Cerca:warehouse music

Tape Crackers: An Oral History Of Jungle Pirate Radio. Rollo Jackson is a London-based filmmaker who grew up immersed in the city's dance music culture of the mid-90's. His films, whether for the likes of Hot Chip, Man Like Me, or Warp Records bare the traits of someone whose formative years were spent clad in the brash hues of a Versace print shirt and the bright white of a fresh pair of Reeboks. Whatever his subject, the spirit of too many late nights spent doing homework to the crackling sounds of pirate radio, or of weekends spent in booming, sweaty warehouses on the outskirts of London is always threaded throughout. Rollo presents a documentary DVD entitled Tape Crackers, an oral history of Jungle music and an affectionate, touching, and, at times, incredibly funny, tale of bedroom obsessiveness. Told through Michael Finch's tape collection which he recorded while growing up in Islington, North London, it's also an untold (or more accurately unheard) history of UK underground music of the last 10 years - Jungle, Garage and Grime are all knitted into the story through the MCs and DJs who manned the decks and mics. Movers of the underground today such as Riko Dan and B Live are on some of the tapes played in the film. The D90s might be dusty but this music still sounds ultra-crisp. Warning, may contain: late days of Dream FM, middle days of Kool FM/MC Ruff and DJ Uproar on Dream FM/MC Fize and DJ Swiftly/Riko Dan on Pressure FM/Evil B on Rude FM/DJ Target and Maxwell D on Rinse FM/DJ Brockie, MC Five-O and MC Moose on Kool FM in 1993/DJ SL with Strings, Koji and Flinty Badman (Ragga Twins) + Demon Rockers.

Hong Kong based hypno-tropicalia duo Blood Wine or Honey are set to release their second album 'DTx2' on 30th June 2021. Made up of seasoned multi-instrumentalists James Banbury (synths, bass, percussion, cello) and Joseph von Hess (vocals, clarinet, sax, percussion), they create a heaving, heady brew of brazen sax themes, lo-fi/hi-tech electronics, densely layered cello inflections and motorik drums.

These explorations start with the dance-floor then go above and beyond, taking notes from post-punk and tropical polyrhythms, always anchored by the bass weight of the sound system. Their distinctive sound is created in the industrial warehouses and hidden rural settlements of Hong Kong, surrounded by the low-end throb of heavy machinery, the lingering scent of hand sanitiser and the humidity of the South China Sea.

Written and recorded during 2020-21, new album 'DTx2' looks ahead to an uncertain future, drawing deep on their experiences and influences and welcoming a host of co-conspirators.

Jean Daval, aka Preservation (credits include Yasiin Bey fka Mos Def, MF Doom, RZA, GZA, Raekwon, KRS-One, Aesop Rock), provided truffle-hunted beats, synths and basses, which, when put through the BWoH mangle, emerged as 'Messenger'.

Superstar and old friend of the band KT Tunstall came to work with BWoH after they contributed a DJ mix for her lockdown 'KTRave' on Instagram. 'Attraction' was the result. Wonky bass, found-bounce beats and Buddy Rich drums smashed out by Tim Weller (Marc Almond, Future Sound of London, Goldfrapp, The Chemical Brothers, David Axelrod) resulted in a bonkers production with passionate vocals and layers of harmony.

'I Shall Rush Out As I Am' is a collaboration with legendary pop provocateur Paul Morley and Janice Lau of Hong Kong band David Boring. The track is based on the words and the spirit of sci-fi writer, satirist, literary critic and radical feminist Joanna Russ and took shape quickly, with tinges of A Certain Ratio and memories of Suicide, provoking Janice to an authentic scream-of-consciousness delivery.

Multi-talented London singer, musician and composer Kamal (Neighbourhood Recordings) took time away from being the Next Big Thing to transform 'Testing Time' with funk-edged keys. A key figure in the extraordinary '90s Hong Kong music scene, Zoë Brewster contributed vocals.

Roughly divided, the album's first set of songs make relatively short statements, punchily self-contained with common threads. The final four tracks, Testing Time, Embers, Embrasure

and Echt Embrace disperse into flights of mantric fantasy, with quicksand time-signature shifts and key-changes emerging into a more introspective zone with a fervent pulse, a shift in energy: stamina over speed.

Arkada records is excited to announce our 3rd release - forthcoming split EP featuring the sounds of Phausis and JFrank.

We are very happy to present the first part of the EP and the sounds of one of a kind underground producer and the man behind Arkada label artowrks Phausis also known under his Dj alias Agent2.

Born in London and raised on a mix of electronica and Detroit techno, Phausis doesn't put his head above ground to release music very often. With the occasional release on Earthlings compilation, acre recordings, Subgrade and the Anti- The Social Network here he presents two rare tracks of electro/acid especially brewed for Arkada records.

Second part of our EP presents the music of the Rome based most talanted electronic music producer JFrank.

Co-founder and Generalissimo at brainstormlab, and master General at Distant Future with well over 10 years of live gigs under his belt, JFrank is well known for his late night dancefloor breaks and has played everywhere from the arthouse to the doghouse – London warehouses and Berlin basements to Spanish squats and Roman ruins – with his special brand of space-age electronics. Along with a broad portfolio of releases, he currently has vinyl out on Pyramid Transmissions, Kaer'Uiks and The Irrational Media Society

On the second chapter of Arkada003 - 2 outstanding Electro/Glitch tracks of Julien which were also produced especially for the release.

- Available for the First Time on Vinyl - Deluxe Old Style Tip-On Gatefold Packaging with 180 Gram - "Yellow Raincoat with Blood Red Splatter" Colored Vinyl - Insert with Liner Notes and Original 1976 Recording Session photography // Waxwork Records is thrilled to present the debut release of ALICE, SWEET ALICE Original Motion Picture Soundtrack by Stephen Lawrence. Alice, Sweet Alice is a 1976 American Slasher-Horror film directed by Alfred Sole and starring Brooke Shields in her film debut. Set in 1961 New Jersey, the film focuses on a troubled adolescent girl who becomes the suspect in the brutal murder of her younger sister at her first communion, as well as in a series of unsolved stabbings that follow. In the years since its release, Alice, Sweet Alice has gained a cult following and is considered a contemporary classic of the slasher sub-genre in critical circles. It has also been the focus of scholarship in the areas of horror film studies, particularly regarding its depictions of Roman Catholicism, child emotional neglect, and the disintegration of the American nuclear family. The film's chilling score was composed by Stephen Lawrence. Lawrence is an American composer that has scored more than 300 songs and musical cues for Sesame Street, resulting in three Emmy Awards for Outstanding Achievement in Music Direction and Composition. The music of Alice, Sweet Alice features heavy usage of dissonant strings, repetitive keys, church organ, and motifs that segue from eerily mischievous and playful to dread-inducing and utterly haunting. Available for the very first time in any format, the complete soundtrack to Alice, Sweet Alice comes available on 180 gram "Yellow Rain Coat with Blood Red Splatter", deluxe packaging with new artwork by Steven Reeves, old-style tip-on gatefold jackets, a heavyweight insert, exclusive composer liner notes, and original recording session photography.

Advanced Nature is the second offering from Chicago’s indy electronic label Tres Dias. Completed during a global pandemic this project for Michael Fabiano and Juanne had been a long time coming. The two artists had spoken about wanting to release a record together after years of working side by side in Chicago’s underground music scene. So with the time available during the wildest year in modern history they succeeded in creating a life during wartime record. With hints of industrial, ebm, acid and techno fueling the record. The two aimed to thrust back a bold tapestry of sounds. From sonic visions of a dystopian future to shamenistic prayer infused house. The two managed to flush out a record that has a raw juxtaposition that's grounded in a solid foundation. Chicago based producer Michael Fabiano debuts with the slinking, somber industrial sounds of Aesthetic Existence. Plastic Process wades into warehouse territory with its swirling, hypnotic synth lines and brooding bassline. Juanne continues with Before Midnight, a static charged minimal acid track that stabs and reaches out for more. Finally Juanne ends with Design Your Drugs, a strictly dark room magic piece that unleashes ritualistic vocals and a raging bassline that doesn't hold back.

10 track compilation of obscure, quirky and irreverent 90s Europop/dance music from the ever-reliable Born Bad Records crew.
”Real” house music emerges in early 80’s Chicago (where the Warehouse club, which allegedly gave its name to the genre, closes down in 1983). England’s acid house and Belgium’s new beat, its European offshoots, fed the cravings of tabloids in 1988 and 1989. The house music we’re interested in though, the type bound to soon overwhelm European charts, is already pretty far away from the Afro-American music born in Chicago. So far away it inherited a new name: dance music.
Just like it had been the case with disco a few years back, house and techno aren’t exactly in the good books - acid house and new beat even less so. And it’s precisely the genre’s mainstream iteration this compilation focuses on; the house en Fran ais, which strives to get on board the running train in 1990.
The house which sports the all-over jean look, bandana, cap, chewing gum, Peugeot 205 complete with snazzy beats on the radio. The big deal big fuss type, miles away from the original, underground house. It might not have been born in the nineties, but that’s clearly when house music became mainstream.

Legendary Chicagoan General Juke aka Gant-Man returns with Distorted Sensory, his brand new acid house adventure. A longtime veteran who's been behind the decks since before he was even a teen, he's been an essential part of Chicago dance music history since the Dance Mania days in the mid 90s, and a major pioneer in jumpstarting the juke movement that followed. This new single, and his debut solo releaseon the Teklife imprint explores the time honored tradition of jacking, channeling the very essence of house music though a modern lens. Employing an enigmatic 303 bassline that mutates and breathes as if it were alive, Gant plays malicious melodies that run up and down octaves in a freaky, hallucinatory manner. Squelchy synth movements are met by eerie FM tones, reminiscent of Cajmere's classic Chicago staple the Percolator. A rugged 909 drum kit bangs the track along in true jacking fashion, making it the perfect tool for shaking the floors of dark, sweaty warehouses. In addition to the original, two of the UK's finest contribute remixes as well. Hyperdub boss Kode9 puts things into overdrive with his 160 BPM warped vision of Gant's acid, sliced up to appeal more to the footworkers and fans of psycho tempos. Dubstep pioneer Loefah strips back the original percussion and lets the 303s float over a cloud of deep sub bass, adorned with lovely splashes of rolling snares and micro percussion. With an array of stone cold classics under his belt, from ghetto house anthem Juke Dat Girl to his brilliant collabs with the late DJ Rashad Heaven Sent and Juke Dat Juke Dat, Gant-Man is a true renaissance man. For over 20 years, he's consistently shown the world the complexity that makes up his city's dance culture, never sticking to one area or tempo. Distorted Sensory is a beautiful celebration of Chicago house music, a return to its true raw design, and a reminder of just how timeless an art form it really is.

Jossy Mitsu (Rinse FM / 6 Figure Gang) makes her production debut on Astral Black. A resident DJ for the labels monthly club residency and host for their monthly radio shows, the club night-cum-label is the perfect home for Jossy's debut solo release. The Birmingham-raised, London based DJ has become known for her ability to shell down any club, whether that’s rinsing out a twisted concoction of sweaty House, Techno and left field club heaters, firing heavy-weight Rave and Jungle sets, or serenading you with her 2-step vinyl collection. Now holding down a Rinse FM residency and part of the much loved ‘6 Figure Gang’, the past 18 months has seen Jossy DJ across Europe and the UK, alongside artists such as Joy Orbison, Dance System, Maya Jane Coles & Dusky and perform at events such as The Warehouse Project, Glastonbury & Outlook Festival among many others.

Throughout the 4-tracks here on 'Planet J', Jossy invites the listener to take a step inside her sonic world. The meandering pads and scattering drum patterns of EP opener 'Odyssey' are seasoned with warped chords 8-bit arpeggiators and ticking cow bells reminiscent of producers such as Skee Mask or INVT. '1997' brings together pounding 4x4 kicks, bouncing basslines and pitched vocal samples, giving the track the makings of a house anthem and leaving the listener yearning for a return to sweaty basement clubs. The high octane energy of 'Turismo' takes the records BPM up a notch for a marathon of skittering snares drums, raucous percussion and menacing sub bass. Whilst the heavily reverbed chords and melodic basslines of subdued EP closer 'Ø' demonstrate Jossy's ability to create thoughtful electronic music whilst still retaining a
hard, dance-floor focussed edge.

The EP comes in a full colour sleeve with Planet J’s capital city visualised in a high-res CGI rendering courtesy of London-based designer Kerrie.IRL

Montreal-based producer & DJ Slick Shoota brings us Function, his debut LP and first solo release on the Teklife imprint. A native of Norway known for his renowned Oslo club night Ball Em Up, he's been a member of the elite crew since 2015, contributing tracks to the label's compilations such as On Life Vol. 2 and VIP Trax. Using a unique palate that combines both traditional footwork drums and eclectic otherworld sonics, this album expands on the signature sound he's been brewing during the course of his career, celebrating his longtime love of the Chicago soundscape, with a healthy helping of UK rave, jungle, and vibes from other fast paced club realms. Slick starts the record off with Hovercraft, a big burly mutant rap beat riding a glowing titanic wave of jungle subbass, with vicious hi-hats stabbing through the mix. Desire Path follows with hysterical horns cruising along a stampede of erratic Chicago percussion. A glitchy, malfunctioning computer meets drumline stomps on See Me Flex, resulting in a psychotic, yet psychedelic sci-fi soundscape. Ultra-distorted hardcore kicks open up Jellyneck, dropping straight into a dungeon of ghostly vocals and headlong toms. Warehouse 2K opens up the B-side with R&B chops and lasers floating on a charming cloud of pulsating pads. Mad doppler sirens loop around your head on Delahaze, as distant clangs and crashes fight an impatient, throbbing bassline. Classic rave atmospheres are met with Slick's elegant sound design on MTL Hardcore, his ode to his adoptive city. The album closes off with Special Tek, channeling the signature quirky drum sounds of the late DJ Rashad over a pounding, fast paced house beat, a wonderful nod to the Windy City and its influential sonic culture. Carving out his own sound from the legacies of Chicago, the UK, and other underground club hotspots, Slick Shoota has found his own recognizable voice within these realms of dance music, and this LP serves as documentation of that solidified voice. Years of studying the masters and immersing himself with their work has clearly paid off, and he's respectfully taking these sounds he loves in exciting new directions. Bridging gaps both historical and geographical, Function marks a pivotal point in his career, and is clear evidence that Slick Shoota is vital member of the legendary Teklife family.

In collaboration with Brooklyn-based artist RDO/ATK, Sophia Saze makes her long-awaited return to her Dusk & Haze imprint with four slamming cuts on a release entitled ‘Stalker’.

Born in Tbilisi and now residing in Philadelphia after years living a nomadic lifestyle, Sophia Saze began her creative journey in her formative years with classical music and dance training. With a solid and natural musical foundation, Sophia became engulfed by electronic music leading to the launch of her Dusk & Haze imprint in 2017, before dropping a remix of Heathered Pearls on Ghostly International and the release of her much lauded debut album on Kingdoms. ‘Stalker’ sees her team up with old friend RDO/ATK who has been soaking up the dancefloor since the early 90s. With much of his influence stemming from the early east coast rave and club scene, his sound maintains a homage to the past without getting stuck in it. A sucker for a dirty 303, a breakneck amen, or a crushed 909, RDO/ATK’s style spans across genres from jungle to acid to broken beat and everything in-between.

The EP kicks off with a dynamic, jungle roller entitled ‘Stalker’ featuring old-school, amen breaks, stirring yet intriguing synths and hefty bass shatters balancing styles of glitch and funk together with pure class whilst ‘Fucking Crazy B’ lays focus on cold, syncopated grooves, chopped up shrieks and screams from a video of a traumatic personal incident and shimmering pads moving into ominous territories.

On the flip, ‘Talk To You In Your Brain’ delivers relentless kicks and spiralling acid squelches peppered with chilling vocal samples and frazzled fx that pulsates strikingly throughout until ‘Acid B’ rounds off proceedings with an effervescent, warehouse techno cut as the electrifying modulations bounce gracefully off the menacing percussion and slashing, 303 tones.

It's tempting to think that you have all the answers, screaming your gospel every day with certainty and anger. Life isn't quite like that though, and the debut album from London four-piece TV Priest instead embraces the beautiful and terrifying unknowns that exist personally, politically, and culturally. Posing as many questions as it answers, Uppers is a thunderous opening statement that continues the UK's recent resurgence of grubby, furious post-punk music. It says something very different though - something completely its own. Four childhood friends who made music together as teenagers before drifting apart and then, somewhat inevitably, back together late in 2019, TV Priest was borne out of a need to create together once again, and brings with it a wealth of experience and exhaustion picked up in the band's years of pursuing 'real life' and 'real jobs', something those teenagers never had. Last November, the band - vocalist Charlie Drinkwater, guitarist Alex Sprogis, bass and keys player Nic Smith and drummer Ed Kelland - played their first show, to a smattering of friends in what they describe as an "industrial freezer" in the warehouse district of Hackney Wick. "It was like the pub in Peep Show with a washing machine just in the middle_" Charlie laughs, remembering how they dodged Star Wars memorabilia and deep fat fryers while making their first statement as a band. Unsurprisingly, there isn't a precedent for launching a band during a global pandemic, but among the general sense of anxiety and unease pervading everything at the moment, TV Priest's entrance in April with the release of debut single "House Of York" - a searing examination of the Monarchy set over wiry post-punk and fronted by a Mark E. Smith-like mouthpiece - served as a breath of fresh air among the chaos, its anger and confusion making some kind of twisted sense to the nation's fried brains. It's the same continued global sense of anxiety that will greet the release of Uppers, and it's an album that has a lot to say right now. Taking musical cues from post-punk stalwarts The Fall and Protomartyr as well as the mechanical, pulsating grooves of krautrock, it's a record that moves with an untamed energy. Over the top of this rumbling musical machine is vocalist Charlie, a cuttingly funny, angry, confused, real frontman. Uppers sees TV Priest explicitly and outwardly trying to avoid narrowmindedness. Uppers sees TV Priest taking musical and personal risks, reaching outside of themselves and trying to make sense of this increasingly messy world. It's a band and a record that couldn't arrive at a more perfect time.

-LTD. LOSER EDITION-

This LIMITED LOSER INDIES edition is on GREY MARBLED Vinyl! It's tempting to think that you have all the answers, screaming your gospel every day with certainty and anger. Life isn't quite like that though, and the debut album from London four-piece TV Priest instead embraces the beautiful and terrifying unknowns that exist personally, politically, and culturally. Posing as many questions as it answers, Uppers is a thunderous opening statement that continues the UK's recent resurgence of grubby, furious post-punk music. It says something very different though - something completely its own. Four childhood friends who made music together as teenagers before drifting apart and then, somewhat inevitably, back together late in 2019, TV Priest was borne out of a need to create together once again, and brings with it a wealth of experience and exhaustion picked up in the band's years of pursuing 'real life' and 'real jobs', something those teenagers never had. Last November, the band - vocalist Charlie Drinkwater, guitarist Alex Sprogis, bass and keys player Nic Smith and drummer Ed Kelland - played their first show, to a smattering of friends in what they describe as an "industrial freezer" in the warehouse district of Hackney Wick. "It was like the pub in Peep Show with a washing machine just in the middle_" Charlie laughs, remembering how they dodged Star Wars memorabilia and deep fat fryers while making their first statement as a band. Unsurprisingly, there isn't a precedent for launching a band during a global pandemic, but among the general sense of anxiety and unease pervading everything at the moment, TV Priest's entrance in April with the release of debut single "House Of York" - a searing examination of the Monarchy set over wiry post-punk and fronted by a Mark E. Smith-like mouthpiece - served as a breath of fresh air among the chaos, its anger and confusion making some kind of twisted sense to the nation's fried brains. It's the same continued global sense of anxiety that will greet the release of Uppers, and it's an album that has a lot to say right now. Taking musical cues from post-punk stalwarts The Fall and Protomartyr as well as the mechanical, pulsating grooves of krautrock, it's a record that moves with an untamed energy. Over the top of this rumbling musical machine is vocalist Charlie, a cuttingly funny, angry, confused, real frontman. Uppers sees TV Priest explicitly and outwardly trying to avoid narrowmindedness. Uppers sees TV Priest taking musical and personal risks, reaching outside of themselves and trying to make sense of this increasingly messy world. It's a band and a record that couldn't arrive at a more perfect time.

BLACK vinyl with deluxe origami fold out sleeve & obi strip & DL Card. CD Wallet. The third album from Dutch punk-laced noiseniks adds new maturity and a conceptual feel that pulls the extremes of their sound together. A psyche-fuelled journey into the id punctuated with rhythmic kabuki modal mood swings, thunderstorms, digital beeps, traffic noise, and just plain old beautiful cacophonous reverb-drenched sound when needed. The 'third chapter' refers to the last five years that the Dutch band have spent creating their "difficult" third album. Each song spins a yarn; there are plagues, dreams, wind and fire, 'mythical' characters, and the search for the secret government warehouse. Lead single, Tokyo Music Experience, resonates with a conveyor belt-propelled modal guitar, reflecting the halcyon days of Japanese super-productivity; a mesmerising mantra, infected with news bulletin on-the-hour bleeps underlining its time-sensitive nature; a pristine super-commercial anthem to drive loyalty and reinforce solidarity with the party! Having been described as creating "underground noise with a bracing, warped pop appeal" (Mojo), their new album is a coming-of-age post-classic with a unique worldview - inspired by Van Dyke Parks (Song Cycle) Scott Walker (3 & 4), Moondog (Elpmas), White Noise (An Electric Storm) and Beach Boys (Smile). If their previous effort (Tape Hiss) was their very own sketch of a sketch for an incomplete concept album, a noisy reaction to their previous life, then 'Excerpts From Chapter 3..', with all its interlaced intricacies, is the realisation of their transition from punk-spiked-pop to psyche-pop protagonists. Evolving, testing, infectious...

London based producer Fiesta Soundsystem has been rapidly gathering attention over the past few years with a string of acclaimed records for Warehouse Rave. His latest outing ‘Rites Of Passage’ for Time Is Now sees the rising producer release his debut full long play, featuring ten cuts of broken beat bass music.

The debut album from writer and artist Holly Childs and artist Gediminas Žygus formerly known as J.G. Biberkopf.

Initiated in 2017, Hydrangea grew out of a series of performances emphasising conspiracies and the designer realities that they generate. Navigating a tangle of digitally induced subjectivities and relationships, Hydrangea sees Childs & Žygus amidst a continuously evaporating world in which narratives dissolve, leak, fold in on themselves and loop.

Childs & Žygus ask: As individuals are siloed online, can rifts in reality ever be reconciled? Is history a form of science fiction? And are narrators ever reliable? The process of creating Hydrangea was defined by the search for a form to bind fiction, poetry, and musical experience. Its narrative is influenced by technical instructions, lectures and whispered conversations, in which slippage and floating focus can create new meanings in the listener that weren’t intended by the speaker.

Aspects of physical and informational security including passwords, codes, locks and obstacles speak to the ways in which meaning or material can be locked, unlocked or instrumentalised for a range of potential outcomes. Hydrangea reflects on the Machiavellian strategies of political ideologists such as Steve Bannon, Aleksandr Dugin and Vladislav Surkov who have made use of contemporary and postmodern artistic strategies to design narrative uncertainty—covertly braiding together questionable truths, slippery narratives and bespoke reinterpretations of history for undisclosed political ends.

"Hydrangea’s Just the Password Though, Right?"

Childs & Žygus employ a musical language that layers their cumulative practices and experiences. The compositions are cinematic and spatial, working with the illustrative qualities of Disneyesque string melodies and taking cues from Maurice Ravel’s impressionistic piano works.

The work is also influenced by both artists’ lifelong experiences of rave culture, beginning for Žygus during childhood in newly independent Lithuania, spending time juggling Disney and happy hardcore cassettes on the family stereo, and for Childs as a preteen in Australia, tagging along with her sisters to doofs and warehouse parties. Initiated while the artists were both working between Amsterdam and Rotterdam in 2017, the work also draws on Dutch gabber music.

Hydrangea’s development has been influenced by collaboration with artists and filmmakers Metahaven, who created the album art.

Holly Childs is a writer and artist. Her research involves filtering stories of computation through frames of ecology, earth, memory, poetry, and light. She is the author of two books: No Limit (Hologram) and Danklands (Arcadia Missa); and has presented her work at ICA (London), Stedelijk Museum (Amsterdam), Trust (Berlin), Elam School of Art (Auckland) and more.

Gediminas Žygus is an artist working within the fields of sound, documentary and performance. Their practice assembles a spectrum of influences deriving from architecture, ecology, ethnography, science studies, and media theory. As J.G. Biberkopf, their releases have found homes on Knives and Danse Noire. Žygus has performed at Barbican Centre (London), Berghain (Berlin), Sonic Acts (Amsterdam), and Centre Pompidou (Paris), among others. credits

Running the anything goes travelling warehouse rave "Fusion mes Couilles"
Emma DJ and Ishaq have created a unique situation with their party series in Paris. The two have been able to do what not many have, which is create a party environment strictly on their own terms, with no outside influence, no pandering to agents or the trends of the day and no outside money rearing its head trying to influence. This endeavor is no small feat considering the oversaturated and bland nitelife climate over the last years in the city. The result of their hard work, has been a large scale dedicated fanbase that trust them, hands down.

Over these years both Emma DJ and Ishaq had been working independently on their own productions as well, with Emma DJ recently releasing a slew of tapes in a hyperactive, machine gun manner, while Ishaq makes his first appearance on wax here.
On the "Fusion" split lp we get four tracks from Emma DJ on the a-side and four tracks from Ishaq on the b-side...both artists bring their unique takes on modern dance music on each side of the record from gnarled acid, to tweaked IDM, to broken techno, or ADD chopped guitar loop beats, this is a truly unique release documenting the sound of the top crew in the Paris underground.
Artwork licensed from NYC street photographer Richard Sandler

Musique Pour La Danse presents Roomservice, Dutchman Orlando Voorn's forgotten yet unforgettable IDM-leaning, home-listening electronica / techno album from 1994 under his Living Room alias, originally released on the producer's cult Night Vision label.

Praised unequivocally by those lucky enough to have heard it, this criminally underrated record nonetheless deserves pride of place when talking about forward-thinking electronic music from the early 90s.

While it is widely acknowledged that Orlando Voorn's productions are one of the most fascinating prisms through which to experience a European take on the Detroit sound, Roomservice is also a strong reminder that the paradigm shift from sweaty raves to enhanced home listening, championed by Warp's Artificial Intelligence series, early Rephlex releases, along with projects such as The Black Dog, Plaid or Autechre was in fact not only limited to British artists.

As its name indicates, The Living Room is not geared for warehouses but instead interested in a more intimate and domestic setting. As such, it does not contain over the top bangers, but it's hard to find any filler in this album where all the tracks are killer, catchy and memorable. All displaying a sophisticated yet immediate focus on warm melodies and grooves no heavier than a feather, these emotional cuts provide a wonderful and intricate soundscape for introspective listeners to explore, and they will surely find echoes of ideas developped by Manuel Gottsching, Steve Reich and Pat Metheny scattered accross the album.

While some tracks are rhythmic and would fill a dancefloor in a second with their four to the floor or broken beats, the album also gives room for more ambient excursions to occur and develop brilliantly. But once again, it's more likely you'll end up dancing on your couch rather than dozing off.

2020 might be the most difficult year in recent history for dancefloors worldwide, yet that's not going to stop Musique Pour La Danse from reissuing this gem of an album for listeners, dancers, and DJs of today and tomorrow.

Words by Ed Isar.

Night Gaunt Recordings is pleased to announce “Ambitions of Guilt”, the newest offering from Brighton, UK based producer L/F/D/M. L/F/D/M is Richard Smith who first emerged in 2013 and has been steadily cranking out the hits ever since. Following his stellar release on Cititrax titled “Dream Bleeds”, Richard Smith is back with a new batch of misshapen heaters. A master of blending fucked up rhythms with chiseled body music that’s both danceable yet also makes you question humanity. Every track crafted to hit deep in the bowels of any warehouse, “Ambitions of Guilt” seeps with acid, techno, noise, and anything in between. With sleazy dance hitters that bring to mind midwest acid/techno, such as Gene Hunt, and also taking from British and Japanese industrialists by the likes early Richard H. Kirk and Sympathy Nervous, Smith creates a feeling that’s both familiar yet still wildly unnerving. L/F/D/M consistently seems to know how to explore emotions in this sphere of cold, repetitive machines, creating an exciting soundtrack to a contorted world.

Tetrode Music head honcho and Sound Signature affiliate, Specter, lines up the next Second Hand Records NYC release and it’s that deep, soulful goodness you need in your life.

'Peace of Mind' hits right from the needle drop. Made for the dancers! Listen to this on a real sound system for that enhanced feeling.

'Front & Center' keeps the energy flowing, mixing deep chords over dark warehouse bass lines. Big leagues tune!

'Cold Sweat' would fit snuggly against any Larry Heard record, or maybe its just that Chi-town flavor soul music we love! Byron The Aquarius adds another layer of flavor to this already killer cut. Deeeeeeep!

DJ Support:
DJ Spinna, Kai Alce, Ash Lauren, Byron The Aquarius, Stefan Ringer, Hugo LX

Reemerging from the threshold of the cosmic vortex, Black Lodge returns with another sonic artifact that is charged with vigorous chaotic energy, known as EXPERIMENT_ZERO. Accounts of the radiant object's origin are as mysterious as the raw energy that utters from its core. Following a close study, the guardians of the portal suspect that "Experiment Zero" was a primordial experiment rooted in the slam jack pits and DIY warehouse rituals of ages passed. A sonic dialog constructed of various languages, spanning from roots-house jak to bare-knuckled electro are revealed across the artifact - a revolutionary tale that surpasses the constructs of ephemerality, with a refusal to be ignored. Across the release the listener is confronted with fearless acid lines that are underscored by a tone of revolution, and sets the stage for a human voice that switches between modes of a sharp and mutated presence. The power of such sonic objects are both celebrated and rejected by various tribal societies. It is all dependent on the belief structures and traditional histories of its members. Those that belong to the cult of Ron Hardy, Mad Mike Banks, Traxx, and JTC will welcomingly be drenched in its riotous energies. It is for the dedicated, not the light-hearted. After further research it has been discovered that, Experiment Zero is the product of Dona, aka Dj Plant Texture and Mike Tansella Jr. of Son of Traders, both products of the ancient mercantile city of Bari in Southern Italy. Previous works from these artists have been featured on Creme Organization, Gravitational Waves, Unknown to Unknown, and Illian Tapes. All sonic experimentation was recorded in one take to capture the raw energy of instantaneous collaborative sound craft operating in flux. Black Lodge's 4th release is sure to find a space in the music collections of those seeking to travel within the uncanny portals that unforgivingly defy the status quo. Mastered by: Alex J Michalski Label design: Kosmik Pressing: Deepgrooves (NL)

For his third release on LARJ, Davis from São Paulo dusts off his TR-808, Juno, MS-20, and gets firmly into his musical stride for six electroid tracks full of pumping bass drums, snappy snares and bleepy synth-riffs. Conjuring that signature new school vibe with a true vintage touch, every track pulls its weight with bubbling basslines and/or funky synths. Davis surely hits on the motifs and distinctive dynamics for which LARJ can always be trusted upon.

Davis Genuino, who has already played a few times on the wooden dancefloor with the likes of Âme DJ and Oliver Hafenbauer, is a founding member of the ODD queer warehouse-party collective and a central figure to São Paulo’s new school House and Techno scene.

Premisession’ pays homage to the pivotal but now defunct Minneapolis warehouse venue “Premises,” of which Craig Lambert aka Midnight Music Club founded, and where Kajunga hosted their rst ever all night party. The EP showcases MMC’s hardware uency with a lavish cruise through mesmerizing grooves and pronounced warmth.

Calling Card creates a welcome invitation to the record with sensual synth lines, paired with the drive of undulating tom rhythms. A New Day evokes the feeling of an acid soirée. Rich emotion and improvisational elegance resonate throughout the track.

Five A.M. starts the B-side off with spring-time air; blooming into a Sunday morning daydream. Private Guy seals the deal by providing a more moody take on A New Day, with melodies weaving through playful percussion.

Midnight Music Club has been collecting records for over 40 years, sharing them passionately for nearly 30 and studying music production for 20. This live artist’s timeless yet distinctly old school sound is reminiscent of early Chicago and Detroit pioneers, with a blend of deep house and techno that is uniquely his own.

He has released on Chicago’s Descendants of the Deep label, as well as Headphoniq and his own self titled outlet. His ‘Premisession’ EP is an ode to the pivotal but now defunct Minneapolis warehouse venue Premises, which he himself founded and which hosted Kajunga’s rst- ever all-night party.

dJ FeedbACK:

“Overall cool 12", Calling Card being my fav on here, the remix is nice as well!” - Kai Alce

“Dope!!!” - Fred P

“This record from Focus is off the chain! Analog funky grooves with real rhythms. Minneapolis coming with it on Kajunga.” - Ricardo Miranda

“Dope EP, A New Day does it for me.” - Roman Rauch

KAJUNGA is a record label, party series and monthly mix series formed in 2015; the result of four Minneapolis artists’ shared love for thoughtful music and unadulterated dance floor experience.

To celebrate 25 years of the legendary series, KEMISTRY & STORM DJ-Kicks is re-mastered and re-issued for the first time since it's original release in 1999 on CD and 2LP. It all began in the late 80s: KEMISTRY & STORM had had enough of their hometown in middle England and moved down to London. Until then, Birmingham-born Kemistry had spent most of her tender years studying as a make-up artist in Sheffield while Storm was studying radiology in Oxford. The pair discovered acid house in London, partied at illegal warehouse raves, and at the end of the 80s stumbled upon 'Rage', Fabio and Grooverider's legendary and influential club night at Heaven, which can be legitimately dubbed as the origin of the entire Breakbeat / Jungle / Hardcore / Drum 'n' Bass movement. This is where they decided to dedicate their future entirely to music - as DJs.

You have reached the Infolines. Tonight, you will be given links to preview a reverence to the venues that helped shape an industry and generations of musical technological wizardry. ‘Packard’ features a compilation of cuts fitting to the experiences by those who once frequented the halls of Detroit’s urban decay.
Bendersnatch, kicks things off with a ‘Homage’ fitting of the mainstay venue paying reverence to the classic Detroit Techno sound. ADMN’s Machine 8 shows a lust for a bass grind synonymous with the engines machined in the halls of its urban decay. Remote Viewing Party’s minimal break ‘fuxwiddit’ whistles echo to us through the warehouse former machine shops. Maxlow makes sure you ‘heard’ what they must say pushing air from the subs ensuring you feel the room.
Keep an eye on this space and be sure to call in for the waypoint to the party.

180g - Vinyl Only

After messing about with vinyl, Ableton and music in general for more than 10 years, Dyzz from The Illuminated decided it's time to take 'matters' into his own hands:

Introducing Degenerate Music - a label focused on bass heavy, chest rattlin', floor shaking & dub influenced soundsystem music - starting off 2020 with his inaugural and sharply curated 040 - 010 EP.

On "That Side" we can find 2 sought after VIP's from the duo Dyzz & Rebus, better known as The Illuminated. Both originals Scavenger & Eindhoviah have been released on New Moon Recordings, the deeper / techy sister label from the Moonshine camp and Underslung Audio (digi only). Scavenger got picked up early by the likes of Skream & Benga (BBC1 Extra radio premiere), Joe Nice (cut on dub), N-type & Walsh (Rinse.fm) and more. Eindhoviah became a warehouse dub for the gentlemen and close friends. The VIP's go way beyond the originals, fulfilling the gunfinger reload requests from the last few years.

On "This Side" we find another Scavenger version, this one fully locked on the triplets and loaded with some vocal samples from a galaxy far far away. Last but not least, Eindhoviah gets the young gun Hebbe treatment, this one's for the heads.

Now all the VIPS, versions & remix get the treatment they deserve, freshly cut on a 180 grams 12" heavyweight plate

Maceo Plex hasn't dropped an original on Drumcode since 2014 when the hugely popular 'Conjure Infinity' EP was released. Despite this, he's been a significant feature at DC events over the last year.
Sharing a tight relationship with Adam Beyer, the pair have laid down memorable B2B sets at Warehouse Project, Ultra Music Festival, and the Resistance opening party in Ibiza this summer, thus cementing their tight musical bond.

Produced in the early part of 2019, 'Destination Mars' marks his terrific return to Beyer's iconic label. The track is trademark Maceo, a master class in tension and release, characterized by a slick low-end bass hum that gathers steam as crunchy drum lines and breathy vocal accents combine effectively with the main vocal lead, a contribution from Josh Wink, no less.

... No surprise, it went down a storm when debuted at Time Warp's mammoth 25th-anniversary party in April and has been highlighting the Ellum boss' sets ever since.

The ever-reliable Raxon is charged with remix duties, stripping back the track's engine to focus on a central melody, chugging bassline, and hypnotizing vocal effects. Shall Ocin's re-rub is made for misty-eyed mornings as celestial pads result in a transcendental finale to bring it home.

Andras’Joyful is a cornucopic vision rooted in the decay of dance music from one of Australia’s most distinct yet understated voices. Cutting a path through an overgrowth of nostalgia around 70's acid folk and 90's acid house, Joyful is an invitation to till a n old garden in a glistening new light.

A thirteen year old Andrew Wilson sits in the back of his parents’ sedan, driving down the coast from Melbourne. Headphones covering his awkwardly aged ears and connected to a jam-packed mp3 player, he experiences an intense synchronicity when the car careens over a mountain crest in the Otway Ranges right as the track in his ears peaks. A momentary vision of a “first rave rush,” in which Australia’s lauded party history dances tellingly with this dreamer’s destiny.

Not so much later but perhaps more worldly and certainly more aware, Wilson returns home from touring, now a “veteran” of the dance world, to realize a different synchronicity in his record collection. Finding Ian Van Dahl nestled next to John Fahey, William Orbit spine-to-spine with Shira Small, the harmony between folk music of the early 70's and dance music from the 90s becomes perfectly audible in unimaginable ways.

Through an afterglow from both summers of love seeped in shared sonic soil, on Joyful, Wilson cultivates melodic drama and tenderness, memorable hooks and rapturous arpeggios; sentimental strings summon both joyful aspirations and the shadows of faded dreams. Using folk songs as fodder—lyrics, samples, note progressions—each entry of Wilson’s debut album under his Andras moniker is a return to a different springtime of the mind.

Many artists working in Australia can relate to the feeling of “not quite being there,” as Wilson describes it. Always a couple years behind trend. Turning up at the party as it’s winding down. Fearing that in many ways the culture is looking backwards, confirming the narrow outlook of a parochialism that many have worked tirelessly to disprove. Using this disconnect as an invitation to dream another dream, Joyful becomes the soundtrack of early teen Andrew’s fantasy of Utopic parties past, specifically the late discovery of a bygone warehouse rave scene, as well as a return to a guileless chapter of personal history as heard through plain, sane, and simple folk melodies. Joyful is a homecoming, a testament to the evolving euphoria of a flower garden rooted in earth’s tender rot, of birds and bees flying free but not without a changing landscape in sight.

Andras’Joyful is available on LP and digital formats on January 31, 2020 via Beats In Space. On behalf of Andras, a portion of proceeds from this release will benefit the Invasive Species Council on the recommendation of Tim Low, author of the book Feral Future and Where Song Began.

Helsinki´s own underground powerhouse duo Trevor Deep jr. collaborates with young Berlin based and Korean born producer Wewerka. Flavourfull four-track ep is titled “KINDRED”.
Opening track “4 The Ladies” is paying homage to warehouse parties. Raving stabs and vocal samples screaming to start a riot. Followed by the second track Namu, pure deep house music inspired by breakbeats. B-side opener ”Nuna” displays the soulfull side of the producers, where African singer Nanghiti provides beautiful vocal foundation for Magic Manfred´s funk on the live bass. I guess you can call it Detroit soul.
Last track ”Spirits” is driven by soul sampled breakbeats and heavenly synths, transcending you to new hights.
A kindred spirit: ”Someone who you share a mutual meaningful connection with. Kindred spirits will encourage each other to develop as people and offer positive energy to each other.” That´s exactly what this record is all about.
limited 300 copies

Andy Ash has been quietly sneaking out seriously good analogue-driven electronic music on some of the best underground labels for over a decade.

The Liverpool-based producer, DJ and visual artist (the artwork for this re- lease is Andy’s own oil on canvas) has graced the likes of Chicago’s Stilove4music, NYC’s On The Prowl, Sydney’s People Must Jam and has remixed Fantastic Man for Detroit label Kolour LTD amongst many others.

The bottom line is that he’s definitely one of the UK’s unsung heroes when it comes to deep, raw, Chicago and Detroit-influenced house music and we’re proud to welcome him to Delusions Of Grandeur with an amazing three tracker entitled the Bottleneck EP.

The title track opens with snappy hats, flappy congas and sloppy baseline all sitting perfectly in the mix and with a looseness that is much harder to achieve that it may seem. A simple synth melody doubles up the bassline while an extra square wave lead adds that little extra hook without distracting us from the bouncing groove. With Bottleneck, less is definitely more.

Flipping over we have Hump, an altogether darker affair with a twisting acid line joining distorted 808 drums and tripped-out snippets of spoken word coming in and out of focus. The low-slung bumpy groove and spacey synth parts make this a compelling warehouse track which will draw everyone into it’s seductive confines.

Closing the release we have Actual Price, a shuffling, deep groover with rumbling low end and machine-like analogue synth part skipping around the crunchy beats. A cerebral yet punchy and dynamic closer to an excellent release!

Christopher Joseph is back on his Flexxseal label with four enthralling tracks entitled "Eye in the Sky".
He's an emerging talent from from Massachusetts who now resides in Berlin. His productions encapsulate, his vast musical background which includes studying Jazz percussion and living in the vibrant musical hubs of New Orleans and Berlin.

"Eye in the Sky" sees Christopher return to his invigorating Flexxseal imprint following releases from himself and Philadelphia's DJ Richard which together garnered heavy support from the likes of Ben UFO, Call Super, A Made Up Sound, I-F and many more.

"Eye in the Sky" kicks off proceedings with ethereal leads floating underneath electro-fuelled percussion and swirling synths together sending the emotions skyward while vigorously, resonant drums fused with rave- induced modulations and twisted melodies lay the focus in "Lick The Honey".

On the flip, "Nothing69" delivers growling resonations, breaks-tinged drums and otherworldly arpeggios that keep you enticed throughout until "Leaving Ringworld" rounds things off with a vintage, warehouse techno track featuring an effervescent, rolling groove sequence, spiralling oscillations and industrial feels throughout.

RAVE026 is a double hammer of blitzkrieg gabber and seething acid trance/schranz from Service
Animal (Vereker) and Crime Unit, featuring material previously issued on impossible-to-find
tapes by the cult, DIY label; Live Adult Entertainment
The punkish reputation of Live Adult Entertainment precedes them as one of the underground’s
keenest yet elusive operations to emerge in recent years. Based in Thessaloniki, a port city in
northern Greece, they’ve released some 28 tapes, CDR’s and lathe cut vinyl of musick ranging from
psy-trance to industrial noise and concrète since 2017, and always in editions ranging from zero
to 20 tops, leading to feverish and frustrated reactions from those listeners who’ve chanced upon
their YouTube videos before they get taken down. Finally, this 12” features the first readily available
and properly mastered LAE material on a physical format.
On the A-side, Endangered Species label boss Oliver Vereker adopts his gabber alias Service
Animal for his first outing proper since appearing as Renoir on his label’s 2017 CD, ‘Death Always
Follows’. Revolving material originally available on tape in edition of 20 copies, it boots off with
the 12-hp hoof and dive-bombing drones of ‘Core Of Reality’ next to the evil Arcardipane styles of
‘F.T.W’, which are both produced with the same, powerful conviction in charred black metal, noise
and hardcore techno that made his 2015 releases as Restraint and Grace so vital, only with added
acceleration and syncopation.
The B-side follows with a pair of seething workouts from the ‘Cyber Afterbirth Vol.1’ mix by
LAE co-owner, Crime Unit. Hearkening back to a sound that was ubiquitous between Hackney
Warehouses and small-town UK/European techno clubs in the late ’90s/early ‘00s, they are
ravenous examples of the LAE aesthetic, applying scuzzy DIY principles to gnashing German
schranz and adrenalising acid trance with ruthlessly direct results that pack one of the meanest
breakdowns you’ll hear this year. Trust they will mercilessly sort the dancers from the posers.

Clear Vinyl.

Raime explore exquisitely honed rhythmic instincts with scintillating results on the 2nd release on their RR label.

Where the London duo’s 2018 EP and RR debut ‘We Can’t Be That Far From The Beginning’ evoked a meditative mood from the info overload of their home city that left acres of space to the
imagination, the ‘Planted’ EP rejoins the dance with four tracks that icily acknowledge strong influence from Latin American and Chicago footwork styles in a classically skooled mutation of hardcore British dance music.

In four fleetingly ambiguous dancefloor workouts they carry on a conceptual theme exploring the digital subconscious with persistently invasive, alien ambient shrapnel - half-heard voices, aleatoric prangs, and tag-covered signposts - woven into and thru their tightly coiled and reflexive drum programming.

UPTOWN, ’Num’ flexes tendons and hips like a Leonce riddim that danced all the way from NOLA and ATL to the wintery dawn of a LDN warehouse, while the lip-biting tension of minimalist 160bpm jungle/ footwork patterns and jibber-jawed vocals in ‘Ripli’ suggests the Alien film’s protagonist lost in a mazy rave space, chased by H.R. Giger-designed face huggers (or gurning energy vampires).
DOWNTOWN, ‘Kella’ then catches them on a grimy dubtech bounce, cocked back and straining at the harness, before ‘Belly’ shuts down the dance with invasive, demonic motifs exploding over dark blue chords and palpitating jungle subs with impeccable darkside style.

Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music.

The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it.

RAGE is approaching it's 30th anniversary. It's sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across 4 x 2 x 12"s compilations we are taken on the journey through the sounds of RAGE, accompanied with track by track notes from Fabio & Groove themselves. This is the sound of the underground, from the inside out.

This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

Rounding-off a landmark year for Clark which saw an accelerated drive for variety and freshness - including skewed renditions of Bach performed at the Royal Albert Hall and a hugely acclaimed score for TV series ‘Kiri’ - the leftfield legend takes it back to the source with two bangers for the massive.

The riff-powered heavy electrics of ‘Branding Problem’ romp from Detroit to Belgium via Chicago and the M25. It’s platinum-grade dancefloor techno, but it’s more too. The production flair and inventive sound sculpting ensure a level of quality and originality not found in your average grist-for-the-mill DJ fodder.

‘Legacy Pet’ is hardcore and tech step dipped in loopy juice; it’s the sound of a raver wandering out from a cavernous warehouse, across fields and into an enchanted dingily dell dance, throwing gun fingers with the goblins and faeries.

“I’ve been quite amused at how easy it is to stream background music these days. How accessible it all is and how entitled we all feel to it, like it’s some sort of air freshener you spray in your Uber.

For some reason I’m imagining a future where Elon Musk does a streaming deal, so he can prance around controlling nano implant VR chips for 1 million amortal coastal elites, while the rest of us don’t have electricity and only manage one rave a year - to a sound system powered by rationed candles. This is music for that fantasy scenario, ha.

Anyway, I don’t want these 2 tracks to be part of background air freshener world. They are limited edition club gear. I wanna play them out so badly in my live show.

Influences: Hardcore UK rave, Detroit techno, Jungle, Oizo, Ed Rush and Optical, No U-Turn. The origins, the source and it’s constant subsequent mutations. BEHOLD THE CONTINUUM, HARDCORE WILL NEVER DIE.” Clark

A six-track release, ‘Fun Is Fun’ opens with the infectious, synth-driven title track, with a dub version and ‘Mamacita version’ also making it onto the record. Next up, ‘Dancefloor Anarchy’ is a similarly slick cut, while ‘Kill Your Friends’ is 140bpm and harnesses a killer bassline and unnerving scream sample to devastating effect.

“The title track ‘Fun Is Fun’ is a heavy bassline track, meant as a provocative poem, or as a joke you tell your friends who DJ,” Kessler explains. “When I did this track I was smiling because it’s my message not to take yourself too serious in this business. I think that's a big problem all over this scene.”

Following energetic releases on underground labels such Coméme, Get Physical and Numbers, the Cologne-born DJ, producer and poet’s distinctive sound has helped him grow into one of Germany’s most celebrated electronic artists. He has previously collaborated with the likes of DJs Pareja and Christian S while his music regularly receives club plays from Dixon and other A-league selectors.

TRICK was initially launched as a platform to exhibit Topping’s versatility as a producer, as well as a platform to showcase the wealth of emerging talent which he has been pushing in his DJ sets. Kessler, who played the TRICK launch party at Gateshead’s 4,500 capacity Mainyard venue, will also return to the tour with a set at the series’ upcoming Warehouse Project in Manchester on 8th November.

“I first heard ‘Fun Is Fun’ when Jackmaster was playing it in 2016 and it's become one of the most ID'd tracks online since!” Topping adds. “This was also the first time I’d heard of Bryan Kessler. Since then I've been hammering so much of his music and I'm absolutely buzzing to sign ‘Fun Is Fun’ a few years later as I think it could be an underground anthem. The other three tracks also show how much of a unique talent Bryan is!”

A collection of club-ready heaters, ‘Fun Is Fun’ sees Bryan Kessler craft six cuts with the dancefloor in mind.

A very effective collection of new works by Staffan who has previously released on great labels such as
Field, Stockholm Limited, Chronicle and many others. In this special extended release titled "Every choice never made"
it shows a great variety of Sci-Fi influenced, rhythmic and dramatic cuts that will sound great in any club or warehouse.
Many of the early reviews by djs around the globe say that the release is some of Staffans best work we hope you enjoy this as well.

Planning the imminent arrival of the 50th release on Touchin’ Bass, label boss Andrea Parker was digging through the warehouse during a stock take and it became apparent that there was something missing. There was a gap in the catalogue numbers. Where was TB036? Searching the archives it transpired that, for one reason or another (not least Parker’s inability to count), there actually wasn’t one.

So what better way to backfill this now documented gap than to welcome the multitalented guitarist and drummer, mathematician and multidisciplinary improviser Maria Gamboa Perez into the Touchin’ Bass fold with an updated focus for 2019.

Perez combines elements of rage, chaos, tension and anguish to form a visceral style. Her musical terrain and talent is shaped by dissonance and NO art. Under the moniker NonZero!, Perez brings Matrix Equation to the fore; a heavy 8 track EP with electro aesthetics from none other than Carl Finlow Scarletron/Silicon Scally/Voice Stealer.

Beginning her artistic career as a teenager playing as a bassist and guitarist in groups with influences from Noise, Avant Garde and the No-Wave, Perez was introduced into several areas of electronic music during the club culture years in Madrid and opted for styles such as Electro or Industrial, at which point she began to be interested in the introduction of rhythm boxes together with traditional drums.

Her passion for sound synthesis and musical exploration led Perez to introduce electronics into a solo project under the pseudonym NonZero!. Under this name she aims to make electronic music her field of sound research and for years has been continuously searching for existing relationships between sound and mathematics, focusing on the perceptual limit between music and noise.

Matrix Equation indulges in an evidential brooding angst, shifting between abstraction and the kind of elevated introspection carefully harvested over the years. With dramatic frontage in parts, blasts of boisterous energy and machine mayhem, its deployment of surprise, shifting focus and spontaneity operate in an assured statement.

Splintered beats and a foreboding sense of tension give way to a more DJ friendly logic of instinctive introductions and codas of gradual builds and breakdowns as Finlow further reworks the results to great effect.