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Recovering from the gray decay of the winter here in Berlin, we are more than ready to push forward farther into the future. In order to do so the powers at Chronicle have aligned a new musical offering to test the palate of those who know, and those who care. We are pleased to present six tracks from the prolific Arnaud le Texier, who has made waves for years with his Children of Tomorrow imprint and renowned taste. From cosmic interludes to heavy hitting transcendence, Arnaud manages to showcase all sides of his production skills as they translate into a compelling and emotive narrative. Among them stands a tribute to one who was lost along the way that we simply do not want to forget. Only rarely in this life do we stand witness to gures that make a true impression, an imprint that continues to leave a mark long after the original has passed. Max_M was one of these gures, and it is through his music and immensely dignified curatorial prowess that his legacy will live on. Arnaud's poignant tribute stands as a personal note amongst an EP full of forceful techno suitable for deep space exploration.

Heavily grounded in the UK Steppas sound from the late 90's, Adam Prescott has enlisted the help of UK veteran, King General, on his latest single, 'World Gone Crazy'. King General steps up with real conscious lyrics backed by AP's rootical rhythm section, the duo come together to provide a reality check. On the flip, Adam's Dub is a stripped back, raw take on the original, in true dubwise fashion. Expect real heavyweight digital pressure built to test any sound system.

There´s not much known about Fabror Resande Mac but them hailing from Stockholm Sweden and having released even fewer matrial yet... an ep on Afficicionado and one on Back to Baleraics.
But both to much applause and already being sought afterness.
FRM do masterfully crafted, slow paced (pacific) coastal sound with all the ingredients for making you long for more. Steady bass pulses, mechanical percussion, punctual punches make waves from underwater to hyperspace - seductively deep and almost see through light.
Price and Timeless.
Or how our dear friends from mighty testpress.org blog would put it:
An idealized promise of the only true cure.
Atalanta and Vi över Manhattan are a Teasor of something even bigger coming in the Autmn of this year. Fabror´s first full length album, here on Horisontal Mambo. So don´t touch that Dial - this is just the beginning of the Deep End.

Horisontal Mambo is a new sublabel from Full Pupp.

Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.

Entirely curated and compiled by Collins himself, his idea for the 'Take A Look At Me Now' concept is to examine how his songs have evolved over time, with the majority of the additional content throughout the series focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.

Collins returned to #1 in 2010 with 'Going Back' which represented his first studio album since 2002's 'Testify'. 'Going Back' was a personal labour of love project that found him faithfully recreating the soul gems that played such an influential role in his musical life.

The concept, he said at the time, 'Was not to bring anything 'new' to these already great records, but to try to recreate the sounds and feelings that I had when I first heard them.' That objective was achieved with the help of special guests including three surviving members of The Funk Brothers: Eddie Willis (guitar), Bob Babbitt (bass) and Ray Monette (guitar). 

'I decided to call this version of 'Going Back' 'The Essential Going Back',' he explains. 'In retrospect, I included too much music on the original version, and I believe that too much is not always a good thing. Hence this trimmed down selection of my favourite Motown songs.'

Dusky's 17 Steps present Floor To Floor. Featuring tracks from Velvit, Trevino, Lo Shea, Hugo Massein and Alan Fitzpatrick, Floor To Floor compiles 12 tracks that approach the modern house and techno aesthetic with a UK edge.
Joining the dots between electronica-leaning sounds, melodic house and warm-up grooves to moody techno, looping tech house tools and broken beats, Floor To Floor represents a snapshot of current UK House and Techno sound worlds - all heavily road tested in Dusky's DJ sets. Carefully compiled over a 12 month period, each track combines artistic individuality with dancefloor utility. On the second sampler, UK techno powerhouse Alan Fitzpatrick delivers a nostalgic nosebleed rave banger in a modern style on 'Where Haus', XL signing Hugo Massein deals in rolling tech nastiness on 'Restart The Sun', Lo Shea's shuffling, sci-fi beats elevate 'Thousand Foot Waves' while Moniker take things deeper on 'Moving'.

The eight tracks on 'Versus' exemplify a remarkable cross-pollination of genres, a true testament to the intense, 'it takes a village' spirit of collaboration among the artists in the Wolf & Lamb aquarium.

The LP kicks off with "Real Love," an electronic duet with San Francisco's PillowTalk. A sparse, airy kick and lackadaisical, scale-climbing bass line complement a vocoder-drenched croon, evoking nothing less than an R&B version of Aphex Twin's Selected Ambient Works. In the album's next track, "Fo Porter," butter soft vocals from Voices of Black ("I want it/I need it/I just can't get enough/I hold it/I squeeze it/I just won't give it up") complement lush orchestral arrangements, doing for hip-hop inflected dance music what Metro Area does for disco.

"In The Morning," an after the after party, hands to the air entry into the house of god, will instantly conjure up for those lucky enough to have visited the Marcy the familiar image of Gadi's hands feeling up the wall in ecstasy while Zev soldiers through the groove. "Weekend Affair," perhaps the real standout of an all-round exemplary album, punctuates stuttering, oscillating synths with a ferocious cowbell and moaned vocals, continuing a long-standing New York tradition of sexualized Downtown funk.

The gorgeous "Serpentine," with it's kettle-drum compression worthy of Phil Collins's "In the Air Tonight" and atmospheric vocals from French chanteuse Rap Lisa, is rounded out by the it's a perfect ending to the album, a moment of calm before the sharks, always on the move, start circling again.

We are honoured to let Dilated Pupils bring us a great release on MAYAK. A-side "Remi's Phone" is a really deep spoken word techno track. "Shine Dub" on a B-side is probably the most rewarding dub-house track, that makes everyone smile on the dance floor, and that was tested thoroughly.

The Sound Of Young Jamaica - More Early Cuts From The Vaults Of Studio One 1959-63

This is the second collection to bring together many of the visionary producer Clement 'Sir Coxsone' Dodd's early recordings made with Jamaica's most exciting young artists and musicians who helped define the world of reggae music over the decades following Jamaican Independence. These recordings were made when Sir Coxsone ruled the dancehalls of Kingston in the late 1950s and early 1960s with his number one Downbeat Sound System, where songs were tested out on dub plates at a dance to see a crowd's reaction - the most popular of which were then released commercially. Featuring early material by Roland Alphonso, Don Drummond, Tommy McCook (all of whom would form The Skatalites), Toots and The Maytals, young singers such as Bob Marley and The Wailers, Delroy Wilson, Owen Gray all captured in their formative days. The music here spans a wealth of styles - Jamaican rhythm and blues, jazz, gospel, proto-ska, Rastafarian - all of which were drawn upon to create the future sounds of Jamaican reggae that Sir Coxsone and the artists featured would soon create at Studio One which opened its doors in 1963. This collection is released on heavyweight triple-vinyl plus download code and double CD with slipcase. Sleevenotes and text is by the author Noel Hawks.

Already played & supported by Laurent Garnier, Patrik Skoog, Marko Nastic, Jamie Behan, Patrick Lindsey, Martin Landsky, Ramon Tapia,

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records' softer, more melodical and experimental side. Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time!

Maik Richter was born 02.02.1987 in Karl-Marx-Stadt / Chemnitz / Germany. He lives in Switzerland since 6 years.
In 2005 Maik Richter gets his first appearances as Live-Act... Professional Music Production is the order of Maik R. The project is going to professional song composition but in which live performance will remain further a component. The sound of Maik R budges to minimalistical domains - the contrary to beginning of its musical representation. Gentleless and deep pressure sounds are significant for Maik's musical interpretation - the music should be stimulating you for dreaming. For new inspirations Maik R. leaves himself by other artists and external influences (e.g. society, nature) to enrich.

Known from his debut on Orbis Records, Grg is back with his typical warm & analog sound, we appreciate very much!
Born and raised in the GDR, today East Germany, Grg started making music in '94 using analog Equipment.
early 1995, he already played live-sets with 2 friends as Ensemble Acid Paul and later as "grg" on his own. He released on TeKknik Experimental and EAP records.
Still producing with the amazing MPC3k, he never focused on one single Genre. "it's just Electronic Music" he told us. A modest guy.

This EP contains a full side of each Artist.
The A-Side, by Maik, shows you how beautiful and wide dub can be. If you're fan of dreamy dub, you'll love this for sure!
The B-side is a melodic beauty. No words needed. Grg pur sang!
"Leidenschaft" is very dreamy soundscape based on smooth dub rhythm. Gentle, Subtle. Amazing. An ideal track to open or close the dancefloor. A secret weapon for laid-back moments with friends and a good glass of red wine.
"Klangbaum" feels like a statement. Deep, Dark, Swiss dub. Great stuff if you like the deeper side of dubby tracks.
On the B-side, "Chroma": a track that starts as a very basic yet surprising arrangement evolves in a very clean and sharp gentle melodic danceable track. Works on the floor as well in the background having dinner with openminded and electronic enthusiastic friends.
The second track "Fuer Pe Mi" could be categorized under trance, but it isn't. It's just an amazing track full of warm feelings. A track Grg wrote to celebrate the love between his and his wife. We're very honored he's willing to share this track with the rest of the world. Big respect.

Our sixth release marks the closing of a circle: Lucky Charmz—the man of our first release, Follow Me To Flottbeck Falls'-EP—returns to deliver his second full length effort. LHLT006 is the U Still Coming Over'-EP, a long overdue follow up to his first EP: More than anything else, it's a fresh slice of summer groovers. Opener Faceless Goat' instantly delights with it's majestic opening chords, only to unleash a smashing grandeur of sample fun and lustful grooves. It's a no-vocals-required anthem, rich in texture and yet subtly enchanting. While Faceless Goat is probably best enjoyed blasted out to vast, scenic landscapes on mediterranean costs from the terrace of a ancient estate, it is also tried and tested for Vorzech', houseparties and—of course—any club scenario (it won't fail you). We cannot help but to notice that Latency Jam''s stoic groove recalls the jungle books's march of the elephants, it's spacey synth madness points to outer space and, well, did we mention that It's super funky Yes, it's a funky spacewalk towards jupiter with your awesome, intergalactic elephant friends. Sonically charming with it's rapid fire hi-hat's, bubblegumspongecake melodies and zapping space laser's, that've all trickled out of a Nord Lead Young Lucky once laid hands on, Latency Jam' will also never let you down. On the flip we find Waffle Cut', yet another sun-oozing Lucky Charmz tune. Captivating trickle-down arpeggios radiate warmth, while soft pads sooth you into hypnosis. It's a bit like staring at the big yellow in the sky for too long—you get all frizzy, drizzy and a little silly.

Following the great ep from Doomwork, Italy strike back with the duo Reform! Two guys who joined their mind together to create music, testing new electronic paths, playing with external machines to creates their own sounds, after only one release and one track on a compilation you can see that the duo have a lot to say into techno.Reform bring here with 'Chaotic dimension ' a very complete release who take from techno madness with chaotic dimension to deep techno for extremis passing by a super funky vibe for dancewear with this vocal who drives you, to end with treasure who deliver a mind blowing experience.

The Roundtable & Northside Records are pleased to offer this long awaited and special Record Store Day reissue of this highly collectible Australian rare groove LP.
If you can imagine the gathering of a group of Australian session musicians channelling the sounds of Herbie Hancock Headhunter's and Marc Moulin's Placebo, recording an album out of hours at a TV studio and then releasing a privately pressed hard hitting jazz funk record then what you have is Arena, one of Australia's most revered and scarce rare groove records.
This was the name given to a pick-up group of session players led by Ted White, a veteran of the British big band jazz scene (an associate of Ted Heath and Basil Kirchin) who had immigrated to Australia in the 1960s to work in the burgeoning television industry. This one-time studio project (recorded only to test out the facilities for a new studio) barely yet thankfully saw an LP release in 1975. Pressed in minute quantities only with limited distribution, the album was subsequently forgotten and obscured by time, only to be resurrected in the 90s by DJs and collectors seeking out lost and rare records.
The album has since become one of the country's most celebrated and collectible jazz funk recordings and has proved to be a pivotal point in Australian jazz, marking a shift from the modern jazz and R&B sounds of the previous decades to the cross pollinating electric jazz funk of the 70s. Characterized by the heavy use of electronically treated saxophone, psychedelic guitar, Moog and spacey Fender Rhodes, the album is a classic of the genre.
While acknowledging the often compiled and sampled breaks track, The Long One, the complete album offers much more, exemplified by its complicated and obsessive jazz rhythms, abstract and middle-eastern horn lines and pulsing electric funk.

To celebrate Kontra-Musik Records hitting the ten-year mark, founder and label owner Ulf Eriksson has put together a collection of some of our finest releases. This has been a daunting task, for we are happy to announce that we could easily have made several very different compilations that we would have been equally contented with - there are so many superb tracks we had to leave out. This has, however, been a labour of love. Much like the label itself. Eclecticism has always been a lodestar for Ulf Eriksson, as we hope this collection gives testimony to. The label has always been moving freely between techno, house and more experimental sounds. Kontra-Musik intends to show different angels of perspective, not to convert you to a new Religion or Ideology. Being open to a broad variety of sounds and rhythms - judging them not solely by their functionality but rather by their personality - has been the Kontra-Musik way from day one. While it has been a crooked and sometimes exceedingly hard road to follow, we're hoping to carry on for several years to come. After 10 years, the label still feels meaningful and current to us - in short: it's still worth it. Kontra-Musik would like to thank everyone - from contributing artists to faithful friends of the label who have supported us all these years. None of this would have been possible without you.

Matt Karmil is a British musician currently residing in Sweden. '++++' is his third album, following 2014's PNN debut '- - - -' and IDLE033, released on Bristol label Idle Hands earlier this year. His output also includes a variety of singles for labels such as New York's Beats In Space Recordings and Stockholm's Studio Barnhus.
On this new album, Karmil can be heard exploring the concepts of impossible objects, reflection, symmetry, infinity - perspective, truncated and stellated polyhedra - hyperbolic geometry, tessellations and lost love. While making the music that constitutes '++++' he interacted with mathematicians George Pólya, Roger Penrose and Harold Coxeter as well as the crystallographer Friedrich Haag, and also conducted his own research into tessellation.
The result is '++++', Karmil's most clever, strange, emotional and fun work yet, a testament to his breadth and depth as a musician. Did we forget to mention that he's an awesome party dj

Formed by MGM A&R man Michael Viner in 1972 to supplement the soundtrack to the virtually anonymous B-Movie flm The Thing With Two Heads, 'The IBB' went from a loose studio collectve to
an instrumental pop covers consortum, interpretng classics of the day in their own inimitable percus-sive fashion.
B-Movie soundtracks, The Beatles, drummers gone bad, Frank Zappa, Kool Herc... These albums have a remarkable story behind them which is detailed in the exclusive insert included in the boxset, writen by Angus Batey.
The IBB's cover of the 'Apache' track - originally made famous by The Shadows - has become simply legendary in the worlds of hip hop and dance music. The track was a staple of Kool Herc and Grand-master Flash in the 70s as they invented the art of Djing at Bronx block partes, leading to its logical status as one of the most sampled tracks of all tme and a hip hop and breakers anthem that has stood the test of tme. It is stll revered as THE break of all original breaks, with the rhythms of the LP it was frst found on helping to coin the term 'breakbeat'.
Apache has been sampled by Missy Elliot, Coldcut, Will Smith, Goldie, Jurassic 5, Moby, Run DMC, Sugarhill Gang, Beaste Boys and Massive Atack among many others.

Martin Enke aka Lake People returns to Permanent Vacation with his first original material since his debut album Purposely Uncertain Field". The three tracks on the 'Every Place You Go' EP stay true to the unmistakable signature sound of Lake People from the first beat to the last breath. It is also testament to how far Martin has built and refined his own sound universe. Cinematic soundscapes and hypnotic ambience meet razor sharp beats that will keep you on the right track. Your soundtrack for a romantic road trip through post-apocalyptic wasteland and abandoned cities.

Within the House of Soul, the Daptone Staff is affectionately referred to as The Hate Crew,' a name they have earned from their years of ruthless evisceration of anything which doesn't meet their impossibly idealistic expectations. Armed with rolling eyes and barbs of sarcasm, they are the true guardians of the Daptone Sound.
The problem is, this new James Hunter single has turned them all into adorable little kittens. They spend all day mewing to the ballads and scampering about to the uptempo cuts instead of selling records.
In an effort to save the company, label Boss Neal Sugarman declared a Hunter Free Zone,' but when he tried to pry the test pressing of Hunter's latest single from the office turntable and replace it with something a bit more hate-able, the needle slipped and dropped back into the grooves of Something's Calling,' irreversibly morphing him too into a small playful kitten. Meow, James Hunter. Meow. grooves of 'Something's Calling,' irreversibly morphing him too into a small playful kitten. Meow, James Hunter. Meow.

Following Secret Chapter, Architectural's debut LP, and the release of Amour in 2015 with the Dutch imprint Wolfskuil, we are delighted to bring you release number 7 which continues a saga of EPs that are very effective on the dance floor without renouncing to their atmospheric and experimental roots. Presented in an elegant 10" transparent vinyl, its two tracks, 7.1 and 7.2, share the limelight and will both leave the dance floor in ruins.

In 7.1 Architectural goes back to his roots with marked low lead lines that star in a very intense episode. The resulting sound is dense and compact, and connects the American essence and feel to European abstract futurism. Many will define this track as pure Architectural.

7.2 is not suitable for heart patients. Its intense and rhythmical bassline can put the listener in a hypnotic state for several minutes waiting for something to happen. The repetitive rhythm from the start is so strong it becomes strongly addictive. The track evolves towards an end worthy of a terror movie, where the snare provides an aggressive beat complemented by striking atmospheres.

Both tracks are the perfect weapon for any DJ willing to put to the test the best sound equipments.

Bodyjack returns to his BodyTrax label with another 3 outstanding BodyTrax. "Is He Always Like This" is an infectious groove-based techno workout which has been tried and tested by a select few DJs over the last few months. Kamala's Revenge is a hypnotic tribal roller with darkside vocals, off-kilter rhythms and & tripped out FX. One for the heads down crew. Last but not least, the uptempo house jacker "Disrespect" combines a killer bassline and Bodyjack's now signature razor sharp beats n' stabs to round off the EP. Oh, and there are 4 locked grooves on the 12" release for the heads. Don't sleep on this one!

Manuel and Julian (Bedlam) experiment in different Setups on the fringes of modernist Techno. Working about freely allows them to keep a spontaneous Jam feel to their music. Utilizing whatever hard and software they can get their hands on, their tracks levitate from straight-up punchiness to subbed, backstabbing synths and more eclectic notes.

Side A:
Opens with kickless track - NUCK CHARMS , builds up the tension needed for brute, peak energy live cut, DELIA'S DENTIST'. - STEADY ON THE BRAKE however, plays with the expectation of a kick drum, setting the focus on a sneaky synth line, delivering dynamic to the early stages of a set.

On Side B:
The opener JETSUN' sets foot into more field-tested territories of Techno with an expansive bassline and driving percussions. - WALDO'S MOMENT , the track after, provides an electro framework, coated in overly dramatic arabesque melodics. The EP is secluded by close friend and label partner Sedus, who turns the quirky electronics of - WALDO'S MOMENT / SEDUS VERSION into a candid peak-time banger, utile in any Techno set.
Stock Projects - S/T' arrives in a limited run of 300 on 140g vinyl.

This is France in the Mitterrand years: fashions fleet as fast as governments. In the early eighties, the happy-go-lucky gather the nectar of each and every new release.
Believing in a bright future for videotex, and loosened up by the sexy talks broadcasted on the budding pirate radios, the new generation dreams of dance floors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams.

What the web now refers to as French Boogie is some synthetic funk reflecting the spirit of those days when nothing was impossible, or so it seemed. Its syncopated flow heralded the dawning of French rap. Often considered as some kind of post-disco, inspired as much by black music as by new wave, this carefree pop music with bawdy lyrics indulged in simple pleasures: holidays, swank and sun were recurrent themes. Totally in tune with its time, it incidentally glorified luxury, success, and a certain consumerism embodied, for instance, in Bernard Tapie.

In popular clubs such as La Main Bleue in Montreuil, or L'Echappatoire in Clichy-sous-Bois - where Micky Milan could be seen behind the decks - an enthusiastic audience discovered this new sonic wave, influenced as much by French pop as by Sugar Hill Gang or Kurtis Blow. The artists who first launched the movement engaged in it wholeheartedly, but as often the case with new music trends in France, humour and casualness quickly became a decoy to impose a new style. This explosive mixture, in which startling and typically Frenchy French lyrics go along New-York-style tunes, is sometimes reminiscent of the kinky comedies directed by Max Pécas or Claude Zidi. On this prolific scene, partly originating from the Jewish community, everybody was looking for success, trying to hit the jackpot with what was to hand. Famous media personalities, one-hit wonders or John Does in quest of fame, all had a go at French Boogie - more or less successfully. Apart from « Vacances j'oublie tout » by Elégance, « Un fait divers et rien de plus » by Le Club, or « Chacun fait ce qui lui plaît » by Chagrin d'amour (produced by Patrick Bruel), very few songs became hits: the story of funk in France is that of a half-baked robbery.

In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh and hybrid style. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), or Jean-Pierre Massiera (Anisette, Pirate Scratch Band, Mandrake, Scratch Man...) added an eccentric touch to this sound-wave, making it often entertaining, and sometimes showy.

Capture d'écran 2015-10-26 à 12.55.43Singers like Agathe (the author of 'La Fourmi' and of the hit song 'Je ne veux pas rentrer chez moi seule') were far more than just window dressing. They even tried to give an ironic and subversive twist to this rather harmless genre. The very vindictive rebel Gérard Vincent shared in this spirit, but as a whole, French Boogie became associated with nonchalance and sauciness. Thus, Stéphane Collaro, Gérard Jugnot, Alain Gillot Pétré and other TV clowns would clumsily contribute to this French variation on funky sounds. In a few but intense years, French Boogie gave all the tips to party with style.

If some hits made it possible for the happy few to get a real house under truly exotic palm trees, the wave actually ebbed away very quickly, leaving quite a few musicians stranded on the shore. Whether they were sincerely motivated, or simply opportunistic, they had failed. In 1984, French Boogie was already breathless, and got merged with other genres: on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Sydney's show, H.I.P.H.O.P, and Dee Nasty's broadcasts on Radio Nova; on the other, italo, new beat and house began to rule over dance floors, even more strongly asserting the will to develop music for clubs.

Squeezed in between the age of disco and that of modern electronic music, French Boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless bass lines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French Boogie is what you need to party.

Hidden Recordings delivers another unique sounding and memorable four-track vinyl. Yuuki Sakai's 'Ran Tan' EP is unlimited in distinctive sounds, energy and vibe. These tracks are rare, like no other combining experimental design with controlled and well-thought out drumming. Test your limits, teetering on the edge of madness as you try to decipher the dancefloor etiquette for each of these!

Complimenting the release is a rare and wonderfully percussive-full remix from the undeniable A Mochi. A well established and respected techno vet who's been deep in the Tokyo underground for over a decade.

Poker Flat's Forward To The Past anthology returns in its 3rd iteration, as lean and mean as it ever was and precision-engineered to make you jack, dream and all things in between. The winning formula remains the same: task a selection of hotshot veteran and up-and-coming producers with recapturing the style and mood of early club music, paying homage to the golden years between 1985 and 1992 when Chicago House and Acid, New York House and Detroit Techno took the world and its dancefloors by storm. The result is a collection of new and exclusive tracks as addictive as the stone cold classics that influenced them - a tribute and, at the same time, the cutting edge of contemporary music production. LA-based compatriot MANIK contributes a rolling, no-frills jam that sticks to the tried and tested production values of early acid as if to say, Why mess with perfection' From his small Amsterdam studio crammed with classic drum machines and synths, Wouter de Moor serves up 'Bon Voyage', a simmering analogue acid jam bedecked with snickering percussive flourishes and long, sustained chords for that blue-tinged Detroit vibe. Pavel Iudin, meanwhile, adds jazzy Rhodes inflections and whistling birdsong to a similarly bubbling groove. Veteran DJ Aakmael adopts the classic Juno bass sound to pay homage to the godfather of deep, Larry Heard, for an exercise in immersive repetition.

Hailing from Tel Aviv, Israel, the DJ/producer trio PARTOK MATUSHKA APFELBERG is a well-known entity in its hometown, with the involved artists holding residencies in one of the most acclaimed clubs these days: Tel Aviv's The Block has been named "one of the five best sound systems" in the world on England's BBC Radio 1, perfect proving grounds for the slick, propulsive techno to be found on our latest 12" offering. Title track NAI NAI bum-rushes the stage with prowess, inflicting its bass-heavy demeanor with some funky voice cut-up work that will conciliate the hardcore floor heads with the more casual headbangers. The flipside shines with STATION, a relaxed, somewhat introspective belter giving its epic synth pads enough room to breathe without sabotaging its percussive agency. All in all, this is an impressive calling card putting these fresh talents on the road to worldwide floor domination.

Aus Tel Aviv, Israel, stammt das DJ/Produzententrio PARTOK MATUSHKA APFELBERG, in der Heimat eine anerkannte Grösse: die beteiligten Künstler stammen samt und sonders aus dem Umfeld von The Block, einem der besten Clubs zur Zeit, wo sie auch als Resident-DJs walten und wirken. Vom englischen BBC Radio 1 als "eines der fünf besten Soundsysteme der Welt" gelobt, entpuppt sich The Block als das ideale Testgelände für den smarten, antreibenden Techno der unser neuestes 12"-Release schmückt. Der bassgeschwängerte Titeltrack NAI NAI stürmt gekonnt die Bühne, auch dank der elegant zersägten Stimmsamples, welche die Hardcore-Flurfüchse mit den Gelegenheitsheadbangern versöhnen wird. Die Rückseite glänzt mit STATION, einem entspannten, tendenziell introspektiven Schieber, der seinen epischen Synthieflächen genug Raum zum Atmen gibt, ohne jedoch die perkussive Schlagkraft zu sabotieren. Alles in allem eine beeindruckende Visitenkarte für diese frischen Talente auf dem Weg zu weltweiter Flurdominanz.

Over the last sixteen years Moods & Grooves has amassed a staggeringly impressive label family that includes names like Theo Parrish, Mr G, Kyle Hall, Rick Wade, Andres & Kenny Dixon Jr. aka Moodymann. This May the legendary Detroit label returns with a seminal thirteen-track album from veteran DJ & producer Joe Le Bon entitled 'House Music Love Music'.

With this new LP Jarno Eerola aka Joe Le Bon demonstrates his inimitable production prowess, garnered from a musical career spanning more than twenty years and encompassing releases on labels such as International Deejay Gigolo Records, Pro-Tez, Plastik.FM and Blumenbeat. Alongside his own output the Berlin-based artist has written tracks and remixes for numerous producers, most notably composing DJ Hells chart- smashing remix of Tim Deluxe 'Transformations' which saw six continuous weeks at number one on Beatport.

Jarno's polished production ability and aptitude for exploring diverse sounds and rhythms whilst maintaining a resolute warmth and depth to every cut is the most prevalent footnote across the course of the album. For 'Ghosts On Cassette' the Berlin-based producer works whirring space-like atmospherics over hypnotic beats and shuffling snares to dish up a smooth and captivating opener. 'For Yasuni' and 'The Road Is Under Repair' get worked over subtle synth patterns and crisp percussion to offer up some of the more emotive provisions on the album. This in contrast to the deep driving beats of 'House Music Love Music' and the more club-ready tracks like '82 Degrees' or 'Like Cotton Deep Orchestra' truly exemplifies the wide-ranging nature of the album.

All in all Joe Le Bon has structured a sublime body of work that can be enjoyed in the comfort of your own home or the middle of a dance floor, each and every track oozes depth and sits as a true testament to his abilities in the studio.

Nologo is back with 2 essential, tried and tested underground club tracks. Orlando B serves up Side A with 'Dark World', an epic, slow burning, dark-house journey. 'Dark World' begins completely stripped back before the main hook, an eerie hypnotic vocal is introduced. Funky percussive elements creep in which drive the piece forward and a deep minor pad heightens the tension setting the tone for the rest of the track. The energy builds gradually with the addition of a 303 bass line peaking just before the end, taking the listener on a dark hypnotic trip.

On the flip, is none other than house & techno legend MR G who uses the Dark World vocal but takes it somewhere new providing his own unique and distinctive flavour. Mr G's Rum Remix is a dark and twisted peak-time banger, the high energy from the off set perfectly complementing the slower vibe of the original. Plenty of sub and twisted synth action keeps the momentum high and the dark stab he uses punctuates the vocal nicely giving it a raw edge. 'Dark World' is an essential addition to the record bag for darker dancefloors.
Dj Deep: I love this, your remix is super Funky and Dark at the same time!!! Dope! Tom (Panorama Bar): Ufff nice and dark.....another Mr G gem.To be served with the Rum Rush

JoeFarr inaugurates Leisure System's new GRIDLOCK 12' series with the Longanimity EP, an invigorating exploration of broken techno released April 20th, 2015. Farr has a diverse history, with three well-received releases on Turbo as well as records with DSNT and Power Vacuum. Few producers can claim to have both remixed Tiga and been remixed by Truss, and the Longanimity EP continues Farr's recent drift towards streamlined brutality, leavening intense drum programming with crystalline bursts of color. The clinical and kinetic Oleum' kicks things off and hurdles towards a shatteringly powerful peak, while Mormon Shuffle' boasts twisted functionality without sacrificing roughness in the brittle loops. The monolithic Standard Issue' has an aggressive edge enhanced by whiplash percussion, and the broken piano melody of FS3+4' inverts the joy typically found in that rave standby, preferring to drop the instrument from the fifth floor and let the chords scatter and shatter as they please. The first release in Leisure System's 2015 GRIDLOCK series representing our ongoing interest in melding the freaky and the functional on the dance floor, JoeFarr's Longanimity EP is stocked with tested and tenacious late-night weapons.

Selected feedback:
Miki Craven (Dead Rose Records/Kobayashi/TWD/Outpost, Barcelona)
'Like all the tracks. Hard to say'
favourite track: Displacement rating: 4/5
J.C. (AHD, Tresor, Deeply Rooted House, Soul People Music)
'Tyskie Bey remix is pretty cool!'
favourite track: Displacement (Tyskie Bey Remix) rating: 5/5
MARCEL DETTMANN (Berghain, Berlin)
favourite track: Displacement rating: 5/5
Juho Kusti (Deep Space Helsinki)
favourite track: Displacement (Tyskie Bey Remix) rating: 4/5
Angel Molina (Barcelona)
'Displacement (original & Tyskie Bey Rmx)' do especially for me, these are the 2 tracks I'll test from here. thanks!'
favourite track: Displacement (Tyskie Bey Remix) rating: 4/5
Tomohiko Sagae
'cool.A2 for me.'
favourite track: Edict rating: 5/5
NX1 (Nexe Records, Barcelona)
'Very nice originals and remixes. full support for this label.'
favourite track: Edict rating: 5/5
Dj Developer (Modularz, USA)
'track 1 & 2 !! thanks'
favourite track: Displacement rating: 4/5
Arnaud Le Texier (Children Of Tomorrow /Safari Electronique)
'Thx I will play!'
favourite track: Displacement (Tyskie Bey Remix) rating: 4/5
Paul Mac (UK)
'All about the Elec Pt.1 version. Heavy Vibes :)'
favourite track: Displacement (Elec Pt.1 Remix) rating: 4/5
Takaaki Itoh (Japan)
'really like edict, full support.'
favourite track: Edict rating: 5/5
Inigo Kennedy (Asymmetric UK)
'Both the Displacement remixes work well for me!'
favourite track: Displacement (Elec Pt.1 Remix) rating: 4/5
Dj Deep (France)
'Nice release'
favourite track: Displacement rating: 4/5
Kwartz (Pole Group, Spain)
'Cool EP! The four tracks are great, thanks!'
favourite track: Edict rating: 4/5
Anthony Parasole (Brooklyn, NYC)
'Tyskie Bey for me, thanks!'
favourite track: Displacement (Tyskie Bey Remix) rating: 4/5
Vincent de Wit (The Hague, The Netherlands)
'WTF ! Great tunes to play. Realy some insane 909 tracks!!'
favourite track: Displacement (Elec Pt.1 Remix) rating: 4/5

Repress

The second of the three vinyl EPs featuring tracks from Perc Trax's 'Slowly Exploding' compilation groups together three of the label's main artists and closes with a producer making his Perc Trax debut. The A1 slot goes to label boss Perc, whose 'Hyperlink' builds on the sound of the dancefloor tracks of his last album with a huge kick giving way to swooping 8-bit chords whilst Sawf's 'Goves', already tried and tested by Perc over the last few months is an unrelenting breakbeat monster. On the B-side Truss delivers one of the stand-out tracks of this series, with the Surgeon supported analogue juggernaut that is 'Brockweir. Closing things off is Drvg Cvltvre, who lowers the tempo but not the intensity with one of his trademark 303 workouts.

New York City-based DJ, producer and The Corner label owner Anthony Parasole makes his debut on Ostgut Ton with three new percussive-heavy Techno tracks on the My Block EP.

"Percussive music, that's my ground, my foundation but I am missing the feeling of tribalism in Techno today. I've been using a lot of different drum techniques over the past years, implementing them to Techno. The record 'Quickstrike', that I've released on my own label The Corner, was an edit record of an old sample-based house release. To me this was a test if people would gravitate to this sound and it was the biggest record on The Corner so far. From there I knew I could do this and two tracks off my new EP on Ostgut Ton work like this: 'Typhoon' features bongos, congas and all kinds of skin percussion, 'My Block' uses a different kind of percussive color.

HipHop in general and the Cut-up technique in particular have also heavily inspired me as a producer. During the 1990s music seemed really profound - a little bit tougher too. I listened to a lot of HipHop when I was writing the music for this new release and applied its methods to my own music. Many producers at that time were very forward-thinking. Wu-Tang Clan's RZA uses a sixteenth note technique that made me realize that I wanted this kind of hypnotizing sound to work in a Techno format. Another big influence were late 1970s Horror movie trailers. I was watching them while I was working on 'Bizarre' in the studio, I was inspired to capture the eerie tones and textures of those short clips in 'Bizarre'.

At the end of the day I work within certain parameters. Everytime I make a sample, I drop it into my personal folder - so all my music has a similarity of up to 50 or 60%. Maybe I'll use the same drumkit or kickdrum. I apply limitations to myself, but doing this also gives me my own voice. When I was learning how to produce, Levon Vincent taught me to make my own drum kit, to make my own synth kit and to work within this. Sample-based music is inspiring, and creating something out of found sound is very interesting to me. I think a sound signature is something that will always refine ones sonic pallet and skill set."

- Anthony Parasole, Berlin, September 2014 -

It was a little bit quite around the wirrwarr label in the last few years, as the boys focused on other projects like building up an bookingagency, a 2nd recordshop, new labels and for sure producing new music.
Now they are back with some fresh and crazy minimal techno tracks.
On A1 we have Mr.Wigbert with his first appeareance on WirrWarr, A2 comes from labelhead Locke in cooperation with MC Shaver.
B1 is a freaky brain damaging minimal monster by Matt Star.
And last but not least B2 called "Piano", a old but still fresh sounding work of Locke. Freak out!

In Musik und Text verschmelzen über alle 11 Titel hindurch Stimmungen, Eindrücke der Sub-Sahara Konzert-Tour von B.Friedmann 2013 und Fetzen von Erinnerungen an eine imaginierte Zukunft. Sie reagieren auf reale "Kpafuca" - "things falling apart" - Zustände afrikanischer Metropolen und kollabieren zu Grooves und Phrasen, die an Chris Marker´s Science-Fiction-Apokalyptik ( "La Jette"/ "Sans Soleil" ) erinnern. In dieser Polyphonie der Un-Orte schwingt auch der Geist reisender Klangabenteurer, zB. der musikethnologischen Praktiker Hartmut Geerken und Roman Bunka (Embryo), deren Visionen und Musik-Wirken sich gegen reduktionistische, essentialistische Inszenierungen sträubt. Gegen jene kulturellen Landkarten, die in die Musik immer wieder zwanghaft hineingezeichnet werden, setzt Friedman auf "Cease To Matter" im intuitiven Modus die befreiende Kraft des Rauschens, der Über-Mensch-Maschinen-Musik, der krummen Beats und des technischen Zufalls-Defekts, kurz: das "Un-gehör-sam" (Johannes Ismaiel-Wendt) gegenüber der normativen Deutungshoheit musikalischer Weltkarten.

Die Stimme des aus Texas stammenden in Berlin lebenden Performers und Vokalisten Daniel Dodd-Ellis wirkte bereits 2007 auf Burnt Friedman´s Album "First Night Forever" (non22). Die Lyrics stammen von beiden Autoren und wurden von Friedmann während der Produktionsvorgänge 2013 bis 2014 mehrfach zerlegt und neu zusammengesetzt. Die Zeile "Sky Is Blue Inside Of You" ist dem 1932 erschienenen Roman "Brave New World" von Aldous Huxley entnommen. Tracks 04 und 09 ("Cease To Matter") enthalten ein Piano Sample Edit basierend auf einer Komposition von Georges Invanovich Gurdjieff (1872-1949).

After a 12 year break the UK Techno label Solid Groove is back.
Kicking off with a collaboration with New York artist and Metroplex label manager Kimyon Huggins.


A1: Track one Sandy is a Detroit influenced track with noises recorded live by the man himself from hurricane sandy.
A2: Aubreys windy city remix is a more peacetime mix of the original with twists and turns and a dark groove throughout.
B1: Aubrey-Dust storm salsa, is a atmospheric journey with a hypnotic groove and has been tested at Panorama bar at peak time by various DJ's to great success.
B2: Kimyon's remix, taking a more dance floor feel with harder beats and driving metallic sounds.

After the success of the first A-sides compilation in 2012, Adam Beyer has decided its time to release another. With Adam's stature steadily growing as one of the leading talents in the Techno scene and the rise of Drumcode, the standard of demo's that have been sent to Adam have been top notch. Adam has now decided to release two compilations with 10 tracks each, consisting of tracks that Adam has tried and tested.

There are also new artists that have been invited to release on Drumcode for this compilation and others who are a staple in Drumcode's core family. Combining both old and new talents Drumcode have come up with something unique and distinctive to make this two-part compilation something extra special.

Slim Smith is high on the list of great singers that came out of Jamaica.
Although Jamaica was bursting with musical talent, few could match his soulful and heartfelt style.
Sadly he had a very short career but he produced a catalogue of music that still stands the test of time ,like all the great artists his story carries through the songs he left behind.
We have compiled some of his finest moments from his period working alongside the Hit Maker from Jamaica producer Bunny Lee...
A great set of tunes that we hope will keep his memory alive
Keep the Light Shining.....Respect

LX ONE returns with another stirling release in the warm up to dropping his much anticipated debut album on Wheel
and Deal. Reflect has had constant support from N-Type, Youngsta, J Kenzo, Icicle and Faze Miyake. It is the logical
progression in the style and quality of LX One's signature dark, minimal sound. This release once again puts his
productions at the pinnacle of modern Dubstep. Distorted Politics is a fresh tribal banger with rib shaking bass and infectious percussion. Once again this has featured massively in N- Type, Youngsta, J:Kenzo, Icicle & LX One's DJ sets, and is another testament to his talent.

Vocal driven electronica, pop sensibilities and a touch of melancholia is a tried and tested recipe of SILENCE MUSIC cuisine. A new release titled My Holy Senses is no exception. This creative venture joins together a renown Lithuanian multi-instrumentalist and composer Vygintas Kisevicius, an up-and-coming singer and songwriter Markas Palubenka and a versatile SILENCE producer Few Nolder. Original acoustic versions come under the name of Kurak, a project which Vygintas started a couple of years ago with a goal of bringing together some of the most talented young Lithuanian singers and songwriters for something new and exciting. And indeed they managed to produce some well worthy musical material generating quite a few waves of interest and success back home. Few Nolder picked out a couple of tracks from an ever-expanding Kurak's repertoire and threw them onto the sweaty dance floor. Included in the package are two DJ friendly adaptations from David Krasemann aka Dave DK and Vidis. My Holy Senses is a short modern day Love story about Acoustics giving an adoring kiss to Electronica in a dim light of a nightclub.
- Early support from Âme, Tim Paris, Alex Barck, Michael Rainboth, Hannes Fischer and many others

The label Bond is the brainchild of Swedish techno DJ and producer Petter B. The concept of the label is 'music by DJs for DJs'. The label focuses on releasing tracks that enable the DJ, rather than the producer, to be creative. It is based on that special bond which is created every time a DJ combines tracks, loops and sounds live into something new and unique.
This third release is a special collab release. The first track Petter B has joined forces with two producers from his hometown Gothenburg. John H and M.E.E.O have been part of the Swedish underground scene since they learned how to spell 303 and are both addicted to hardware gear. With their skillful crafting of the melodic parts and Petters feel for drums and arrangement this track was born. It is a melodic monster with a simple yet
effective arrangement.On the flip side there are two tracks made by Stockholm based producer Kimono. A familiar name to those fond of that Stockholm sound. He has done releases on famous labels such as H-Productions, ISL and BEK Audio. These two tracks are best described as tooly and effective weapons to be used and abused by any DJ wanting to spice up the mix. The two tracks made it in to Petter Bs crate immediately as demos. From that point they went through the same refinement process as his own tracks usually experience. Tweaking the sound and doing some fine tuning after testing it in his sets, something that has become known as 'that bond treatment'.