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NO MORE don't need much of an introduction - the legendary Kiel-based (No)Wave / PostPunk band project took the worlds dancefloors by storm with the release of their seminal single "Suicide Commando" in 1981 which was later re-introduced to the Techno / Electro youth of the world, when Munich's DJ Hell famously reinterpreted the tune in 1998.

Still actively touring and releasing on a regular NO MORE are now making their debut on the freshly launched Intrauterin Recordings-offshoot EL CABALLO SEMENTAL..

The labels cat.no. 001 is a first time on vinyl release taken off NO MORE's "The Return Of The German Angst" digital mixtape and sees one of the bands hit tunes being reworked in a unique, highly captivating manner, pressed exclusively as a limited to 200 copies whitelabel edition on purple / violet vinyl.

"123456789 (baze.djunkiii + Herr Brandt Dream A Nudream Remix)" exceeds the bands natural musical realm by far and transfers the song into MoombahGoth / DubWave territories previously unheard of, not only for a classic band like NO MORE.. The rework picks up latest developments from the urban and bass music world whilst keeping the haunted vibe of the original songs chorus intact, slighty references NuBeat / PostPunk and Dub, adds lush, dreamy Cosmic guitar textures and even winks to the underground whistle and rave posse with a sweet as candy piano breakdown.

In their conjunctional remix work we see Intrauterin Recordings-founder baze.djunkiii, quality electronic music activist and prolific DJ for more than 20 years, and Herr Brandt, founding member of the classic German Wave / Indie / Alternative outfit The Convent as well as of the praised underground Synth Pop / Minimal Wave band Sonnenbrandt, effortlessly merge the best of two musical worlds to create something new and captivating, like they used to do on the decks with their former BETA-ZERFALL parties which were the main and initial reason the two of them and NO MORE came together in the first place.

a A- 123456789 BAZE.DJUNKIII + HERR BRANDT DREAM A NUDREAM REMIX

Brian Kage’s fourth release on Michigander Music “303 in the 313 EP” features 4 uniquely gritty and acid-soaked manifestations of mid 90’s Detroit. This exercise in analog monosynth mastery directly connects the grittiness of the urban landscape with the raw spirit of creative freedom.

Detroitasaurus starts the record off with a subtle prehistoric soundscape, steadily building rhythmic tension using hypnotic toms and melodic drum patterns. Razor sharp 909 hats hammer down there through the sonic mist as the journey continues to build. Shrieking jurassic trumpets cap off each of the peaking climbs to reveal metallic broken-down structures that are bound together with oscillating 303 threads and a grooving bassline.

Van Dyke Vessel features an atmosphere of textured percussion and metallic analog synths that wind around a deep square bass groove. Suddenly, truncated growling vocal samples start to collect into the catchy phrase “Let’s take this to outer space”. Swelling pads give way to squealing acid as this track transports dancers to a nostalgic melodic dimension.

Delray Dance undulates with thick bass slowly building into a body focused groove as it winds up and gives way to a rugged 303 saw with fluttering Spanish style synth stabs. Classic Detroit pads continue to swell, adding to the tension and leaving enough sonic space for melodic mixes in and out. This tune is the perfect tool to transition between genres.


Zonin breaks the mold by combining old-school electro vibes with a heavy dose of acid and freestyle hip hop. Heavy broken beats are combined with a rockin’ nostalgic bassline and layered party vocals that transports you to the center of the dancefloor on the best night you’ve ever had.

Legião Urbana is the self-titled debut album by Brazilian rock band Legião Urbana. It was released on 1 January 1985.

Though the band was not a punk outfit, their first album shows the influence of British punk bands from the same time period, particularly single "Geração Coca-Cola", whose fast-paced acoustic guitar rhythm is heavily reminiscent of Buzzcocks. The album was not successful as whole upon release, but it spawned several hit singles, namely "Será", "Ainda É Cedo" and "Geração Coca-Cola". Synthesizer-laden ballad "Por Enquanto" is one of the band's most covered songs, as is "Será".

In 2007, the Brazilian edition of Rolling Stone magazine elected Legião Urbana as the 40th greatest Brazilian album of all time.

Tenesha the Wordsmith, who came to the fore on On The Corner's 2018 release 'Black Noise 2084', has delivered a hard-cutting, gut-wrenching, and extremely moving spoken word album produced by Khalab that brings together different lines of black music - folkloric, jazz, and electronic dance - into an afro-futurist narrative with thunderous results.
Originally from Oakland, California, "a place where revolutionaries are born, Tenesha the Wordsmith originally began to fuse hip hop and poetry while living in Albany, New York, where she created her first collection 'Body Of Work'. Her early influences have returned with features from beatboxers and vocalists that give the album a distinctly urban hip hop vibe.

Long overdue, here comes AIR LQD’s first full-length player, Repeat Itself, making up for the direct follow-up of his acclaimed vinyl debut released on the label in 2016. Mixing science fiction, social criticism and punk ethics in the most cryptic fashion, the latest entry in the discography of the taciturn Belgian groove-maker sees him pushing further his electronic experimentation. Delving into the meanders of the human consciousness through hazy and abrasive rituals, brainpowered by robotics, artificial intelligence and urban metamorphism. The weird looping echo of a man-machine drifting through a vortex of feral scratches and overworked machinery. Slowly moving towards the event horizon of a supermassive black hole, leading to unexpected aural aberrations full of hidden, past and new meanings. Giving a last disillusioned glance at our human condition facing technological progress and the toxicity of the outside world.

Prolific multi-instrumentalist, producer, DJ, band leader, and 22a label founder and boss, Tenderlonious returns with a batch of new and old studio productions.

'Hard Rain' follows hot-on-the-heels from the acclaimed Ruby Rushton album 'Ironside', but whereas contemporary urban jazz was the focus there, Tender's solo record marks a return to another of the multifaceted artist's skills: dope house and beat music that oozes futuristic funk.

This sparse but perfectly-populated masterpiece takes inspiration from J Dilla and echoes elements of vintage Blaze, Larry Heard and Carl Craig. Warm and soulful, but also spacious and clean, Tender extracts maximum flavour out of just a few ingredients.

Light of the Fearless, Hybrid's fifth artist album, brings together UK-based, Mike and Charlotte's passion for combining emotionally powered cinematic pieces with astute, intricate and intelligent electronic production. This long-awaited work is firmly based on the foundation of the principles and standards set by previous albums but here there's a clear development and evolution. Never wanting to write the same album twice, Mike and Charlotte have taken another step forward and have created a cinematic, electronic album with songs that stylistically borrow from their childhood soundtracks of soul, funk & hip-hop.

With songs have been inspired by not only events in their own lives but also by movements such as the Heads Together campaign, March for Our Lives 2018 and the Women's March of 2017. The album provides a positive and confident stance on moving forward through adversity and regaining empowerment. This is "The Light Of The Fearless". This inspiration certainly hasn't led to an album encumbered by political statements, but instead gives all the summery buoyancy you'd want to hear at your next festival.

Since their last album in 2010 the band have not only expanded their ever growing body of film score work (Fast and Furious 8, Interlude In Prague, Hercules, Dead in Tombstone, Take Down, Luther, X-men, Deja Vu ) but also saw the departure of band member, Chris Healings in 2015. The cinematic ethos is deep throughout the album with The City of Prague Philharmonic Orchestra performing on eight tracks. Unsurprisingly, the album as a whole works almost as a kind of score, and it's intriguing to be guided through the plot from the outset in the album's first track "We Are Fearless" through to the final track on the album. The expansive and unique cover of Tom Petty's "I Won't Back Down". Hybrid certainly haven't lost their flair for combining cinematic soundscapes, electronics and breakbeats.

Mateo Kingman conceives of his second album Astro as a cure for the healthy. It’s a journey across the constellation of the snake, a journey at once earthly and cosmic. The poetic text expressed with a multiplicity of vocal timbres drives the musical journey, starting with the decision to face up to our demons, passing through a deep sense of vertigo and sacred healings, to return us to ourselves, reconciled and grateful.
 
Musically, Astro expresses an intense investigation, tying together different threads: contemporary urban song (trap, hip hop, and elements of electronic music), traditional Latin American melodies influenced by shamanic icaro chants, and the emphasis on synthesizers, resulting in a new, hypnotic kind of sound. 
In a world in which we increasingly need more stimuli and approval from the outside, Astro invites us to take a look inside and explore all the aspects of the self, from the darkest to the lightest. On this record, Mateo Kingman shows a strong point of view as the author, although he moves away from the sounds and themes with which he made his name, daring to mix current trends, urban rhythms and vocal experiments, forming a constellation through which we can all travel, showing a clear personal and musical evolution.   

Like many Canadians, Joseph Shabason and Ben Gunning like to untangle themselves from urbanity and disappear up north a few times a year. Unlike other cottage-goers, Ben and Joseph don’t while away the ur-time on jet-skis and lounge on docks reading pulpy mysteries. Instead, they bring a car full of synths, drum machines, saxophones, guitars, samplers, effects, and recording equipment to jam the days away in a cabin-fever inducing haze of wood smoke, cedar musk, hot wires and jazz sweat.

Muldrew, recorded on the northern Ontario lake by that name, is the culmination of several years of this collaborative tradition. Resisting their penchant for composition and arrangement, the duo embarked on this project with only an open framework that encouraged restraint. The result is a sparse and improvisational album, hung on enough structure for each song to evoke a distinct, albeit ambiguous mood. Space is paramount and even the most digital elements breathe with the resonance of the room and mingle with creaking floors. The resulting album is steeped in the placid stillness and northern ambience of a lake at dawn, and the emotive expanse of a forest at dusk. Imagine an ECM cottage-series, or Jon Hassell and John Martyn scoring a Bela Tarr film set in rural Canada. This is the future-proof music of metropolitan polyglot minds invigorated by nature’s mute refusal to follow a click-track.

DMM Pressing. Limited Edition of 500.

Cardiff based DJ and producer Guy Evans has been producing music since 1992, although it was only in 2014 that he had his first vinyl release on the Glasgow based label ALL CAPS.
Since then, he has released both new and archived material on labels such as ORGANIC ANALOGUE, CEJERO, CRISIS URBANA, EXOTIC ROBOTICS and many others. This EP marks the first release on his own label 'OTHER WORLD MUSIC' and features 5 tracks created recently by the producer which cover a broad range of styles, from Detroit house, downtempo ambient to futuristic sci-fi breakbeats. Some of the tracks on the EP have already gained airplay on stations such as NTS Radio and we look forward to hearing more releases from the label in the future.

Tekvision Volume 1 was a stone cold classic, with Rolling Stone charting it at #3 in their top 20 EDM records of 2017. Two years on, Cornelius ‘Traxman’ Ferguson returns with the second instalment, featuring 7 exceptional new Footwork productions. Traxman is a bonafide OG, with a discography dating back to the halcyon era of Ghetto House in the late 80’s and early 90’s. 30 years on, Traxman is a revered figure in Chicago’s urban music scene, having presided over the evolution from Ghetto House to Juke and from Juke to Footwork culture. Originally released in 1989, Work Dat Mutha Fucker by Steven Poindexter is considered to be one of the most influential tracks from the early days of Ghetto House. Traxman remixes it brilliantly on this release, reworking the stripped back, minimalist drum beat of the original into an upfront Footwork pattern. This sense of continuity is equally evident on Let Me See You Naked feat. DJ Juicy, and Traxman’s remix of To Da Hoooz by DJ Deeon. These productions successfully capture the sexual energy and exuberance of Ghetto House, turbo charged at 160 BPM. Elsewhere on the record, Traxman explores different moods whilst always keeping the dance floor firmly in mind. The opening track It’s Lasting Bass lays an infectious vocal harmony over complex drum patterns and a fearsome bassline. Osaka opens with mellow, sultry keys before introducing a wobbling synth and diced up Orchestal samples. 4 Da Lyfe is a soulful and slightly more meditative track, with a vocal loop expressing solidarity and self-affirmation. Wildcard feat. Jana Rush, stands alone as the only track without a vocal element, instead utilising a piercing and insistent synth to create a powerful sonic intensity. Overall this is triumphant record, and a worthy successor to the original Tekvision release, proving once again that Traxman is an unrivalled exponent of MPC-driven footwork energy.

Oblique Russian sound strategist Natalia Salmina’s latest forking path portfolio as Atariame, Voiceless, arose in the wake of a dissociative relocation to Moscow, where she found herself adrift amidst a manic metropolis, alone in a skyscraper staring out at trees: “It made me lose faith in my ability to communicate, in my ideas about life.” Days without speaking turned to weeks. Even in private she felt estranged from her voice, and soon ceased singing.

For solace she turned to her Waldorf Blofeld, mining its panoramic frequencies to craft a shivering suite of futurist-noir nocturnes and rhythmic noise vignettes, equal parts exorcism and manifestation, desperation and delirium. Track titles hint at the headspace – “Outside At 5 AM,” “Same Thought All Day,” “Stay Late” – mirroring the music’s mood of hoods up, headphones on, wandering empty urban tunnels under flickering streetlights. Enigmatically, Salmina slips in a sliver of spectral voice on the intro and exit songs (“Breathe Exercise” and “Deconstruction”), framing them as induction into and escape from the cryptic isolationist condition of the rest of the collection. Mastered by P. Nikolsky, Powerhouse Moscow. Design by Britt Brown.

Ashley Henry is one of a new generation of musicians who've been raised with a wide range of influences, from such luminaries as Kirkland, Moran, Madlib and Dilla, yet also steeped in the traditional sounds of masters such as Hancock and Monk.

At the time of recording, Henry was only 24, playing with such beauty and sensitivity - that usually comes from a lifetime immersed in jazz - that allowed him to tour the UK appearing at Ronnie Scott's, the Jazz Cafe and the Royal Albert Hall. He was the youngest performer on the bill for the 2015 International Piano Trio festival where he performed alongside the likes of Robert Glasper.

After graduating from Leeds College of Music with the Yamaha Jazz Scholarship Award, Ashley continued his studies, attaining a Master's degree in Jazz Piano & Performance from the Royal Academy of Music.

As well as performing with some of the UK's leading Jazz musicians (including Gary Crosby, Jean Toussaint, Shane Forbes, Jay Phelps, and award-winning saxophonist Krzysztof Urbanski) he's also recorded extensively with Manchester-based hip hop collective The Mouse Outfit.

This, his debut album, shows that his trio is clearly influenced by hip hop but has its roots firmly in jazz. This is the next generation planting their feet firmly in twenty first century.

WRWTFWW Records is blissful to announce the expanded reissue of one of the most fascinating Japanese ambient/environmental albums ever made, NOVA + 4 by Yutaka Hirose. The double LP includes the album known as Soundscape 2: Nova, sourced from its original masters, as well as 50 minutes of never-released-before recordings. It comes in a beautiful gatefold sleeve, packed with liner notes from the artist in English and Japanese. NOVA + 4 is also available on double digipack CD.

Initially released in 1986 as part of the Soundscape series* commissioned by Misawa Home Corporation for use in their prefabricated houses, Yutaka Hirose's NOVA has grown to become a mythical piece of the Japanese minimalist/ambient/environmental scene of the eighties. Initiated around the enchanting landscapes of the two first tracks recorded for the project, "Nova" and "Epilogue", Yutaka Hirose's magnum opus serenely blends vintage synth with nature sounds, exploring soothing palettes and organic backdrops. For "Slow Sky", Hirose explains he "went for a pointillism-like sound, and tried to express a scenery of awakening, where the portal of a heart is opening up", while on "Humming The Sea", he "tried to compose a kind of music that expresses the daily, lazy life of child-like innocence in a summer vacation in some small town."

The bonus LP gathers four long unreleased pieces created around the same period of time for installations, described by Yutaka Hirose as "not music per se but rather sound sculptures", and including the haunting "Shadow Of A Water Droplet" which was recorded for an Ikebana exhibition.

All in all, NOVA + 4 is a transcendent experience of nature in the urban context, an oeuvre which, much like Midori Takada's Through The Looking Glass or Satoshi Ashikawa's Still Way, holds the power to appease the soul in turbulent times. As one inspired YouTube commenter once said when describing Yutaka Hirose's masterstroke: "I can't tell if the birds are singing inside or outside! Thank you!"

*The Soundscape series also includes Hiroshi Yoshimura's Surround album.

Over the last decade, we’ve come accustomed to Jason Letkiewicz releasing material under a dizzying array of aliases, each utilized to explore a different side of his multi-faceted musical persona. Now, some 14 years after he made his recording debut alongside Ari Goldman as Manhunter, Letkiewicz has joined forces with Into The Light Records to release his first album under his real name.

The Reflecting Pool sees Letkiewicz exploring the uncomplicated and uncluttered in the pursuit of pure aural beauty. While his recent album as Opposing Currents was dense, dark, urban and industrial, The Reflecting Pool is stripped back, quiet and melodious. The contrast between the two projects is marked, with The Reflecting Pool drawing more on Letkiewicz’s love of crystalline ambient, slow burn synthesizer soundscapes, early ’80s library music and the kind of obscure electronic new age music that has been a hallmark of Into The Light’s releases to date.

The set’s 12 tracks gently ebb and flow, with Letkiewicz making great use of dusty old drum machines, effects units and a range of vintage analogue and digital synthesizers. It’s a set-up that results in a range of complimentary mood pieces and interludes, from the delay-laden military drums and lilting lead lines of “Out of Body Experiences”, to the drowsy, sunrise bliss of “Sunspot”, the bubbling Tangerine Dream style shuffle of “Mind Awake Body Asleep” and the outer-space atmosphere of “The Kill Fee”.

Throughout, Letkiewicz showcases his seemingly intrinsic grasp of mood, atmosphere and melody. It can be heard within the glacial guitar motifs, occasional beats and elongated chords of “The Reflecting Pool”, the rhythmic bustle of “Numb Drums”, the glassy-eyed melancholia of “Arhythmia” and the cinematic paranoia of “Burning Off The Morning Fog”. It’s also evident amongst the classically beat-less ambient of closing cut “Weightless”, whose alien electronics, effects-laden pulses and opaque chords recall established masters of the genre.

With The Reflecting Pool, Letkiewicz has provided us with a much-needed dose of stress-free musical escapism, at the same time offering hope that in these troubling times, love may still save the day.

A new Four Flies 45s series, properly designed for DJs, producers, and worldwide music lovers, and focused on the very best Italian library grooves from the golden age, finally released on 7-inch vinyl for the very first time. This first batch was made possible by a collaboration with our friends at Flipper Music, which gave us complete access to eight killer gems that will surely burn your dancefloor, selected from the most sought after DENEB/FLIRT/FLOWER/NUOVA IDEA/UNION albums.
Here we have the ultimate Italian library breakbeat: wicked synths, and cosmic electronic effects, marks the experimental hip hop beats of RULLIO by Ugo Busoni, sourced from the "Valvole" LP on the Nuova Idea label. On the flip side, one will find another rhythmic banger, VIOLENZA by Gerardo Iacoucci, taken from "L'Avventura N. 2″ – a psychedelic b-boy break with heavy bassline and percussive piano, echoing an urban soundscape full of drama and suspense.

In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. Finders Keepers present the first-ever release of these vital archive recordings.

As a genuine vanguard of electronic music composition at the forefront of the modular synthesiser revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesiser designer Don Buchla. In choosing to adapt the controversial prose of French poet Charles Baudelaire, Suzanne would join the ranks of ongoing generations of pioneering musicians like Olivier Messiaen, Karlheinz Stockhausen, Serge Gainsbourg, Etron Fou Leloublan, Celtic Frost and Marc Almond (not forgetting Star Trek’s William Shatner!), all equally inspired by the 19th century writer’s works of “modernité” (modernity), a self-coined term dedicated to capturing the fleeting, ephemeral experience of life in an urban metropolis, best exemplified in his symbolic, erotic and macabre ode to Parisian industrialisation, Les Fleurs du mal (Flowers Of Evil).

In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless... Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. For the many enthusiasts that have already drawn the parallels between Baudelaire’s writings and experimental/electronic music (a relationship rivalled only by the likes of J. G. Ballard and Aldous
Huxley) some might instantly recognise an unconscious sistership between this recording and another 1969 electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White’s excellent version of Flowers Of Evil (released via Limelight records, home to the likes of Fifty Foot Hose and Paul Bley) is that its dark tone generation and vocal manipulation was created with a Moog synthesiser, the commercially triumphant
rival to Suzanne and Don’s Buchla Systems (Buchla and Moog’s historic, simultaneous, neck-and-neck synth developments are well documented.) The fact that Ciani’s version was never intended for commercial release (not unlike her 1975 Buchla concerts, which could easily have taken Morton Subotnick’s Bull by the horns!) is also poetically reflective of the nature of Ciani and Buchla’s alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani’s faithful reaction from some of its better-known variations. Having attempted to voice the poem herself, the multilingual Italian-American composer’s French accent did not meet her own standards, resulting in the request for a fellow unnamed French student who lived on campus at Mills College in Oakland to accurately verbalise the section of Baudelaire’s collection entitled Élévation.

Tyga arguably had the biggest comeback of 2018 with the song of the summer with Taste. Bursting on to the scene with an infectious groove and vocal sample, along with a guest appearance from the Migos’ Offset, the track took over the airwaves, clubs, streaming services and more. The track is certified 4x platinum, was #1 at Urban and Rhythmic Radio which has brought Tyga back to the spotlight.

“Le Lisse et le Strié is a new work by french composer François J. Bonnet, released under his project name Kassel Jaeger. Based in Paris, Bonnet is the Director of INA GRM. He is also a writer and theoretician (The Order of Sounds, a sonorous Archipelago and The Infra-World have been published in english by Urbanomic). As a musician, Bonnet has been collaborating with artists such as Stephen O’Malley, Oren Ambarchi or Jim O’Rourke and most of his recent work has been published by Editions Mego.

Le Lisse et le Strié has been conceived as an exploration of the two antagonist concepts of “smooth” and “striated”, applied to the realm of electroacoustic sounds. If the “smooth” is linked to “nomos” as an open space of organic distribution, the “striated”, on the contrary, is associated to “logos”, as an enclosed space defined by a grid.

Elaborating a dialogue between these aspects, Kassel Jaeger draws here an intermediary space where pulsations become textures and layers, and where rhythmic elements are found in the qualities and bodies of sounds instead of being functionnalised, pre-determined sound objects, abstracted and frozen onto a temporal grid. The concept of “striated” is made audible only through the sonic landscape it inhabits, like the stripes of the camouflage fur of wild animals only exist as such in the woods and long grass, disappearing into a potentially uselessness in a desert plain.”

Independent record label YGAM presents "Les Bergers du Galetas", Magnétisme Animal's debut EP, in which they share their intimate view of society. 

Formed by brg and Catartsis, the French duo invites the listeners to dive into a journey through the density of the modern metropolis. In a time of materialistic fetishism, where superficial occurrences and capitalism rule, the 4-track EP acts in opposition to these current matters. However, rather than trying to create a contrasting sonic landscape, Magnétisme Animal use sounds recorded in their environment to elaborate pieces that bear the heavy and frenetic industrial atmosphere of our urban sceneries. All sorts of clanging metal, steam discharge, electromagnetic static noise, train rails frictions, sirens and distant traffic, are combined with breathing, footsteps and vocal humming to create an oddly industrial as much as organic soundscape. The EP starts with a noise track that recalls some of the compositional processes of musique concrète, to then slowly drifts towards rhythmically oriented pieces. "Être c’est être coincé", with its ponderous bass and distortion work, appears as a peculiar blending of noise and techno, while "L’Enthousiasme des statues" displays a more traditional and dance floor approach to rhythm and drums, but still leaves space for an uncanny sound decor to unfold. The project ends with "La Toute-Toute", a repetitive ambient track filled with subtle sounds, where one can wander as spoken words underline a sense of melancholy. "Les Bergers du Galetas" is an unsettling industrial tapestry, a strange study of noises, that depicts the contemporary frenzy of the artists’ environments they referred to as the urban jungle. A landscape where one is a witness of the disparity of human conditions, where mind and body coexist with difficulty, where one is subject to conformism, where one is lost in the smog while carried by the masses through the cemented maze.

Presenting 'Fire Zone'. Album written, produced & mixed by Zane Reynolds and pressed on 180g vinyl, by Ekster. Coming out May 2019, including poster 57x57cm artwork by the artist. Mastered & cut by Helmut Erler at Dubplates & Mastering.

The music of Zane Reynolds AKA SFV Acid celebrates lysergic life in small town America. His are urban hallucinations. Conceived in 'business parks, strip malls', in 'blue collar luxury'. On a diet of 'diner burgers'. From the self-released, hand-painted cassettes of his high school years, he has moved to work commissioned by locals 100% Silk, Japan`s Big Love, and Dutch imprint, BAKK. His latest long-player, Fire Zone, will be issued by Belgian label, Ekster.

The album continues to reference Zane's Los Angeles home, and in this case the devastation that rages there every Summer. The concept however, reaching away from the horror and flames, to offer an escape.

There are moments, interludes, that hint at, and hide, something darker. Where drone twists from tape hiss. Bends. Out of shape. Where chords distort. Their degraded edges disintegrating. Charred perhaps But Ai welcomes you to 'San Fernando Valley', and a low-riding 808 booms. Less L.A. More Overtown, or Liberty City. Its racing booty bass calmed by wind chimes. The rapid Electro-Funk clip countered by modal synths. Its sunny disposition reflecting the SFV climate.

Playful rhymes, fragmented dialogue, and answer phone messages, rub up against Rave sirens. Roland`s silver box squeezes out a Sci-Fi Jazz. Through ping-ponging percussion. Through a drum and bass battery. Punched by keys that wanna be horns. Rewinds that create a bin-blowing vacuum. Shore-line samples washing the more head-nodding tempos. Euphoria rising while a perfect beat pops and locks. (text: Robert Harris)

"kiska" Is The Lead Single Off Kedr's Sophomore Release, Your Need. The Album Is A Celebration Of Life And Rebirth. It's About A Fighter's Spirit, And If You Will, A Little Audacity And Courage. Dj'ing And Early Forms Of Dance Music Inspired A Furious Burst Of Creative Energy After Months Of Melancholy, Sadness And Reflection To Record The Album In Only A Matter Of Weeks. After Her Breakout Album, Ariadna, Which Put Her On The Forefront Of Russia's Burgeoning Electronic Scene, Kedr Felt Lost With Her Identity And Was Searching For The Direction Of Her Next Chapter. For A While She Felt Trapped By Her Own Image And Needed Quite Some Time To Resolve This Internal Dissonance - To Grow, To Evolve. Dj'ing Was The Main Catalyst To Pull Her Out Of This Rut. The Art Form Shifted Her Inspiration To Mainly Old School Styles Of Dance Music: Ghetto, House, Breakbeat And Uk Garage. For The Prior Year And A Half She Was Listening To Ambient, Kraut-rock And More Experimental Genres - One Can Hear The Brighter, More Energetic Influence Of Early Electronic Music In The Songs On Your Need. One Day She Was Talking With Her Friend Flaty (zhenya), A Very Talented Artist From St. Petersburg Who's Signed To The Gost Zvuk Label, And They Decided To Do A Single Together. He Came To Visit Her In Moscow, But They Ended Up Spending 10 Whole Days Writing Music Together, From Dawn To Dusk. They Vibed Off Each Other's Musical Ideas Perfectly And Understood Each Other Even Without Speaking. Zhenyais A Beatmaster And Pays Attention To Even The Smallest Details Of A Track. He Brought Incredible Richness To The Composition And Kedr Considers Him Her Teacher In This Area. Kedr Was In Charge Of The Melodies And Vibe Of The Tracks, And The Vocal Elements. Your Need Is Like A Chapter Of Life. It's A Story That Illustrates Different Scenarios And Moods That Our Mythical Hero Experiences, Living In An Urban Jungle. From Lost Love To A Bad Trip On The Dance Floor, From Euphoria To Deep Introspection. Our Hero Sometimes Feels Bold, Lost Or Devastated, But Also Tender And Full, Like All Of Us At Some Point In Life. The Ending Is Joyful And Bright. The Last Song Gives Hope And Faith That A New Day Will Come And Wash Away The Old. You Can Feel Like New Every Day. Your Need Reflects An Array Of Genres And A Mix Of Cultures - A Harmonious Combination Of Differences. Everything Kedr Loves About Ghetto Music, In The Traditions Of House, Dub, Breakbeat, 90s Electronic Music And Modern Sounds - She's Embraced And Expressed It All Throughout. Your Need Is Kedr's Ode To Music From Different Eras And Changing Periods.

Random Numbers comes back with "Islands" EP by BXP.

An ecstatic recon through the meaning of isolation where field recording unfolds the ambient/techno sides of BXP's production. Born from nature, crafted in studio: techno meant for wide landscapes.

"Islands" is the result of a long search spent seeking sounds on various islands during his journey through south-east asia with a Tascam recorder and several directional microphones. He captured natural sounds from jungles, dunes, beaches and wild urban landscapes, not to mention the deep sounds of the Earth's elements: the sea, the wind, the interaction between man and nature.

Salour is a German artist who runs his own esteemed events in Hamburg and has played all over Europe from Watergate in Berlin to Culture Box in Copenhagen. His dub infused style is utterly distinctive and these new cuts prove that once more.

North Scapes opens up with a molten, acid tinged bassline. As it grows more wild there are icy hi hat loops layered in with some big piano chords to finish it in style and mean the floor will really go wild. Liquid Lava is more direct, with hard hitting techno kicks and deft synth sounds colouring in the grooves. Then comes the excellent Urban Signals, a dramatic, dubbier cut with cavernous bottom ends and subtle, supple synths layering in warmth and atmosphere. Last of all, Peter Schumann's LSD25 Restyle of North Scapes pairs it back to a warm, bubbly warm up house tune that will get you moving with its sonar blips and nice, deep cut and churning drums.

All four of these tracks are fresh and classy efforts sure to make their mark.

It's easy to fall for a nostalgic approach to dance music, to cuddle oneself in the warm analogue sounds of late 1980's dance productions - especially with the heavy ongoing reissue trend going on. However, we have to stay focus: look out for contemporary sounds and means of production. Parisian producer Nathan Melja makes his debut on Antinote with an idiosyncratic three-tracker and our guess is that it sounds contemporary.

On the A-side: one tune: Deadrums. Both the name and the music speak for themselves. It's hard, it's efficient and at the same time, there's quite a lot going on, tiny bumps on the straightforward road to techno ecstasy. Nevertheless, Deadrums is a precise piece of machinery, an atmospheric banger, yes, but with deadly jaws made out of tempered steel to tear a dancefloor apart, piece-by-piece. On the B-side, Angels stands out as a perfect example of a song that has many dancefloor qualities but, like some of DJ Sprinkles' seminal recordings, turns out to be more of a late-night tale of urban wanderings on wet pavements (think Taxi Driver and its soundtrack by Bernard Hermann). Contemplative, melancholic and - let's say it - sad, its nagging melody can bring a little tear to the eyes of the most sensitive ones. Rounding up the 12' is Candy, a tune under the influence of bad boys like DJ Overdose, or Ghettotech legend DJ Assault - so that you can dry your tears.

It's Nathan Melja's first release on Antinote, but he's definitely not a newcomer. He's been around since Antinote exists, and we're glad to finally collaborate with him.

Rooted in Swedish psychedelic folk music, Hanna Ostergren (Hills, Trad Gras och Stenar) takes a creative new grip on the genre. Under the name of Laughing Eye, Ostergren creates spiritual Nordic raga, or nature music that stems back to prehistoric ages. Hoga Nord Rekords now releases her debut album.

Laughing Eye is more than just music, this is a distillate of ancient superstition, fear, euphoria and nature romanticism. The sound edges on the upper tree line and in the closing track, 'Agnetero / Huset' Ostergren takes a step off the mountain top, into space where the flute melodies float weightless to the outer rim of our solar system.

Laughing Eye is deep, warm and embracing sounds for cold urbanized souls, a buzz or a murmur from the far past, translated to music we can interpret.

hand-painted / signed / numbered / ltd. to 99 copies

Polyarrythmics is an EP by Mark Spn, a music producer and sound engineer who lives in London. While this is his debut EP under this moniker, he has recorded under various other aliases, one favourite being Holdie Gawn on Sylphe Records.

This release slows things down a notch from Mark's other output. He presents a densely layered work that conjures Herbie Hancock's sextant & Kirk Degiorgio's arps, J. Majik's mermaids & Underdog's attic tapes. It is cerebral and cohesive, made to be consumed as a sum of its parts: found sounds and urban field recordings, hushed Hammond grooves and modulated keys, muffled beats and unsyncopated rhythms, flickering electronics and hovering pianos.

Artist John Tsombikos has been commissioned to provide one-off artwork for the limited edition physical product, to be released in mid March. Hand painted, signed and numbered, limited edition of 99.

Die Geschichte von Lambchop ist die der steten Veränderung und Weiterentwicklung. Was vor fast 30 Jahren im Keller von Kurt Wagner begann und von ihm selbst scherzhaft als 'most fucked-up country band in Nashville' bezeichnet wurde, hat sich inzwischen nicht nur als eine der dienstältesten sondern auch innovativsten Bands der US amerikanischen Musikszene etabliert. Seit jeher verbinden Lambchop unterschiedlichste Genres wie Folk & Country, mit Soul und Urban Electronica zu einem ganz eigenen, unnachahmlichen Sound. Kein Lambchop-Album klingt wie das andere, aber jedes klingt immer unverwechselbar nach Lambchop. Nach ihrem wegweisenden Album - Flotus' (2016) hat die Band aus Nashville jetzt ein neues Album für den 22.03.2019 angekündigt. Für 'This (is what i wanted to tell you)' arbeitete Kurt Wagner mit Matthew McCaughan (Bon Iver, Hiss Golden Messenger) zusammen, der ihn auch als Teil des Lambchop Live Ensembles im April auf Tour begleiten wird.

Im Sommer 2017 machte sich Wagner auf, über die Blue Ridge Mountains in Richtung North Carolina, zum Geburtstag seines langjährigen Freundes und Chef des Merge Labels: Mac McCaughan. Dort traf er auf seinen jüngeren Bruder Matt McCaughan, der das letzte Jahrzehnt als Schlagzeuger für Bon Iver und Hiss Golden Messenger verbrachte. Matt und Kurt kannten sich schon viele Jahre, aber erst an diesem Abend beschlossen sie zusammen an Musik zu arbeiten. Wagner schickte Mac neue Songideen und McCaughan schickte Wagner Synthesizer-Stücke zur Inspiration. Schließlich gingen beide gemeinsam in Nashville ins Studio, Pedal Steel und Piano und der Harmonika von Nashvilles Legende Charlie McCoy, die diesen schwarz-weißen Skizzen Leben einhauchte.

- 180g heavy, black Vinyl, extra-großes, gefaltetes Booklet, Cover Sleeve mit Mittelloch auf der Rückseite

Das Ergebnis ist This (is what I wanted to tell you)", ein Album, ergreifend ehrlich, atemberaubend, wunderschön und überraschend. Aber Lambchop sind nicht immer nur für eine Überraschung gut, sondern überraschen immer wieder mit verdammt guten Songs. Wenn Kurt Wagner etwas zu sagen hat, hören wir natürlich hin, das sollten sich alle zu Herzen nehmen. Diese Platte muss man einfach hören!

Heute gibt es die erste Single aus dem Album: 'The December-ish you' eine verblüffende Mischung aus bewährt emotionalen Slide-guitar und Pianoflächen alter Lambchop-Schule und effektiven PVC Pop Beats, Claps und Samples, über die Kurt Wagner die melancholischste 'Friday Night Fever' Ballade der Dekade croont.

- Limited edition, 180g heavy, weisses Vinyl, extra-großes, gefaltetes Booklet, Cover Sleeve mit Mittelloch auf der Rückseite

Die Geschichte Von Lambchop Ist Die Der Steten Veränderung Und Weiterentwicklung. Was Vor Fast 30 Jahren Im Keller Von Kurt Wagner Begann Und Von Ihm Selbst Scherzhaft Als most Fucked-up Country Band In Nashville' Bezeichnet Wurde, Hat Sich Inzwischen Nicht Nur Als Eine Der Dienstältesten Sondern Auch Innovativsten Bands Der Us Amerikanischen Musikszene Etabliert. Seit Jeher Verbinden Lambchop Unterschiedlichste Genres Wie Folk & Country, Mit Soul Und Urban Electronica Zu Einem Ganz Eigenen, Unnachahmlichen Sound. Kein Lambchop-album Klingt Wie Das Andere, Aber Jedes Klingt Immer Unverwechselbar Nach Lambchop. Nach Ihrem Wegweisenden Album - flotus (2016) Hat Die Band Aus Nashville Jetzt Ein Neues Album Für Den 22.03.2019 Angekündigt. Für this (is What I Wanted To Tell You)' Arbeitete Kurt Wagner Mit Matthew Mccaughan (bon Iver, Hiss Golden Messenger) Zusammen, Der Ihn Auch Als Teil Des Lambchop Live Ensembles Im April Auf Tour Begleiten Wird.

Im Sommer 2017 Machte Sich Wagner Auf, Über Die Blue Ridge Mountains In Richtung North Carolina, Zum Geburtstag Seines Langjährigen Freundes Und Chef Des Merge Labels: Mac Mccaughan. Dort Traf Er Auf Seinen Jüngeren Bruder Matt Mccaughan, Der Das Letzte Jahrzehnt Als Schlagzeuger Für Bon Iver Und Hiss Golden Messenger Verbrachte. Matt Und Kurt Kannten Sich Schon Viele Jahre, Aber Erst An Diesem Abend Beschlossen Sie Zusammen An Musik Zu Arbeiten. Wagner Schickte Mac Neue Songideen Und Mccaughan Schickte Wagner Synthesizer-stücke Zur Inspiration. Schließlich Gingen Beide Gemeinsam In Nashville Ins Studio, Pedal Steel Und Piano Und Der Harmonika Von Nashvilles Legende Charlie Mccoy, Die Diesen Schwarz-weißen Skizzen Leben Einhauchte.

Das Ergebnis Ist "this (is What I Wanted To Tell You)", Ein Album, Ergreifend Ehrlich, Atemberaubend, Wunderschön Und Überraschend. Aber Lambchop Sind Nicht Immer Nur Für Eine Überraschung Gut, Sondern Überraschen Immer Wieder Mit Verdammt Guten Songs. Wenn Kurt Wagner Etwas Zu Sagen Hat, Hören Wir Natürlich Hin, Das Sollten Sich Alle Zu Herzen Nehmen. Diese Platte Muss Man Einfach Hören!

Heute Gibt Es Die Erste Single Aus Dem Album: the December-ish You' Eine Verblüffende Mischung Aus Bewährt Emotionalen Slide-guitar Und Pianoflächen Alter Lambchop-schule Und Effektiven Pvc Pop Beats, Claps Und Samples, Über Die Kurt Wagner Die Melancholischste friday Night Fever' Ballade Der Dekade Croont.

As humans living on the planet today, we have become so removed from our original, natural habitat—the forest—that we forget our wild roots, our primal, animal origins. Music is one of the things that can bring us back to that place, that can put us in contact with a felt world of instinct, immediacy, and presence: a world where language and the problem-solving mind are not needed, where the music keeps your mind and body in the present moment, and the point of dancing becomes the dance of our inner wildness and animality itself. Hans Berg's Sounds of the Forest Forgotten affirms that music can bring us to a state of mind and body that can help us feel what we've forgotten from the forest. The overlaying project of the album is to conjure musical and conceptual resonances between mysticism and nature, summoning the incredible depth and force of nature that we usually miss, especially living in contemporary urban cities. Sounds of the Forest Forgotten channels the creativity, playfulness, and freedom of a life both before and beyond ours through the sounds of analog and digital synthesizers, a modular system, drum machines, and computers. Recorded between Hans's studios in Berlin and on the Swedish countryside, the album similarly shuttles between contemplative and ecstatic, between delicate and powerful, mixing sublime psychedelic techno compositions like 'Emerald Sea' with acidic dance-floor bangers like 'Storm' and 'Milk Thistle,' all nestled between contemplative and textural ambient compositions like 'Butterfly' and 'Glow Worm.' Berg is known for his enthralling productions and energetic livesets that capture dance floors with his particular brand of hypnotic techno, replete with angular lines, affecting melodies, pulsating basslines, and big drums. He also produces atmospheric scores and ambient soundscapes to accompany the video art and installations of long-term collaborator and celebrated artist Nathalie Djurberg. Berg's live sets have found a home in nightclubs around the world, with recent gigs in Berlin, Stockholm, New York, Tokyo, and Melbourne, to name a few. In addition to 2MR, he has released his solo work on record labels including Ian Pooley's imprint Montage, Klasse Recordings, and The Vinyl Factory. His ongoing collaboration with fellow Swede Johanna Knutsson - as Knutsson/Berg - has led them to start the label UFO Station Recordings, on which they release their own material. The duo also has released on labels such as Idle Hands, Default Position, Kann, and Random Island.

Audiophile reissue, lacquered directly from Axelrod's original EQ'ed master tapes at Capitol Records by Ron McMaster, housed in a deluxe gatefold jacket. 'Songs of Experience was supposed to have a different feel than Song of Innocence. You see, music is a great outlet. And regardless of what the titles say, and as close as I wanted it to be to William Blake, what was going on in my life took precedence.' - David Axelrod. Songs of Experience is visionary composer/arranger/producer David Axelrod's second album; it was recorded after the death of his beloved son Scott. Experience is an ominous affair, an album concerned with mortality and spirituality - the solitary, pastoral musings of William Blake set to the urban bombast of a full Los Angeles orchestra, with Wrecking Crew vets grounding the proceedings with dark funk. This is the next Now-Again issue in a series of reissues centered around Axelrod's Capitol Trilogy - Song of Innocence, Songs of Experience and Earth Rot - which will see release through 2018. LP Contains oversized, 28 page booklet that delves into Axelrod's incredible life and music, replete with never before published photos and an interview with Axelrod by Eothen Alapatt and Wax Poetics' Brian Digenti. (CD 32 page booklet) 'There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music - David could do it all.' - T-Ray.

Hard Electronic Experimentation, Beatfull And Sometime Even Speedcore Industrial...superb Collection Of Sounds And Ideas... Bordellik And Authentic ! Powerfull !

Gimpmask wriggled out of the London sewer system to present his take on the current state of the social inadequacies in Britain today. From the poorly conceived Brexit vote to the injustice of homelessness and the countries drug epidemic. His gritty music conveys a certain sadness with its heart wrenching melodies enhanced by vague and distant vocals backed by simple yet solid grooves that serve to deliver a pure urban cinematic experience. Imagine if Banksy made music!

First production of the label Sound Crack Records, 'Organic Feeling (Tool
Mix)' is a run through the jungle, savage, tribal, the raw nature animals of
Mama earth bring the feeling of being in the middle of them, the TR08 add a
kick to the efficient duo live drum Fleury Saint Denis. A real tool for house
and techno DJ's to pump the energy to the top.
On the B side comes 'Before Midnight (Evolution Mix)'. This techno track is a
trip in the urban jungle, when the city sounds are coming out of nowhere, the
melody of the steel tongue drum live played by DJ GSD is bringing the human
vibration to heal the soul. An old school touch of Detroit techno, mix with a
meaningful speech of Kennedy will take you travelling through the evolution of
mankind.

Taken for the widely played and adored Lenny Williams Spark of Love Album, which was released during the Disco Era of 1976 and featured disco hits like, 'You got me Running', I still Reach and 'Midnight Girl' comes 'Changes.'

Edits and Overdubs Produced and Performed by Joaquin Joe Clausell; Changes is the tune that was mostly ignored from the extensive Lenny Williams music catalogue.
Similar to his past works where he chooses songs that are mostly un popular to the outside world but classics amongst himself and his siblings at home, Joaquin Joe Claussell takes this Jam that he used to groove to at home as a young teenager, lifts it out from obscurity and turns it into something that will sure be played by most DJ's who are into the Lenny Williams Sound, soulful disco and beyond.

Listed at a time length of (5:03) Joe cleverly up lifts this soulful disco composition and extends it to a time of (9:01). He achieves this, as usual, with respecting the original composition and with never anyself-masturbation. In the end, the results are a New Disco Classic that drives with relentless energy and enough soul for anyone who's seeking more soul that hailed mostly from the urban side of American disco music.
So, listen, dance and spin.

Lenny Williams - Changes Edits & Overdubs by Joaquin Joe Claussell will be the first single to come out from the forth coming Joaquin Joe Claussell Presents Edits & Overdubs PT 2 2XCD and Special Limited 7Inch.

Mystique Sound Explorer Scherbe Is Bursting Out Danceable Groove Science Between Epiphany And Delusion. Urban Misty Visions Of A Past And Current Future Deconstructed And Cludged Together Again, Twisted And Dubbed Into Danceable House.
The Ep Contains 6 Tracks In Mid Tempo, Each Of Them Having A Distinct Emotive And Dense Energy. Ready To Be Played In Clubs As Well As Tailored To Accompany You In Your Everyday Frenzy.
Steady Work By Dear Friends, A Heidelberg (germany) Based Label, Is Feeling Honoured To Disseminate His 3rd Release Featuring Scherbe, Who Used To Live A Long Time In Heidelberg And Is Now Based In Dresden. This Release Fits Well Into Scherbe¥s Discography Who Yet Released A Variety Of Records On Numerous German Underground Labels Like Uncanny Valley, Or*s, Kashual Plastik And Big Bait.

A worldwide priority artist for Columbia Records. Debut album from Spanish urban/pop singer. An 11 track album available on vinyl and CD formats, fusing Latino with pop, with obvious Christine & The Queens/Jain influences. Video support across Vevo and MTV. Specialist radio support. Press ads, features & reviews. Online/social media activity. Poster campaign and database mailout.

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

"Ghetto: Misfortune's Wealth" is the the 1973 Stax debut and the only album released by The 24-Carat Black until a lost album, "Gone: The Promises Of Yesterday", was finally released 35 years later. "Ghetto: Misfortune's Wealth" is an underground soul classic, a cohesive 8 song concept album about the hardship of black urban life, produced and arranged by classically trained Detroit song writer Dale Warren, who was an orchestrator and arranger on the Isaac Hayes' albums Hot Buttered Soul, The Isaac Hayes Movement and ...To Be Continued among others. This album has been a hit among many samplers for decades including being used on these songs: Jay-Z - "Can I Live Pt 2", Dr. Dre - "Nas Is Coming", Eric B - "In The Ghetto", Digable Planets - "Cool Like Dat" and Naughty by Nature - "Poverty's Paradise". 180 gram vinyl.

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

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

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Radio & Podcast
Coming Soon!
Icicle (rinse Fm) thanks, I'll Support No Hype On Rinse Fm This Thursday 20-09-2018'
Dj Chef (ministry Of Sound) big Ups Full Support'
Onedek (origin Radio Uk) awesome!!!!!'
Andre (soulsurfer - Bassdrive) now This Is A Strong Release... I Agree That This Is Alex Greatest To Date. U Got Me, Loved Up And Feel Good Are Immediate Favorites. Support In Club And Radio!'
Benjamin (the Dance Mission Dnb Show - Kiss Fm Australia) cool Music'
Overfiend (bassdrive) superb!'
Stunnah (bassdrive) big Release!!'
Chris Muniz (insomniac / Bassrush) mashing It Up Proper!'
J Swif (dnb Hq Podcast) dope Release Duded, 'feel Good' Is The One!'
Stanislav (zima - Czech Radio 1) gonna Play no Hype' Today... Cheers. Stanislav'
Matze (urban Wildlife / Syncopix Records) 5/5 The Rework Of Sweet Sensation Is Killer. The Crowed Loved It. Cool Arrangement And Use Of The Vocals. Feel Good With It´s Long Bassline Is Also A Most Functional Dance Floor Banger. Thanks For This One!'
Jose (nas Radio Show - Brazil) awesome Crazy Material Right Here'
Simon (see You Next Life Podcast & Night) soul Intent Fan Here So It's All Good. Cheers!'
Francesco (delta9 Recordings / Podcast) interesting And Diverse Album! All Are Great, Fav Are Loved Up And No Hype'
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Reviews Blogs & Magazines :
More Coming Soon!
Julian (mixmag Germany Dnb Reviews) i Really Enjoy loved Up'.
Aliina (jungledrumandbass) big Up !!
Matthew (one Hour One Dj) great Tunes. Particularly Feeling The Two 2 Sides, Loved Up And Feel Good. Lovely Gritty Rollers.'
Rohan G. (dj Mag Spain) pow!'
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