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Chemistry between individuals is an amorphous and elusive notion. It is usually seen as something that occurs between two people who are sharing a physical space, with access to each other's body language and energy. However, modern technology has provided many other opportunities for chemistry to blossom and be explored and this record is just one example of that: Vent is proud to present Kina, a double LP of musical collaborations between MAYa and Tolga Baklacioglu.

Tolga Baklacioglu is an associate professor in aeronautical engineering. He is also a musician. For several years, he has been steadily building a body of work that explores the outer boundaries where techno and abstract textures merge and blur. In 2014, Tolga created a label, VENT, as a platform for his explorations and those of likeminded travelers within this sonic realm.

MAYa Hardinge works in film. She is also a musician. She has collaborated with numerous artists. Beginning in 2008, She released 4 EPs under her solo guise MAYa. Considering her background in film, it comes as no surprise that her work has a strong visual element. Pre- dating Beyonce´'s Lemonade by many years, her last two EPs were visual albums made in

collaboration with various directors.

It makes total sense that MAYa and Tolga should have made an album together. Their interests and backgrounds overlap and diverge meaningfully in a way that has all the hallmarks of good musical chemistry. There is however one unusual element to their collaboration: they have never met. Tolga lives in Eskisehir (Turkey) and MAYa lives in New York City.



Always on the look out for inspiration and new collaborators, Tolga stumbled across MAYa's videos online. What he saw and heard inspired him to reach out and contact her. After some correspondence they decided to experiment with the prospect of making music together. Perhaps deprived of the traditional notions of chemistry defined by proximity, they found inspiration across time and space in the name of exploration and discovery. Tolga began by sending MAYa files of beats and ambiance. Upon finding the ones that spoke to her, MAYa went to work disassembling, adding, subtracting and rearranging. MAYa's work would then go back to Tolga, a world away, for further input and then back again. In this way each track was painstakingly constructed and a true chemistry was born. One built on sensitivity, support and honest artistic communication. In a word: LISTENING.

The songs cover a broad spectrum of topics, from the deeply personal feelings and experiences, to world events, and the fundamental aspects of life and death. Kina is a document of two artists from different backgrounds and their shared visions of the interplay

between one's private microcosm and the global macrocosm of our time; a testament to the fact that, for all its vastness and diversity, this world offers inspiration and potential collaboration around every corner. The music contained within has traveled around the world many times before reaching your ears. As MAYa and Tolga have done before, it is now your turn to LISTEN.

Wieder legen Die Goldenen Zitronen alle zehn Finger in die Wunden und wühlen darin
herum, dass es wehtut.
... und einmal mehr halten Die Goldenen Zitronen voll drauf mit den Waffen der Kritik, sezieren, spießen auf
und polieren Widersprüche. Nach nun schon einigen Jahrzehnten sind die Goldies noch immer eine
Punkband. Aber eine, die sich, die eigene Szene und die eigene Musik hinterfragt und Punk als eine Haltung
definiert, die Haltung sucht, sowohl musikalisch als auch inhaltlich. Das lässt uns immer wieder überrascht
aufhorchen, klanglich und textlich und vieles bringt uns zum Grübeln. Auf "More Than A Feeling" ist die
Gruppe arbeitsteiliger vorgegangen als auf früheren Alben, die Genese ist eher an zeitgenössische Hiphop
Produktionen angelehnt. Und so krachen hier Acid, DAF, Ernst Busch, Kendrick Lamar, Punkrock,
Störgeräusche und Experimente mit Sequencer und Drummachines zusammen. Die Goldies äußern sich
immer so, wie es bisher noch niemand gemacht hat. "More Than A Feeling" ist nicht zuletzt auch eine
Sammlung von verzweifelten Spottliedern, von denen man nicht weiß, was schwerer wiegt, der Spott oder die
Verzweiflung über das Verspottete.

This mysterious duo (Sasin) was formed via a stroke of chance in a basement record store in Detroit.
Recorded over a three day period at a mountain side studio in Oakland California, this is the first e.p. in a 4 part series from those sessions.

Dance floor tested, Subwoofer approved.

This is the next positive Dance Sacred Experience!

Martin Buttrich, a name synonymous for decades with expertly curated sonic productions, has had a career as long as it has been prolific. From youthful productions as an 18 year old under the alias 'X-Rotation', to his 2010 debut album 'Crash Test' and its follow-up 'Collaborator, Vol. 1' in 2016, he is an artist who has constantly evolved. Now he's back to showcase his latest EP 'Northeast / Southwest' on Planet E, due for release on 1 February. 'It's been 11 years since my last full release on Planet E and I am so happy to be able to kick off 2019 in style and return to my spiritual home. I spent the last few months working on these tracks at my studio in Barcelona and am looking forward to sharing them with you'. - Martin Buttrich The opening track 'Northeast' sees punchy stabs interlace with a shifting melodic bass, both dancing playfully over and under shuffling snares and hats which carry the listener from start to finish. 'Southwest' continues on with a bouncing percussive groove that provides the platform for a canorous bassline and string melody to emerge.

Reaper Recordings is a brand new label focusing on delivering a regular supply of second to none jungle and jungle related music.

Reaper is getting the ball rolling with the first in a series of 10' vinyl releases courtesy of Ghosty, who has released music under many different aliases for over 15 years. Presented here are two tracks of meticulously programmed hardcore jungle: modern production values and attention to detail whilst maintaining grit, dirt, warmth and weight. Both tracks have recently been road tested with great reception at various Jungle events around the UK.

Side A, 'Dead Already' is a low slung, bass driven, dark jungle workout with creeping, tape saturated arpeggios with powerful lows and aggressive, punchy percussion.

Side B, 'Forward' is a soul influenced, 94 style jungle track. Solid, deep sine basses hold down the chopped, steppy, dynamic drums.

Masterworks Music Rolls Into Town Once Again, This Time With France's Very Own Chevals Firmly In The Saddle. Four Peak Time Disco Edits Of Tried And Tested Dancefloor Anthems, Ready And Raring To Be Unleashed.

First Out Of The Blocks, 'my Feet Keep Changin', Drenched In Uplifting, Gospel Leaning Vocals That Will Have Hands Reaching For The Heavens. Couple That With Dazzling Piano Melodies, A Pulsating Bass And Staccato Strings, Alongside A Spiritual Breakdown That Will Bring About Full-on, Holy Disco Enlightenment. Next Up, A Filtered Disco House Gem In The Form Of 'this Time Is Dedicated To Love'. Shimmering Vocals, Synth Trills And Guitars That Radiate Warmth Combine With Fresh Percussive Samples And Lush Female Harmonies.

Take To The B Side And You're Hit With 'never Will I Leave You Baby'. Sun-kissed, Beachside, Wind In The Hair Vibes - Bringing Back Memories Of Those Warmer Months, Where Everything Just Seemed That Little Bit More Blissful. '80s Synths, Fuzzy Hats, Filtered Phrases And Sweet Chord Progressions In Abundance. Closing Out The Ep Chevals Goes Heavy On The Modulated, Wobbly Synthwork And Rich Bass Tones On 'love Somebody' Before Those Deep, Soulful Keys Take Centre Stage.

Disco Edits Done Properly!

Sinking Into A Miracle is the debut album by Glasgow's AMOR, a quartet of musical travellers exploring the sonic open-ended-ness of dance music. Following two critically acclaimed 12-inches, this is a fully developed treatise on ecstasy and transcendence. Here, Richard Youngs, Michael Francis Duch, Paul Thomson and Luke Fowler are more honed, razor sharp in focus and timing, testing their instrumental prowess on condensed song structures and new, enlightened feelings of expansive hope and bliss. From the outset, it's an ambitious yet ultimately inclusive journey. Recorded to 24-track tape at Chem 19 and mixed by Paul Savage and Richard McMaster (Golden Teacher), this full length retains the elastic grooves of Paradise and Higher Moment, the group's previous singles, but relinquishes the classic Philadelphia International-tinged sound in favor of looser rhythmic patterns. There are new depths to the compositions: a more free-flowing approach to percussion and deft experiments in hybridity make for a full and rounded, emotionally tinged record. Indeed, there are times when AMOR sound like the lost house band from David Mancuso's Loft parties: Richard Youngs' uplifting, gospel-tinged lyrics talk about moving beyond, universal truths, sailing through the horizon. It's a wideeyed optimism Mancuso would perhaps have approved of and which is embroidered with spectral details that begs to be auditioned on large, tweaked out sound-systems.
Fantastic cover art by Robert Beatty.

Diskotopia is extremely proud to kick-start 2019 with Girar, a four-track EP of new kaleidoscopic productions from Lisbon-born, London-based producer Silvestre.

Silvestre is no stranger to Diskotopia, this being his third release with the label, debuting with the gritty noise-and-thump Frank Pike EP in 2014, and following that up with the more buoyant, latinate Floresta EP in 2016. In addition to producing, Silvestre also co-runs the Padre Himalya imprint, putting out 2018's critically acclaimed Focus EP from tombak virtuoso Mohammad Reza Mortazavi, Renato's 2016 Alo Alo, plus his own Sport Theories and All The Things 12"s.

With the Girar EP, Silvestre presents four idiosyncratic cuts: the bubbling psychotropic mutant rhumba of Ir a Sagres, woozy spliff-house Deptford Bus, RC Surfer, a time-stretched reggaeton soundclash and the pseudo-jubilant breakbeat-house Everybody Is Happy; testimony of a truly unique and exciting artist in the modern current of electronic music.

In this compelling debut release, NETSH takes the listener on a one-way trip to his world with his own unique take on acid, braindance, electro, jungle and even a dash of hardcore. Frenzied breakbeats, thick and melodic 303 sequences, ass-shaking drum programming along with deep and lush pads are the constant on this record, coherent and diverse a the same time, which tells a lot about the young producer's musical maturity.

In this compelling debut release, NETSH takes the listener on a one-way trip to his world with his own unique take on acid, braindance, electro, jungle and even a dash of hardcore. Frenzied breakbeats, thick and melodic 303 sequences, ass-shaking drum programming along with deep and lush pads are the constant on this record, coherent and diverse a the same time, which tells a lot about the young producer's musical maturity.

Korean IDM/Electro 12" from the local Duo IRT2000 & Unreg Alien out on Seoul's very own outsider electronics imprint, Braindance Records. Touching on political grounds THAAD get us an insider look of Missile interception system's soundscapes. All Realisations Approved by the Comity of Inter Air Control, Rhythms created to fit any Infra Red testing Program

Nicetraxuk hand over the production reins totally to Li'l Mark (Classic, MFF, Apollo) on this 12" and digital release. The ep starts off with 'Inevitable' which builds slowly with plenty of synth work over a tight driving beat. At its crescendoAthe deep bass synths take over and away we go! Driving synths and padsAweave through this track from start to end with syncopated class.'Be afraid' follows, starting out with a spacey vibe over a bouncing beat which drops outAto introduce a snippet of vocal and a huge, vibrating stretched bassline this track has it all-spacey, deep and driving with diverse and crafted sounds swirling around keeping the dance floor constantly engaged. Flip the 12"A over to find 'F IT',A another bass driven tech track with a great vocal stab. Mark really turns it up a notch here to create an enormous sounding track, using all his years of knowledge and production to pull all the elements together to work together perfectly. This track has been causing serious damage on the dance floor when tested out! TheA12" isAconcluded in old school fashion with an acappella (or as he calls it Itapella) for the true DJs out there! The perfect way to round off this brilliant EP

Though highly contemporary Bad Woman is an album that takes Pop music back to a time when lyrics where more than esthetic gimmicks. With Céline's music, one cannot avoid to listen to what she has to say. To be honest we've not been struck by lyrics as much as with this record for quite a long time, and it keeps on growing.
.
Bad Woman can be seen as a mutant blend of everything that's been produced by the music industry these last 30 years, from Cher's delirious come-back in the 1990's to the most embarrassing moments in Dance music (think Gabber and Happy Hardcore), blurring the frontier between 'good' and 'bad' taste, between commercial and alternative. Just like Cher's Believe, Céline Gillain's Bad Woman sometimes sounds like the music of a former diva who's been through tough times, saw her expectations torn apart and came back to music with a bizarre testimony of her state of mind.

Loya is a new project by French producer Sébastien Lejeune, which allows him to research his
own cultural heritage, as a native of La Réunion.
For the past five years, Loya has been exploring the musical environment of the sister islands of the
Mascarenes (Indian Ocean), breaking down the boundaries between electronic music and
traditional music in a globalized world. Growing up in the great melting pot of La Reunion, Loya was
exposed to a number of cultures and rhythms that fueled his curiosity.
Settling in metropolitan France in the mid-90s, Loya's first encounter with electronic music
happened upon discovering acts such as Autechre, Plaid and Boards of Canada. Soon, Loya was
drawing from Intelligent Dance Music and bleep techno to build complex rhythm arrangements and
ethereal melodies. Throughout this research, Loya gradually managed to tame the erratic nature of
his machines to summon states of trance that reminded him of the music he grew up listening to as
native of the Mascarene.
From this route through the meanders of contemporary electronic music, Loya developed a
trademark sound based on triple time beats, pointillist sound design and a taste for experimentation.
Such distinctive features can already be heard on his first self-produced album Eruption, released
in 2014 and the EP Indian Ocean, released in 2016 on Mawimbi Records, although Corail is his
most accomplished work and a testament of his clear talent.
Exploring the blue depths of the Indian Ocean with the fluency of a native, the ten compositions of
Corail unfold like an archipelago. Showcasing the talents of traditional musicians such as Mauritius
ravanne icon Menwar and Madagascan accordion master Régis Gizavo, Corail finds a fine balance
between the soft, velvety ripples of modular synthesizers and the rawness of frantic percussion
motifs and local field recordings.

Gonzo MDF is back on Counterweight with his 3rd Release and he does what he is known for and of course he does it pretty well and reckless. Tested on the crowd of their monthly Counterweight events you can be sure that this EP is a real dancefloor weapon. On the A side Fast Fast a hammering and driving track shows what this artist stands for. The Train is Leaving brings in some break beat drums that will drive any crowd pretty mad.

Cerdos on the B side with some really heavy synth lines does it's job incredibly well while Out of the Box is an ideal track to breathe some fresh air into the middle of any set.

Our final physical release of 2018 at First Word comes courtesy of Souleance, aka the DJ producer duo consisting of Soulist and Fulgeance, with a double A sided single, and a glimpse into one of our forthcoming 2019 releases, 'French Cassette' which follows on from Souleance's acclaimed 'La Beat Tape' release from 2013, and again delves into crates of samples with a distinct French flavour.

'François' is a track dedicated to the one and only François de Roubaix, legendary film score composer, jazz aficionado and one of the duo's biggest French influences. A delectable slice of 100 bpm instrumental boom bap, built around a seriously infectious jazz-funk groove, and chopped-up vocals.

'Sète' heads to the south of France, to the beautiful Mediterranean city where Gilles Peterson's Worldwide Festival takes place. A region that the duo have had love and appreciation of, for many years. This one touches up the tempo a little, with some sun-glazed boogie riding beneath ethereal vocals, samples and sizzling synths.


With a decades worth of collaboration between them, and persistent party rocking across Europe, Souleance continue to create tried & tested nuggets of magic for the dancefloor. This double-sided 7" is no exception, and should give you an idea of what to expect from the full beat tape next year. Meanwhile, here's another essential one for the record bags.

In The Dust Of Idols is an album exploring mortality, existentialism & the dread one can feel in the face of an apparently meaningless world. The journey you embark on when trying to create meaning where there is perhaps none. These initial senses of dread can be brought about by the insignificance you feel in the face of greatness, where others have seemingly found meaning and purpose in the face of your own wavering path. Other then these can be expressed in grandness and can become historically significant human feats, the fact that they have stood the test of time can become in itself overwhelming when reflecting on your own journey. Whilst these moments in time may hold no specific meaning to you - despite their impressive nature - you are driven into senseless awe. In the Dust of Idols ties in this sense of wonderment coupled with the overarching dread you feel as you contemplate your own existence, where you fit into the significance of society and as Ruth Tallman quotes ' the search for answers in an answerless world'. 'I wanted to create something dense & heavy. When you listen through, it makes you feel like it has the weight of time stitched into it' explains Ives. As well as expanding the range of instrumentation used on this,his second album, Ives also enlisted the talents of Cellist Charlote de Burgh-Holder and experimentalist Joe Summers on the tracks 'The Unread Library' and 'Twisted Necks' which further adds to the dynamic depth and range on this record Clarity was not my main objective, like an old piece of furniture covered in dust, you can tell what it is but the details are obscured,

While perfectly fitting the deep house cabinet, this EP taps on various styles within this genre. Jayson Wynters, well known for his releases on Mr G's Phoenix G Label and Don't Be Afraid, sets the pace with Sherella's Kiss; a powerful groove and beautiful chord pads embedded in an upbuilding percussive atmosphere. This is a very personal track from Jayson and this dedication to 'Sherella' is testimony to the immortality that can be found in the power of a soulmate. Italian artist Duccio, who previously released on the label Greta Cottage Workshop delivers a melodic track with mediative vocals while Ukraine's Kiddmisha gets his well deserved second appearance on Batti Batti with an immersive electro cut . Hailing from Chicago, the artist Weakmassive makes his debut to the label with a smooth acidic track which could be a perfect opening or an encore to a long night out !

What NxT returns with a double pack of fresh tracks, tried and tested by the label head honcho Rich NxT. There are a nice range of cuts on this release with different flavours of groove, depth and attitude on display from these very talented artists.

"In 2016, 21 years after Acid Mothers Temple & The Melting Paraiso U.F.O. were founded in Osaka, Japan, there was a major shift in the line-up and "Next Generation" was added to the bands name. We now view the first 20 years of the bands career as chapter one in our story, and we are now turning the page to start chapter two. In 2018, it's time to re-record our classics with this new line-up, we just opened the door to the next stage!' (Kawabata Makoto 2018)
 
Twenty four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe at least a few dozen times, released over 100 albums in their various guises and played thousands of shows.
 
In recent years, they've experienced seismic line up changes which has given them yet another new lease of life ... or a rebirth if you will. Original members Kawabata Makoto (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension) and Wolf (bass, space & time) and as anyone that has seen the new line up live will testify, things have gone even more cosmic ...
 
'Reverse Of Rebirth In Universe' sees the band return to their old label Riot Season for the first time since 2012's 'IAO Chant From The Melting Paraiso Underground Freak Out' (CD still available). Both label and band have gone on some wonderful journeys during that time apart but both felt the stars were finally correctly realigned to renew their partnership in all things weird.
 
Long time AMT fans will immediately recognise some of the song titles listed on the album sleeve here. But the songs themselves have been reworked and transformed far away from their original versions. New boy Jyonson Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs hidden in the depths below them. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. The whole of side two is taken up with the twenty minute epic 'Black Summer Song' .. and if this is an indicator to where the AMT mothership is heading going forwards we're all in for another fucked up and magical ride.
 
If you stepped off the AMT ride over the years, possibly overwhelmed by the amount of releases they were once firing out ... it could be time to step back on it and check out where they're currently at. In a world that's more messed up than ever, we could all use a little break away from the norm, and nobody takes you as far away from the norm as possible as Acid Mothers Temple & The Melting Paraiso U.F.O.
 

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.

Too Pure and Beggars Arkive reissue 'Peng!' and 'The
Groop Played Space Age Batchelor Pad Music' on clear
vinyl.
'Peng!' is the band's 1992 debut album. 'The Groop
Played Space Age Batchelor Pad Music' is an 8-track
mini album, released in 1993.
Often noted as being one of the most influential and
original bands of the 90s, Stereolab were formed by
Tim Gane and Laetitia Sadier in London in 1990 and
released 13 studio albums, 15 EPs and numerous
singles. Simon Reynolds commented in Rolling Stone
that the group's early records form 'an endlessly
seductive body of work that sounds always the same,
always different.'
They are often noted as being one of the most
influential and original bands of the 90s. Theirs is a
rich, overflowing palette, readily able to blur the gulf
between Os Mutantes and the BBC Radiophonic
Orchestra; merge Krzysztof Komeda with the Velvet
Underground, Francoise Hardy with Neu! and Burt
Bacharach with Esquivel. A deluxe blend, in other
words, with ingredients plucked assiduously from
pop's coolest outposts: 50's lounge, Rive Gauche
chanson, Brazilian tropicalia, North American art rock,
East European film music, Krautrock. hi-fi test
recordings, mood music and more. Somehow they
distil these apparently incongruent components into
an ageless exotica that is all their own.

Too Pure and Beggars Arkive reissue 'Peng!' and 'The
Groop Played Space Age Batchelor Pad Music' on clear
vinyl.
'Peng!' is the band's 1992 debut album. 'The Groop
Played Space Age Batchelor Pad Music' is an 8-track
mini album, released in 1993.
Often noted as being one of the most influential and
original bands of the 90s, Stereolab were formed by
Tim Gane and Laetitia Sadier in London in 1990 and
released 13 studio albums, 15 EPs and numerous
singles. Simon Reynolds commented in Rolling Stone
that the group's early records form 'an endlessly
seductive body of work that sounds always the same,
always different.'
They are often noted as being one of the most
influential and original bands of the 90s. Theirs is a
rich, overflowing palette, readily able to blur the gulf
between Os Mutantes and the BBC Radiophonic
Orchestra; merge Krzysztof Komeda with the Velvet
Underground, Francoise Hardy with Neu! and Burt
Bacharach with Esquivel. A deluxe blend, in other
words, with ingredients plucked assiduously from
pop's coolest outposts: 50's lounge, Rive Gauche
chanson, Brazilian tropicalia, North American art rock,
East European film music, Krautrock. hi-fi test
recordings, mood music and more. Somehow they
distil these apparently incongruent components into
an ageless exotica that is all their own.

Following the recent 'Aset Forever EP' by label bosses Dusky, 17 Steps announces its next release in the form of the 'Off Peak EP' by innovative Russian duo Formally Unknown.

The three broken beat originals will be familiar to anyone who has seen label owners' Dusky DJ recently.

Lead track 'Off Peak' offsets a breakdown of deep, Detroit-nodding chords with thunderous bass, modular bleeps and broken percussion that will test the outer limits of any sound system.

On the remix, Warehouse Music's Mella Dee flips the original with 4x4 kicks, spacey pads and layered percussion that glides in and out seamlessly, providing the EP with a hazy, dubbed out techno gem.

Industrial broken beat jam 'Burnin' again blends atmospheric chords with chopped samples to create a carefully crafted leftfield trip that feels like the perfect soundtrack to an industrial How It's Made video.

Closing things off 'Arp Three' brings things to a darker, stripped back close in a panic alarm buzz of broken bass and twisted FX - with distant rave divas crackling through the mix.

Following a first vinyl appearance on You And Your Hippie Friends' 'A Very Nice Combinado Volume Dos' (YAYHF 03) earlier this year, Mexican producer PAULOR aka Paulo Rodriguez gets ready for his first solo outing with Hippie Dance's sister label.

Curated by Rebolledo, the imprint has established an impressive talent pool within only three releases, including both veteran and upcoming talent such as Sebastien Bouchet, El Güero, Zombies In Miami, Beyou, Roman Flügel and more. It's a testament to the label's chiselled vision that an idiosyncratic and diverse group such as this is able to sustain individual approaches to electronic music while weaving a coherent sonic tapestry from all its ingredients, the whole quite organically being more than the sum of its parts.

Now, it's up to PAULOR to flesh out his own sound cosmos on You And Your Hippie Dance's latest 12' drop, presenting a concoction of salt-caked beats, riffing guitars and flexing bass that evokes a sense for space and untouched, psychedelic landscapes not unlike Rebolledo's very own desert funk vignettes. After 'La Race' (his contribution to 'A Very Nice Combinado Volume Dos') and the 'Discótico Desértico' remix for Rebolledo's 'Mondo Re-Alterado' (HIPPIE DANCE 10 LP) started making the rounds in tastemaker DJ sets, PAULOR caught a major moment of inspiration while performing at Monterrey's TOPAZDeluxe - which lead to the husky, hypnotic cut PAULOR'S BLUES, pièce de résistance and headstone in one, as it set the scene and also birthed enough follow-up tracks to naturally grow into a cohesive, full-blown EP.

From echo-drenched, beatless opener NEBLINA to the percussion-infused intrigue of DELIRIO EN CARRETERA, the athletic pop minimalism of AMIGOS or the slow burn of brooding mystery shuffle LUCES CALLING, PAULOR creates a unique, atmospheric sound panorama that excites minds and bodies alike. Adorned with a starry night sky, the record's cover artwork couldn't be more fitting - it's a dominant musical vista in PAULOR's work, whose vantage point is not necessarily a specific place (although all tracks were recorded in Xalapa), but a feeling of exquisite duality: the feeling of being lost between the stars, lonely and connected at the same time, a speck of dust and the center of the universe.

DFA release Crooked Man's new album, 'Crooked House'.
Speaking about the album's lead track, 'Take It All Away',
Crooked Man says: 'It's about not being suffocated under the
mountains of useless crap that Mammon shits into every
crevice of modern life... quite possibly the world's only anti
consumerist disco song.'
The elusive Crooked Man returns to DFA with 'Crooked House'
LP, a maximalist take on electronic and house music that picks
up where 2016's self-titled album left off. Teaming up again
with Michael Somerset Ward (Clock DVA) and David Lewin
(Bleep & Booster) in the studio, Richard Barratt crafts a
comprehensive journey of hi-fi house belters with more sinister
electro-pop mixed in for good measure.
The album is influenced by two historic epicentres of electronic
music: Sheffield UK, where Richard has had an illustrious
career in a mix of legendary groups like Funky Worm, Sweet
Exorcist and The All Seeing I; and the NYC Loft-era disco
sound, where extended grooves were layered with peaktime
choruses.
Richard's diverse collaborations and intensely prolific
discography have now led him to records as lush and
sophisticated as 'Crooked House'. Considering the rarity of a
live Crooked Man performance or DJ set, it's a testament to his
hyper-creativity that these tracks are able to reach new heights
in a club setting. With support from disco historian Bill Brewster
and NTS resident Ross Allen, it's clear that 'Crooked House'
brings a timeless vitality to the current landscape of dance
music and continues an exciting new chapter in Crooked Man's
career.
LP format includes digital download code.

Adam X returns to his imprint Sonic Groove with his first album in four years, a 56 minute excursion into EBM and Cyberdelic Industrial Techno titled RECON MISSION. The mission begins with beat driven hypnotic electronics that invoke paranormal illusions of Easter island mythology and Bermuda Triangle disappearances. Climbing forward the album crosses the line into harder industrial territories, conjuring visions of New York City's dystopian past and CIA shadow government experiments.

Adam's own voice adorns tracks such as "Never Ending Quest", "Modular Bodies" and the title track "Recon Mission", while manipulated dialogue samples take the stage on "Tales Of Mystery', 'Search & Retrieval' & 'Delusions Of Paranoia'. Subtle, whispered statements creep in and infect the listener's ear, guiding them deeper into mental oppression. This album is not for the faint of heart, and its meticulously detailed production stands as a testament to Adam X's enduring career in techno. Adam has survived the ups and downs of the industry while continually raising the bar for production value and sound design. RECON MISSION is a triumph, ahead of the curve of modern industrial techno. This is not a throwback, this is Future EBM.

'Cohesion' is the third full album from Anchorsong - AKA Tokyo-born, London-based electronic artist Masaaki Yoshida. Taking inspiration from Classical Indian Percussion, and '70s and /80s Bollywood film soundtracks

Anchorsong creates a journey of psychedelic, danceable and free-spirited compositions that blur the boundary between rhythm and melody. It was whilst extensively touring his previous album, 'Ceremonial', that Masaaki

became deeply fascinated with percussion, and shifted his attention away from the African drums present on his last record to the music of the Middle East, South East Asia, and then more specifically to the sounds of India. 'The Indian

percussion was the one I was most fascinated with, so I began to dig into that genre deeper, I started with classics like Ravi Shankar, and the more classical Indian musicians. But then I began to explore the world of Bollywood and movie

soundtracks which is another world and the more I listened to composers like Sapan Jagmohan, Rajesh Roshan and Kalyanji Anandji, the more the concept of the new record began to form.

Choosing to work with traditional Indian instruments like the tabla and dholak, Yoshida wanted to use instruments that possessed melodic qualities, and could be tuned to work in the context of electronic music. He found that when Indian

percussions mixed with other instruments they began to sound like a melody that blurred the border between rhythm and melody. The concept of bringing together contrasting elements and cultures is evident from the album's title,

'Cohesion'. Here Anchorsong has brought together musical traditions and sounds from across borders, forging a truly unique body of work. Having reached new heights with 'Ceremonial' through accolades such as BBC 6Music's #5 Album

Of The Year, 'Cohesion' looks to build on such successes through the coupling of a comprehensive European tour kicking off around the release of the album.

The Second Testprint.
Mastered By Neel At Enisslab, Rome.
Artwork By Melanie Buddhipala.

This 12' is a document of modern contemporary music, containing future artifacts made by a selection of old friends and new faces. All of them deviate from what's obvious, possessing the ability to be serene and mental at the same time. Their coming together here is a great opportunity to appreciate this kinship, while at the same time acknowledging what distinguishes them from each other in terms of sound and representation.

With her debut album Self Fulfilling Prophecy, released by InFiné last June, the French producer closed the loop on the first sequence of her life. A sequence filled with transformations, encounters and collaborations: her successive moves to Montréal and Berlin (where she was closely involved with feminist activism), and her foundational residency at Detroit's Underground Resistance, among others, informed her authentic, global-minded techno aesthetic. The aptly-named Self Fulfilling Prophecy is thus the honest expression of a artist who has found herself at the center of techno activism, an eloquent testimonial to 'how today's electronic is made.' With the necessary hindsight and application, La Fraicheur has created an opus that blends raging techno with more atmospheric moments. An opus that is now being reviewed in light of the electronic scene's main pillar: the dancefloor. 'Self Fulfilling Prophecy remixes' recasts in vinyl version the Techno esprit of La Fraicheur´s original album with four reworks, which condition the dancers to unstoppable footwork as much as they open the listeners 'minds up. On the A-side, an activist of the Polish scene, VTSS is a leading figure in the protest against conservatism, racism and ambient homophobia and one of the founders of the Brutaz parties in Warsaw. She rocks 'Eau Troubles' in an 'industrial' soundscape, as disturbing as fascinating

Since 2010, Buyepongo has led a steadily growing Los Angeles underground movement that combines the vast influence of traditional tropical sounds with the streetwise edges of the Latin American diaspora. Much like their name implies (translation: to cause a ruckus), their hybrid style is focused on the celebration, an infectious, energetic vibe that is universally and rhythmically connected. It'll get your feet moving, and much like many of the records from the golden age of cumbia, these two offerings demonstrate an updated and adapted reverence for the roots that is truly distinct to their own unique place and time.

For the group's latest single, that place, the sprawling Latinx scene east of Los Angeles, met head on with the east coast hot pot of Brooklyn. Recorded and produced in collaboration with Names You Can Trust during the band's serendipitous 2017 trip to NYC, this new release takes two of Buyepongo's most fan-favored and party-tested original songs, two that had yet to be recorded, and combines them with the NYCT forty-five ethos: a stripped-down, warm analog recording that perfectly captures Buye's live, bring-the-ruckus style in the room as it happened. "Por La Vida" romps over the A-side, a modern-day classic in the making whose lyrics (how beautiful is life, always full of surprises...) compliment a sunny, easy-going house party vibe, while "Miri" on the flip evolves from a loping, almost reggae groove into a transcendent journey through Caribbean feel-good sounds.

New collaborative album from two of the world's most revered sound artists. 'At its best, William Basinski's music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.' Pitchfork // 'Awe-inspiring: strange, elemental, and profound.' AllMusic // For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, Selva Oscura, was seeded. The phrase Selva Oscura draws its root from Dante's Inferno. Literally translated as 'twilight forest,' it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiselled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.

The Stunning And Ground-breaking Album From The Composer And Saxophonist Chris Bowden.

'this Is The Album That Connected It All.' Gilles Peterson 2018

Chris Bowden's Debut Album Time Capsule Was First Released On Soul Jazz Records In 1992 To Universal And Widespread Critical Acclaim. Now 20 Years On A New Wave Of Current Jazz Artists Led By The Likes Of Kamasi Washington In The Usa And A Host Of British Artists - Shabaka Hutchings /sons Of Kemet, The Ezra Collective, Moses Boyd, Nubya Garcia, Fourtet, Yussef Kamaal, Tenderlonious, Binker & Moses - Have Brought This Original Ground-breaking Album Into The Limelight Once More As A Pivotal Starting Point, Sharing Many Of The Aesthetics Of These Current Artists At Work Today.

Musically All Are Inspired By The Spiritual Jazz Of John Coltrane, Alice Coltrane, Pharoah Sanders, Archie Shepp, Don Cherry Et Al Paired With A Modern Electronic Music Sensibility. Chris Bowden's Time Capsule Has Stood The Test Of Time Like Few Other Albums (as The Title Of The Album Suggested), And Remains A Pivotal, Wholly-successful And Original Experimental Musical Collage, A Radical Inspiration And Forebearer To Many Of The Best Progressive Jazz And Electronic Artists Working Today.

The Album Has Been Fully Hi-spec Re-mastered And Is Available As A Limited-edition Heavyweight Double-vinyl Release With Gatefold Sleeve (+ Free Download Code), Slipcase Cd And Digital Album.

2018 Vinyl Remaster. Von Jan Jelinek kompilierte Werkschau der legendären musizierenden Pharmazeutin.
Die Geschichte der Entdeckung dieser Aufnahmen klingt abenteuerlich. Es soll Ursula Bogners Sohn
Sebastian gewesen sein, der auf einem Flug seinem Sitznachbarn, dem Elektronikmusiker Jan Jelinek, vom
ungewöhnlichen Hobby seiner Mutter berichtete. Ursula Bogner, 1946 in Dortmund geboren, dann in Berlin
als Pharmazeutin bei einem großen Pharmaunternehmen beschäftigt, hatte ein Faible für elektronische Musik
und die Musique concrète. Ab Ende der 60er-Jahre nahm sie eigene Stücke auf, die sie jedoch nie
veröffentlichte. Bogner war stark von den pseudowissenschaftlichen Energietheorien Wilhelm Reichs
("Orgon") beeinflusst und bastelte sich einen eigenen Orgon-Akkumulator. 1994 verstarb Ursula Bogner.
2008 veröffentlichte Jan Jelinek unter dem Titel "Recordings 1969-1988" eine erste Werkschau Bogners, die
jetzt als remasterte Vinyl Version wieder veröffentlicht wird.

Moritz Simon Geist, media artist and robotic musician, publishes his first record. It is the world's first techno record played entirely by self-made futuristic robots. This is the 4-track EP to the following full-length album out 16. Nov. 2018. All of the sounds on his records are played by robots: small motors that beat on metal, futuristic 3D-printed robo-kalimbas, salvaged parts from old hard drives that click and cut. It took Geist several years to build, tweak, test and play all his DIY robotic instruments. His 'Sonic Robots' try to push the boundaries of the imaginable. He did so already in 2012 with his well-known oversized 808 robot - an iconic drum machine gotten real, 4 by 2 meter, filled with robotic parts which play the instruments live and in front of the audience. Now, Moritz Simon Geist goes even further to discover the unknown and futuristic world of techno robotics. For this quest he teamed up with the berlinian sound wizards from Mouse On Mars and dug deep in the history of mechanical music and experiments of early electronic music.

On the 4-track EP 'The Material Turn' Moritz Simon Geist turns materials into sounds. The opener 'Entropy' is a bassy club-track, played by futuristic bass-kalimbas, a psychedelic pattern of tonal glasses and pneumatic hi-hat patterns. It is core piece to this EP and is also featured in the main video. Even without a visual part, listening to his music, a sound world opens up which is unheard before: in definition, reference and organic nature. Geist: 'When you listen to robots playing, you realize, that they sound precise, but in contrast to digital sounds they transport an immense organic feeling. No beat is like the other, everything is played with actual acoustic physicality and thus actual error. On the same time, the repetitive nature of the robots make it perfect for playing electronic music. Its industrial and organic at the same time.' The second track 'Under Deconstruction' is a metal-on-metal slammer with a heavy beat played on a big sheets of metal. 'I often try to compose a track around one instrument', explains Geist, 'letting the sounds take a lot of room so they can stand out.' The B-side starts with 'Supercharged' - a heavy drone, reminding of the darked sides of music concrete. Here, tuned air fans, and a metallic percussion robot create the texture. 'Detok' closed the EP with an up-tempo club track, featuring complex rhythmic textures and well defined robotic percussion elements. What Moritz Simon Geist came up with is a stunning record of what is possible today - to explore the sound of mechanics that keep on filling our world. Geist creates a smashing soundtrack for both the precise automation and physical fragility that shapes today's society.

OK THEN GP IS ONE OF MY CLOSEST PPL IN THIS GAME, IT'S ME AND HIM TILL THE FKIN END.

WE'VE BEEN PUSHING EACH OTHER FOR A DECADE NOW AND IT'S THE BEST BUZZ TO RELEASE A FULL 3 TRACKER OF ALL OG MATERIAL FROM MY FAVOURITE GUY.

THE FIRST CHUMP WHO CALLS ANY OF THESE TUNES AN EDIT IS GETTING DECKED BTW...

THIS IS PURE CREATION FROM A TOP JOCK...RHYTHMS FOR UR FLOOR STRESS-TESTED THE WORLD OVER.

FUCK ALL PRESSED SO DIVE IN WHILE THERE'S STILL SOME WATER IN THE POOL.

Repress!

Copenhagen's Terry Tester (Brownswood / BBE) merges his love for Midwest house and cosmic funk butter on four-tracker 'Space Million' for Creak Inc., journeying through dream state deep house, gritty MPC workouts and low-end boogie territory for an undeniably original take on four-to-the-floor rhythms.

Within Terry Tester's two-decade long career as a turntablist and beatmaker his eminent take on house, hiphop and soul has been commissioned by Gilles Petterson for his 'Bubblers' compilation series on Brownswood Recordings, Jahi featuring american neo-soul singer Dwele, and Marc Mac (4Hero, Visioneers, Nu Era) on BBE remixing alongside DJ Jazzy Jeff, as well as releasing two full-length solo albums 'Horses and Diamonds' and 'Short Suite'.

The Rapture's Luke Jenner ventures firmly into the dance floor, this time in full force, on Glittering Jewel, the Brooklyn-based producer's debut EP under his Meditation Tunnel guise. Following his initial outing, La La La, on Life and Death's vinyl-only sub-label, Blitz Series, Glittering Jewel sees Jenner step up with three outsider cuts, dripping in personalit Cloaked subtly into the backdrop, Jenner's unmistakable croon features throughout the disk - a highlight across the board. While dilapidated drum machines, crunched beyond recognition, propel the record into techno territory, Glimmering Jewel retains the artist's bespoke youthful sense of blue-eyed naiveté. Red Axes come through with an unclassifiable, stripped-down reinterpretation of Fire Fly, the perfect pair to deconstruct and re-contextualize the original material. Carefully pressed on high-quality, transparent vinyl, LAD039 stands as a testament to the label's shifting auditory ethos. Artwork by Michela Picchi.

Margot Records was born in 2006 in Riccione (Italy) from the stable relationship and friendship of the two musicians and djs Pepe and Giaga. They created it to make their music more freely, without impositions, with an own identity, fascinated on every kind of test.