive spirit of his collective work, Voigt carries the aesthetic conceptions of his music over to the realm of the visual. Based on his abstract forest pictures, the GAS artwork addresses Voigt's artistic affinity to romanticism and the forest as a place of yearning. For the first time, a closer look at the cover of NARKOPOP reveals signs of architectural fragments which hint at another, maybe parallel world behind Voigt's forest. Truth is the prettiest illusion.
(de) - Fast zwei Jahrzehnte nach dem letzten offiziellen GAS-Albumrelease kehrt Wolfgang Voigt mit einem brandneuen Langspieler zu seinem legendären Ambientprojekt zurück.
- NARKOPOP setzt die klassische GAS-Ästhetik zwischen symphonischer Grösse und subtiler Variation fort, eine Reise zu den Untiefen von Rausch und Entrücktheit.
- Erhältlich als luxuriöse Hardcover CD- Erhältlich als luxuriöse Hardcover CD inkl. 24-seitigem Booklet.


Aus dem Gesamtwerk des Kölner Künstlers Wolfgang Voigt, der mit seinen unzähligen unterschiedlichen musikalischen Projekten seit den frühen 1990er Jahren wie kaum ein Zweiter die elektronische Musikwelt geprägt, gestaltet und beinflusst hat, ragt sein Projekt GAS, ein auf stark verdichteten Klassiksequenzen basierendes, düsteres Klangkunstwerk, in ganz besonderem Maße heraus. Dass der Sound von GAS auch nach fast 20 Jahren scheinbar nichts von seinem Zauber und seiner Kraft verloren hat, zeigte eindrucksvoll der große Erfolg des im Herbst 2016 als 10xVinyl/4xCD Box auf Kompakt wieder veröffentlichten Backkatalogs.
Die überwältigende Resonanz, sowohl seitens der treuen internationalen Fangemeinde als auch der weltweiten Presse, bezeugte einmal mehr die schiere Zeitlosigkeit von GAS. Daher fühlt es sich auch an, als sei kaum ein Tag vergangen, wenn Wolfgang Voigt nun mit NARKOPOP genau da den künstlerischen Faden wieder aufnimmt, wo das letzte offizielle Album »Pop« ihn vor fast zwei Jahrzehnten hat fallen lassen.


Auch hier und heute verfängt der unverwechselbare Geist von GAS unmittelbar und nimmt den Hörer bereits mit den ersten Tönen mit in eine andere Welt, zieht ihn hinein in ein undurchdringliches Dickicht aus Klang, hinunter in die Untiefen von Rausch und Entrücktheit.
Aus dichten sinfonischen Nebelschwaden entsteht ein Schweben und Taumeln, ein Gefühl der Schwerelosigkeit, bevor der Zuhörer von der Anziehungskraft einer narkotischen Bassdrum wieder hinunter in den schaurig-schönen Fantasie-Wald gelockt wird.

Während frühere GAS Tracks oft auf der hypnotischen Wirkung des Loops basierten, entfalten die 10 neuen Stücke auf NARKOPOP ihre Magie auf verschlungeneren Pfaden, mal mit der klanglichen Wucht eines ganzen Philharmonieorchesters, dann wieder so zart und zerbrechlich wie der feinste Ast eines weit verzweigten Baumes. Das für Voigts Arbeiten so typische Ineinanderfließen scheinbar widersprüchlicher stilistischer Aspekte wie harmonisch und atonal, konkret und abstrakt, leicht und schwer, nah und fern ist auch auf NARKOPOP essenziell.

Im Sinne seines grenzüberschreitenden Schaffens, überträgt Voigt die ästhetischen Konzeptionen seiner Musik auch auf die Ebene des Visuellen. Das auf seinen abstrakten Waldbildern basierende GAS Artwork thematisiert Voigts künstlerischen Nähe zur Romantik und dem Wald als Sehnsuchtsort. Wer einen genaueren Blick auf das Cover von NARKOPOP wirft, der wird erstmalig Andeutungen architektonischer Fragmente entdecken, die eine andere, vielleicht parallele Welt hinter dem voigt'schen Wald erahnen lassen. Wahrheit ist der schönste Schein.

End of February will see Luciano continue his newly launched Basaec imprint with 'Saved & Slaved', a two-track release featuring collaboration with Argenis Brito. Swiss-Chilean producer and DJ Luciano has been at the forefront of underground electronic music for quite some time now, heading up the infamous Cadenza imprint and releasing material for some of the industry's leading labels such as Perlon, Desolat, Cocoon and Poker Flat amongst many others. Here we see Luciano back on his recently launched Basaec label, delivering some of his signature stripped-back, dynamic and emotive material 'Lost In Lymbo' takes the lead and sees Luciano offer up a typically intricate twelve-minute excursion with subtly modulating and evolving percussion, spiralling synth swells, sporadic vocal chants and a smoothly unfolding aesthetic resulting in an archetypal and intriguing production from this forever forward-thinking artist. The latter half sees Luciano paired with fellow Cadenza artist Argenis for 'Pato's Track', stripping back the vibe to a raw cowbell and rim shot percussive-led state whilst lumpy subs, vocal murmurs and subtly unfolding flute like melodies ebb and flow throughout the composition.

French producer Moresounds makes a welcome return to Cosmic Bridge five years after his debut. The Paris-based dub scientist was one of the first artist Om Unit picked for the label and the co-sign helped launch his career, which has since included contributions to Astrophonica, Doc Scott's 31 Records, and remixes for Machinedrum as well as a growing touring schedule that saw him take his unique live show to Asia and America in 2016. Mutation Experts catches Moresounds in a more experimental vibe with four cuts that play with the rhythmic potentials of jungle in a different style. Ting N Tings sets the mood with rolling breaks in a sea of soothing pads, subtle loops, vocal samples, and recurring sound effects anchored by deep bass to create a subtle, implied tension. Mutation Experts makes use of a catchy melody to take the listener along and once again the mood is one of subtle changes and blissful exploration, a junglist daydream. Ruff Times is the darker of the tracks on offer, a creeping roller wrapped around a two-note melody and drenched in dub, a hypnotic descent down a rabbit hole. The EP closes with Positive Yourself a mellow, downtempo production that plays with African motifs and samples for a gentle return to reality. Mutation Experts offers a perfect example of how Moresounds combines the rhythmic appeal of jungle with the transformative potential of dub, sidestepping obvious signifiers to play with possibilities. Mutation Experts invites you to take a different trip with Moresounds as your guide

Vlad Dinu opens Mihai Bravu's 1st release starting the audio journey with 'Deep in my house' , a track that occupies the entire A side, just like a proper tool should.
As the name of the track hints, we find ourselves submerged in deep territory : a tight and groovy bass line, laced with a steady percussion, sprinkled with some 16bit arcade reminiscent accents and soothing intermingled vocal cuts. The deep vibe is crafty perpetuated by several synths at play,
which together combine in such a way to add a wide atmospheric feel to the composition. Definitely 'Deep in my house' sounds and feels more like of a 90's tune, and while listening to it, one could easily find himself drift into the nostalgia of the good old days.
Side B goes even deeper with two tracks defined by the notion of 'head tracks' . 'Gun Zah' continues the storyline with twisty percussive rhythms and a groovy atmosphere, tailored into a bangin floor choon while 'Questions Answered' submerges the listener into layers of groovy basslines, swifty percs and milky synths, all put together into the form of a most 'alive' track.

Finally, the battle is about to reach its thrilling finale after three exhausting rounds. Our pugilists are staggering on their feet and the bookies are running around frantically, taking the final bets. Will the Bad Guys suckerpunch the Good Guys into oblivion, or does team Good have an epic deathmove in store for its malevolent adversaries Amsterdam native Nachtbraker steps back into the arena for the fourth chapter in the saga. The Quartet Series label boss and Heist and Dirt Crew mainstay has defected to the bright and sunny Good Guys. Piano chords, chopper effects and toms are the main ingredients of his funk-laden and groovy energy drink. Better than steroids they say. Laurence Guy (Church, Rose Records) joins forces or heads in this particular case with a much-needed supplement that tugs on your heartstrings with its lush keys and deep pads. This London lad has been stirring up the scene with his flawless and addictive chords, not to mention the big support he's getting from maestro Move D. Will this dapper duo be strong enough to floor the misfits featured on the flip Great precaution is imperative with two heavyweights in the other corner. First mr. Tommy Vicari Jnr (Cabinet Records, YAY Recordings, AMMO84) comes barging in. This Sheffield veteran has been making killer cuts for years now and is about to step into the ring with his slamming snares, and wonkly wobbly bassline swinging around a phat kick. To keep both The Bad Guys feet on the ground LK (Shall not Fade, Hokkaido Dance Club) adds some extra meat with a deep, heavy bassgroove, while a sexy vocal and steady chords create that gangsta vibe that will boost the Bad Guys' confidence.

Outplay's newest project is a special 10" vinyl release with 2 tracks by artist New Franklin Theory.
The name was inspired by a past in Midwestern USA.
As to who is behind the project, some ears might pick up the resemblance to another artist you all know well. Digging into his past is the main inspiration behind New Franklin Theory's two-tracker.Expect two uptempo percussion filled melodic tracks with a slight afro-inspired tropical vibe.
Comes with a full colour sleeve design by joosprintsandpatterns.nl!

Aussie rare groove ensemble Kerbside Collection's second album of instrumental funk and jazz grooves "Trash Or Treasure" (released May 2015) gets the remix, rework and re-use treatment with a variety of re-interpretations with everything from downtempo hip- hop/neo-soul and dusty analogue lounge beats, to fuzzy, Balearic electronic club workouts and even some broken beat flavours.Kicking off this limited edition 12" vinyl, AV artist/DJ/Producer Sampology lights up the sitar disco vibes of "Strawberry Fields" taking the track into sizzling Balearic, club work-out territory with added afro percussion, squelchy wobbles and effects, perfect for summer festivals and hazy end-of-night vibes. Vinnie Laduce's follows with his cruisy vocoder and lo-fi indie beats reconstruction of "Shake 'n' Bake", while another local Brisbane producer TwoDee (who also appears on "Mind the Curb" remixed) delivers an eighties, electro break flavoured re-work of 'Rabbit Hole'.Side B starts JNBO (The Cactus Channel bass player) and his unique wonky, analogue and quirky touch to the title track for a fuzzed out, analogue electronics burner for fans of Floating Points, Cro Magnon, Dabrye and Dimlite (bounced to tape no-less for added bump!). Closing in on this special vinyl is Kerbside's drummer Paprika who takes the coastal groove of 'Bogangar' to the afro side with his 'Mountain Air Afro- dub', recreating a low slung, Tony Allen styled afrobeat groove with added melodic movements and dubby effects, while he adds another remix taking "Trash Or Treasure" into future jazz/broken beat territory with added percussion, moog bass and a surprise heavy change up at the end, almost reflective of some classic Fat Freddy's Drop!

Originally released in 2014, Luciano's 'The Great Amael' is an enchanting and endearing trip; a lo-fi bubbling groove and dusted Hammond organs that hustle along whilst live percussion cuts through the oceanic atmospherics. Two years on, and Cadenza Music call upon a brace of remixers to provide fresh and unique interpretations of this hidden gem in Luciano's catalogue. Having recently released his first album in over 10 years, Matthew Dear AKA Audion boldly steps up to the mantle and stamps his intelligent techno sound all over 'Amael' in the first of our remixes. Cutting a sprightly pace from the off, Audion melts stuttering sine waves and bulging tones over concrete beats, tweaking in the original organ riff and fathoms deep pads whilst adding additional vocal refrains as he playfully teases the arrangement before dropping a superb riff in his 'Backward Melody' Remix, which takes a most psychedelic and unexpected twist! Two other musical heavyweights collaborate on the second of the remixes; Phil Moffa and Seth Troxler are no studio strangers, having released a joint project on the British Hypercolour label last year, and remixed for Tiga a few months back. Their LSOS LOVE/GOD Remix builds from ambient beginnings, save for a rhythm carved out of spongy electronics, a sturdy beat kicking in and setting the controls destination unknown, as the duo steer through breathy vocal cuts and propelling bass, stripping the remix back before leaping back into hyperspace with some adventurous and dubbed out vibes, before coming back down for landing with those unmistakable pads from Luciano's original.

Gerd Janson and Phillip Lauer are creatures of habit. Every week, the two club veterans meet up at Phillip's studio and spend an entire day making tunes. And while Gerd often likes to joke that his role in the arrangement is limited to making coffee and looking at his cell phone, it's clear that the two men have forged a potent partnership, one that's been responsible for an astonishing amount of dancefloor heat over the past few years.

Incredibly, this German pair has managed to maintain a relatively low profile, despite the steady stream of music they've released via well-respected labels like Unterton, Delsin, Internasjonal, Permanent Vacation and Live at Robert Johnson. And then there are the remixes—Azari & III, Scuba, The Juan Maclean, Fort Romeau, Avalon Emerson, Massimiliano Pagliara and Sinkane are just a small sampling of the artists who've enlisted Tuff City Kids to work their studio magic.

Throughout it all, there have been whispers of a proper Tuff City Kids album, and now that Adoldesscent has arrived, it will be all but impossible for the duo to linger in the background. After all, the LP is anything but shy—thanks in part to hooky vocal turns from the likes of Annie, Joe Goddard, Kelley Polar and Jasnau—and even the album's instrumental cuts feature some clear nods to various eras of dance-pop, from the boogie-inflected funk of 'Wake People' to the breakbeat techno of 'Boilered' and the tweaky rave nostalgia of 'Nordo.' Elsewhere, first single 'Labyrinth' is an infectious bit of new wave, while the guitar-driven 'Scared' recalls the gloomier side of '80s pop and 'Tell Me' is perhaps the record's most playfully soulful moment.

DJs will likely gravitate toward the darting strings of 'Aska' and breezy vibes of 'Farewell House,' yet Adoldesscent isn't entirely focused on the dancefloor. Dreamy opener 'Ophmar' evokes the legacy of John Carpenter, while the crunchy 'R-Mancer' offers up a sort of psychedelic synth freakout.

Much like the Tuff City Kids themselves, Adoldesscent isn't about any one style or sound in particular. It is, however, a cohesive effort, along with proof that the different corners of the electronic spectrum have a lot more in common than we'd all like to admit. More importantly, it's a whole lot of fun, and isn't that what dance music is supposed to be about anyways

Tale Of 2 Cities (or T.O.2.C for short) is the culmination of what was just a whim of an idea from label owners Mike & Justin. It's the first of its kind for us & anyone who knows anything about Kolour LTD should know that we shall leave no stone un-turned on a release of this magnitude. This 14 track, 3x12 vinyl compilation is a smooth journey throughout the realms of deep house, mid-tempo grooves, funk/soul, with an edit (or two) for good measure.Disc #1 features the incomparable talents of Jimpster (under his Franc Spangler alias), Admin, Ugly Drums & Lady BlackTronika, Henry Wu, and The Hue ft. Kissy Asplund.
Disc #2 features the FOUK boys, Frank Booker, Vincenzo de Bull & Halve Soul, & Inkswel.
Disc #3 features the talents of Eddie C, Napoleon, Sleazy McQueen & VinylAddicted, Patchworks, and LeBlanc.
3 x LP in a Trifold sleeve & Poster.