the a&r edits return with a double-header from hot digits head honcho fingerman. the brighton producer grew up listening to his parents enviable steely dan record collection and for his comeback outing on a&r has retouched the de la soul-sampled classic, peg. a tight circle of djs have road tested this rework over recent times and we ve been inundated with requests for its release. in 1970, new york session drummer bill curtis merged the fatback jazz beat of new orleans into a street funk band and signed his outfit to perception records. over the next decade, they incorporated jazz and disco into their signature funk style, before moving in an r&b direction in the 80s. during this period, american pop success proved elusive, but the group made regular appearances in the uk singles chart, hitting the top twenty three times with (are you ready) do the bus stop , (do the) spanish hustle and i found lovin it s the latter, an anthem on the uk black music scene in 1984, that has been served up here by fingerman, a staple at his casablanca jazz club residency in brighton and now available on wax for the first time.

ozone 23 is the second release to explode out of the sp23 studio bunker. ozone - 23 psi (sirius and crystal distortion) lay down a breakneck slammer bursting with whiplash breakbeats, dark gleaming basslines and a relentless, driving flow. ultra detroit - ixindamix kicks the doors off a heaving detroit warehouse with a funky roller fuelled by searing synths, hypnotic vocals and a steely edged analogue warmth. u boat - jeff 23 and crystal distortion dive deep down into the abyss with a mechanical symphony of dark menace, charged frequency and sublime tension

das dritte und letzte kapitel der woolfy vs projections album-trilogie findet mit stations seinen krönenden abschluss, der mit den alben the astral projections of starlight aus dem jahr 2008 began und mit the return of love aus 2012 fortgeführt wurde. das konzept der alben-saga der band aus los angeles von simon james und dan hastie basiert lose auf den abenteuern des verschollenen astronauten captain starlight, der held des zazu songs, einem balearic rock klassiker, der auch den sound von woolfy vs projections auszeichnet, mitbeeinflusst hat, ein düsterer balearic und cosmic vibe, verbunden mit dem typischen west coast sound, disco dub, funk und hippie rock. stücke wie absynth (von resident advisor treffend mit air covering steely dan umschrieben), neeve oder set me loose können allesamt als moderne klassiker des genres bezeichnet werden.

a1. celestial encounter (original mix) 6:08 – 4×4 driven groover laced with choppy hi-hats, complexed rhythms, and orchestration only fit for mental travels. an uplifting tune of spirit and electronic sorcery. a2. ominous 4:58 – steely industrial percussion, creepy atmospheres, dance floor know-how. the honest depiction of the title lurking within the corners of your psyche. a3. celestial encounters (interlude) 1:22 a fine example of the latest in signature interludes from the optic nerve project. movement & imagination. b1. jazzy circuitry 4:49- moody, computer-ridden textures walking along side a odd-time signature until the introduction of the bassline and trippy piano keys seal the deal on craft & creation. niceness, indeed. b2. jazzy circuitry ( blaktonys step glide remix ) 4:18 traditional optic nerve ambience is chopped & rehashed into a 1/2 step groover then blasted into a full jam session by blaktony. madness/a complete new trip on the original structure & tune.

butoh opens the ep in steely, nervy fashion with skittish synths scurrying over rooted house drums. theres a shiny progressive like vibe to the synths that really suck you in and give off the air of flying through the cosmos whilst a heavenly vocal cry only adds fuel to the fire.

after an a-side debut on m_red ltd’s heady 10’’ series, shadowy outfit overall severity return with their first full outing for key vinyl. much like the slabs of steely sonic wares that have paved the way before it, “knowing the healing” presents three works of on-point dance floor material we’ve come to associate with the underground tastemaker. “explain pain” is the ep’s aggravated opener. a pounding kick and itchy percussion unfurls into a din of claps and noises, spliced with melodious peals and a low-slung sort of groove. “backfiring nerves” is one of those cool peak-time weapons: frantic yet subtle, deeply groovy and plied with much-loved vintage crashes. “parasympathetic” then concludes in the form of a chugging basement bomb awash with bleary acid tones, crystal hats and muted dissonant chimes. all in all, “knowing the healing” marks a powerful entry into the ring from these ones-to-watch newcomers.

premium quality vinyl reissue of the highly collectible promo-only 12 inch *i, i, i* by unlikely balearic heroes the osmonds. first released in 1979, this fruitful collaboration between the proto-boyband and legendary pop-disco producer maurice gibb is a wonderful slab of chugging syncopated cosmic disco rock topped off with lush string arrangements which despite being criminally overlooked at the time of its original release, has recently garnered much favour with balearic aficionados. also surprisingly good is the flipsides *you re mine*, a more live sounding affair, coming across like steely dan met chicago at studio 54 and hit the studio on the way home. dont miss!

after spending most of 2013 focused on building the oktave brand in chicago, jeff derringer returns to production with the release of the *closer ep* on prosthetic pressings. with this record, jef s sound evolves into the steely, hypnotic territory of his live performances. both originals, *further* and *closer*, delve into sonic textures and ambient tones not yet heard in jeffs music, while still keeping focus on the heavy, syncopated beats that have become his trademark.
pressing on white vinyl.

spike wolters quartet of self released lps which surfaced between 1981 - 84 have become the stuff of legend. an avant garde collection of solo tracks, combining guitar, drum machines, synths & vocals into spacious, fx laden compositions which stand firmly outside of the era in which they were created. its a lo-fi, but broad selection, taking in experimental pieces, alongside taut post-punk workouts, and more laidback steely dan moments. the sixteen cuts on orange cloud nine have been lovingly compiled from those four early 80s lps by golf channels phil south. its a limited single vinyl package, with custom artwork from perks & minis misha & individual download code.

vinyl only, mastered by d&m
bergstrom cuts to the chase: cavernous, reverbed chords, slicing high hats and steely snares strapped to a sinewy 909 kick, with a siren droning faintly in the background. four-to-the-floor ekaterina is the fever dream of funky house: icy hats and reverbs trick out a heavily filtered synth and a heaving sample of vintage polka. kicking off the flip, more war: state and revolution evokes a kind of long march beneath forbidding skies, its occasional skirmishes between razor sharp hats and muted claps blanketed by echoing synth stabs. finally, damperhof draws the curtains and departs the dancefloor: a mournful, impressionistic cello, a slow throb, a little acid, sombre chords bouncing around the ruins... this is mirko at his most expressive

the mosso imprint presents the newest addition to its catalogue. the fifth episode of the series features two newly picked, slow-­&#8208,,,,,,burning numbers. reporting alejandro mossos further travels on the fine lines drawn between awakened reverie and inspirited groove, this new record could also be considered as an adroit demonstration on how to preserve delicacy in splendor. as >islote< was slowly taking its final shape in the few weeks preceding the records mastering, alejandro mosso decided to pull. >arrecife< out from his unfinished archives. it is a beautifully stern and steely work, presenting the slow development of the main lead, giving it space to gradually appear from the fine selection of uncanny percussions and steadily met by its accentuated twin. a damper invitation to look within. on the flip, >islote< begins with a selection of colourful drums, not unfamiliar to mossos usual escapades. however, spreading itself like a most complex delicacy, the apparent sweetness of this distinctive title soon gives way to a rugged melody. conveying a sharp yet cloudy feeling, this b-­&#8208,,,,,,side is located somewhere in the middle of a soft longing and bluesy bliss. mosso places the listener into the near isolation of an island, that is still anchored to its continent. needless to say, his magic is once again well at work.the mosso imprint presents the newest addition to its catalogue. the fifth episode of the series features two newly picked, slow-­&#8208,,,,,,burning numbers. reporting alejandro mossos further travels on the fine lines drawn between awakened reverie and inspirited groove, this new record could also be considered as an adroit demonstration on how to preserve delicacy in splendor. as >islote< was slowly taking its final shape in the few weeks preceding the records mastering, alejandro mosso decided to pull. >arrecife< out from his unfinished archives. it is a beautifully stern and steely work, presenting the slow development of the main lead, giving it space to gradually appear from the fine selection of uncanny percussions and steadily met by its accentuated twin. a damper invitation to look within. on the flip, >islote< begins with a selection of colourful drums, not unfamiliar to mossos usual escapades. however, spreading itself like a most complex delicacy, the apparent sweetness of this distinctive title soon gives way to a rugged melody. conveying a sharp yet cloudy feeling, this b-­&#8208,,,,,,side is located somewhere in the middle of a soft longing and bluesy bliss. mosso places the listener into the near isolation of an island, that is still anchored to its continent. needless to say, his magic is once again well at work.

second 12 inch in the testpressing series, hand-stamped sleeve including insert with artwork by alex solman. mastered and cut by matt colton at alchemy, pressed at pallas so here we are at part two in the series: grows without bound on the a-side is a monster, a noisy analogue session resurrected from the burning embers of industrial and noise, harnessed into an unstable growl that slowly makes room for a barely-there percussive stumble - think somewhere between vainio and nate young. over on the flipside primitive equations takes for inspiration the bare-boned, hyper-tense production of photeks still devastating ni-ten-ichi-ryu, slugging out feral, steely noise and ardcore torque forged by calloused hands and burning minds to cruel, propulsive effect.

kenneth bagers edit series continues. hand stamped limited white label 12 inch, featuring 3 diverse but delicious edits: a dino paniele edits & extends a funky italian disco cut (sounds a bit like an italian steely dan or quincy jones), escapee and glove is in the air are both edits of australian pop hits, one new and one old.

neuauflage des albumklassikers von 1980, aufgenommen im channel one studio und abgemischt in king tubbys studio von scientist. der produzent henry junjo lawes engagierte folgende musiker: bass: errol flabba holt, drums: santa davis, sly dunbar, style scott, guitar: sowell, bingy bunny, melodica: jimmy becker, organ/piano: ansel collins, steely, gladstone anderson, percussion: bongo herman, sky juice, sticky thompson, saxophone: headley bennett, trombone: val bennett, trumpet: bobby ellis

londoner toby tobias has had a rather productive year so far and its with great pleasure that lets play house can claim him as its newest roster member. the paradise lost ep finds the man doing what hes done best since coming out in the early aughts: dropping deep and frothy house with a steely underbelly

astounding new material beamed via shemales atomic allotment,concealed in an outermost shadowy recess of darkest hyperborea. the musical paintbrush creates a harsh, barren landscape for hell transformation screens as deeply brooding electro and dramatic synthesisers propel each musical journey in its own unique style.there is an indescribable and mystifying tension which builds within the work of shemale, the opening cut, dead city photographs being a prime example. the soundbite here simply cannot pay justice to this tack as a whole,as the intro (which incidentally cannot be heard in the sample) is quite simply outstanding,with deadly,steely synths preparing the listener for an unmistakable and impending doom, which is ultimately realized in the dense, desolate sense of desperation interpreted in the final ambient-drones of tomb. converted followers of the atmospherically articulate shemale will need no further persuasion,as this will undoubtedly be a compulsive steal, but for those with an appetite for the darker side of twenty-first century electro, then there has never been a better moment to plunge into the shadows of atomic allotment. special limited edition pack includes matte postcard insert.

bristol-based kss black records are proud to present their second vinyl release:
a: holdtight ? blackstone ? holdtight make a welcome return with a rollicking slab of lo-fidelity sci-fi drum & bass. a steely backbone of percussion provides the skeleton to which a gut wrenching sub line and precision cyber-bleeps are built. full of atmospherics and stabs blackstone offers up a master class in layering grooves to capture the crowd. this one wont stop until it gets you!
aa: mute ? suspense ? the flip for this fine 12inch features the brothers mute, with a massive debut vinyl release! >suspense< has got skanker written all over it, reminiscent of the days grooverider was dropping adam fs seminal track >metropolis< on dub. modern production values are infused with the sweaty funk of 90?s dancefloor tech. heavily influenced by the sounds of photek and, more recently, break with technical drum programming and a bassline to trouble any bass bin as they looking backwards to move forward. you wont miss it when this tune drops.. bassface time! featuring on baileys 1xtra show several times last year this is not a tune to miss out on. both tracks have been receiving heavy support from bailey, lomax, survival & break.

>white magic< is the debut album from california native daniel saxon judd, aka sorcerer. this 12inch is a sampler for the album. influences on the sorcerer sound include disco, early electronic music (tangerine dream etc.), 80s electro-pop, psychedelia, kraut-rock and 70s style >smooth music< like steely dan, elo and fleetwood mac

new get physical sublabel !! these tracks are powerful and somewhat sinister affairs that make most sense when experienced as a blinding strobe light cuts through the back drop of dry ice in a darkened club.marsha sets a completely different tone. its still based on the same blend of windy city funk and intricate electronic rhythms, but the way that the seductive, chiming chords and dreamy break down unfold over the steely drums suggest that einzelkind has fallen in love. certainly, itll be hard not to be seduced by this layered, evocative track, especially if you hear it after a long night spent listening to intense techno.so there you have it: get physical has dragged a new label, kindisch. kicking and screaming into this world: let it be the place where you go to get all your teenage kicks!

the new danish modern sound belongs to owusu and hannibal of copenhagen! the most forward thinking beats we ve heard in a long time power along some amazing musicianship and fantastic songs. they ve got cosmic freak-outs, street smarts, electronic pop, and crossover ballistics packed into each next level track. think steely dan meets j dilla meets scritti politti meets spacek and youre getting kinda close. also included is a fantastic boogie-tune re-work from nycs own morgan geist (metro area, environ, etc)

16 soulig, funkige interpretationen der sanften klassiker der west coast aor/yacht laurel canyon hippies (tracks von fleetwood mac, doobie brothers, the beach boys, toto, steely dan, hall & oates u.v.m.) werden u.a. gecovert von quincy jones, chaka khan, aretha franklin, greg phillinganes, the brothers johnson u.v.m.!

love and money front man james grant has collaborated with producer gordy goudie to form the korvids, releasing a dance album. for the older generation who might want to bust a move once more in honour of their younger selves. james says, i wanted to be someone else for a while. sound different. write different. it can be dreary being me all the time..i sing most of my vocals on the record in falsetto, which, as we know, is the international language of disco. the korvids marry their love of disco and 70 s funk with influences such as deodato, massive attack, miles and anything else that takes their fancy. after the success of their debut release beach coma, which was picked up by sirius us radio and remixed by balaeric legend jose padilla, the duo released bad faith, a beauteous cut of late 70 s disco remixed by love & money and steely dan s producer gary katz. james was the front man for love and money, everyone s favourite band from the 1980 s who should have been massive but somehow werent. the other half of the korvids, gordy goudie, is also no stranger to the business having produced simple minds and playing bass and guitar for the primevals and echo and the bunnymen.

das dritte und letzte kapitel der woolfy vs projections album-trilogie findet mit stations seinen kršnenden abschluss, der mit den alben the astral projections of starlight aus dem jahr 2008 began und mit the return of love aus 2012 fortgefŸhrt wurde. das konzept der alben-saga der band aus los angeles von simon james und dan hastie basiert lose auf den abenteuern des verschollenen astronauten captain starlight, der held des zazu songs, einem balearic rock klassiker, der auch den sound von woolfy vs projections auszeichnet, mitbeeinflusst hat, ein dŸsterer balearic und cosmic vibe, verbunden mit dem typischen west coast sound, disco dub, funk und hippie rock. stŸcke wie absynth (von resident advisor treffend mit air covering steely dan umschrieben), neeve oder set me loose kšnnen allesamt als moderne klassiker des genres bezeichnet werden.

alongside italics great affinity for electronic dance music in its multitude of forms, from techno to house to disco, they have always harboured a love for pop (attitudes), as exemplified by the likes of prefab sprout, steely dan, orange juice, scritti politti, japan, pulp or scott walker. the fourth coloma album is a song cycle with recurring harmonic and rhythmic themes. lyrically, loves recurring dream is a narrative chronicling the phases of a romance, which symbolically runs over the course of a year. in the twelve songs, singer rob taylor follows the progress of the seasons from spring, summer and autumn to winter, with the implicit promise that a new spring will follow. in its entirety, loves recurring dream is a modern concept album featuring classic song writing and bold production, combined to create profound popular music