rap was something that just happened to her. keny arkana was only twelve when she started writing her first lyrics. her first contacts with the record business came in 2005. but even before she infiltrated the matrix, keny released her first opus, l’esquisse, a fast and furious street album containing the hit “le missile est lancé” produced by tefa & masta as well as “de l’opéra à la plaine”, a gargantuan freestyle track by twenty writers born and bred on the streets of marseilles. 12 years after l’esquisse and 6 years after l’esquisse 2, keny releases l’esquisse 3. a spontaneous, creative, sincere, energetic and meaningful record, with powerful rhythmic and precise arrangements. even though the record has a mixtape appearance, it hasn’t been a botched job, as evidenced by its complex structure and harmony: musical interludes around the four elements, true rap anthems like “couleur molotov” or “lejos” and contemporary hits like “abracadabra” or “freestyle beatbox” with beatboxer tressym for an instrumental. both dark in its lyrics and lively in its energy, keny’s mixtape l’esquisse 3 reveals again an artist just as we could dream in 2017: clear-sighted, offensive, touching and inspired. dear she’s been missed!
double vinyl in gatefold sleeve, cd-copy of the full album included.

transitive elements’ most wanted tracks are finally available in a double vinyl release for the first time. all tracks have been remastered from enrico mantini’s original 90s dat tapes to make them sound even better of the original umm presses! a must have for collectors and for those who missed the original releases.

for the past two decades, ivan smagghe has perfected the art of making spaced-out clubbers dance, has ridden a fine line and run his label les disques de la mort. rupert cross is a london-based composer who has worked with michael finissy and julian anderson as well as writing music for television and theatre. before/after ma, an album which sat on the fringes of experimental music passed through an industrial particle accelerator. s&c give you the tracks codenamed timothy dalton (according to ivan, the laser sound in the track reminded us of flash gordon). neither pop, nor psychedelic, nor ambient, nor house, nor techno, nor post punk nor even new wave are spared, but none are singled out. to nurture this proto-album, the duo also called upon the talents of tim felton, the outstanding guitarist from the cult band broadcast.

alter is the new album from belgium-based double bass player and electronic producer otto lindholm. divided into four colour-inspired, long-form movements, alter takes off from lindholms previous work a self-titled album released in 2015 on icarus records, and pushes the already abundant palette of sounds even further. this new work is more brooding and hypnotic. a deep, resonating bass is present - hinting at the likes of greek, chamber-doom merchants mohammad but perhaps with more attention placed upon textures and melody. the record moves at a funereal pace and opener fauve hits abyssal depths from the outset. a bowed melody is coaxed through the throbbing bass with dissonant harmonics drawing you in and holding you close. the ghostly beginnings of alyscamps create an overwhelmingly tense atmosphere where acoustic and electronic elements collide and evolve into a heaving, ceremonious drone. shafts of light emerge through the fog but the tone remains a haunted one. closer, heliotrope, strikes a more hopeful note. a lighter, more open feel emerges - bringing to mind early work of the rachels or perhaps deaf center.

dylan cameron made his debut release in 2016 on the austin-based holodeck, which has made a lot of noise the last couple of years with releases by marie davison and s u r v i v e. the inifinte floor album set the stage for things to come and tru welcomes dylan to the stable with the dark and minimal purgatory ep. . purgatory features 3 dark and heavy techno cuts starting with dark sorcerer and leads into lost souls on the a-side and continues into the b-side with trojan horse, all weaving in sharp synths and shuffling rhythms not unlike some of dj rush’s or even jeff mills’ best productions. chicago meets detroit meets germany. all tracks meant for the floor and none that disappoint. celsius rounds out the ep with it’s minimal tech-house leanings with oscillating tones, making it a great beat track for layers or to be played in a minimal techno set.

the first ep from mouse on mars since their anniversary recording 21 again (2014) is clearly connected to their recent club gigs. in fact, synaptics sees the berlin duo embrace their love of juke, footwork and chopped up house music like never before. on its three tracks, andi toma and jan st. werner reinforce the collaborative idea of 21 again: eight different artists have been involved in the making of these tracks, which deliberately depart from a characteristic mouse on mars sound, creating a more organized vibe while still maintaining links to their previous work. there are two directions of research in andi and jan s sonic laboratory: one is focused on experimental club music, the other is in search of music without ties to specific genres. though heavily leaning towards the club, synaptics is caught in between. from the duo s perspective, it even touches pop territory. all three tracks came into existence during the past four years. opener „jack is out- with its pounding lazer stabs is an obvious link to their current club sets as well as a clue on future productions. after months of redesigning and rearranging, it found its final form through an edit by bon iver producer ryan olson aka arson only at his wisconsin studio, where andi and jan also recored for their next album. „bluescreen- was born out of a berlin session with jessy lanza and junior boys and was completed some year later with support from modeselektor. and the tropical funk of „sensitive person-, based on a studio jam with sepalcure, also needed some aging and refinement after a couple of months.

when we launched our digital imprint in 2013, one of our explicit reasons for doing so was to fund a vinyl label. it may have taken us four years to get to this point, but we’re finally here - fkofv001 is upon us. the debut fatkidonfire physical release sees new artists join our roster. taiko’s untitled grime has been blowing up the dances for a hot minute, championed by the likes of truth, spooky and many more. spooky even named the tune in his fact mag top ten most prized dubplates list! we linked taiko up with mancunian wordsmith skittles (currently smashing it with the levelz crew), and “don’t be stoopid” is the anthemic result. fkof fam and producer extraordinaire district adds an industrial grime-esque flavour to his remix for a killer one-two punch. the two producers collaborate, for the first time ever, on the b-side, entitled “yokai”. it’s a tune that demonstrates why we signed both musicians incredible atmospheres, depth and weight. beau at ten eight seven, as ever, has mastered the tunes to perfection. we’re proud of this release and, on first listen, we hope you’ll hear why...

six years after their debut release on all inn, premiesku is back to the label with a brand new three tracker. last man on moon brings the usual winner formula of the trio. the proper hypnosis of drum machines, featherweight spacey themes with a pinch of classical house flavour on the top. a must have record for all periods of the weekend.

orbis x is a sublabel of orbis records and will be mainly focusing on softer yet often usable as dj material for the broader mass interested in electronic music. this sublabel is an extension of orbis records softer, more melodical and experimental side.
music will be ranging from house, dub, chicago over melodic acid and even breaks. not any track makes it to this sublabel if it can t stand on its own and stand the test of time! we warmly welcome the dutch duo dennis pors & stephan de bruijn to orbisx. new fresh talent, ready to conquer the world. we feel obliged to support these fine gentlemen to get their music spread across the globe. dennis & stephan know each other through their musical perspectives.
they share a similar taste for music, detroit techno. before they worked together, dennis experimented with deep house through digital synths and learned the ins and outs of programming music in logic.
stephan was well known with the detroit techno scene. his passion goes out to well balanced electronic music with hypnotizing emotional feeling to it. add a layer of atmospheric grooves on top of that and you have the perfect blend to potential timeless music.
soon enough they made the switch to analog gear to be able to create a cleaner and better sound. after three years of hard work, they have reached the sound they were looking for. and this is it!

there is a long-standing love affair between dj harvey and pikes, ibiza. as well as coming back for his third consecutive ‘mercury rising’ residency, the legendary ‘djs’ dj has been appointed ‘cultural attaché’ for pikes, meaning his magic touch and feel-good presence will create even more special moments at pikes this summer, including the launch of new label, pikes records.
in 2015 dj harvey made his hugely anticipated return to ibiza and made pikes his home for his mercury rising debut, a concept inspired by the beauty of the real ibiza, the incredible history of pikes and a genuine love for music. the love, the dancing, the music and the balearic spirit perfectly and poetically encapsulated by dj harvey has seen mercury rising widely recognised as the most special night to embrace the island in over a decade.
the next step in the harvey and pikes story sees him launch pikes records – the first record label founded by pikes owners and ibiza rocks co-founders andy mckay and dawn hindle. on the label, harvey explains: i see so many avenues to work together to release music, everything from live recordings from ibiza rocks and pikes, mix tapes, original productions, showcasing new artists, theres all sorts of avenues to open up. with the finer details still under wraps, its safe to say fans can look forward to the first release being harveys very own mercury rising compilation. but what can we expect from the third instalment of mercury rising? putting it quite simply, just a serious good time really says harvey.

the first release on kon’s new kontemporary imprint sees the crate diggin selector, producer and remixer extraordinaire reworking george duke’s late 70s jewel “i want you for myself”.
kon’s masterful arrangement highlights the desirous pleas of lead vocalist lynn davis while showcasing the very ahead of its time instrumentation (there are even hints of larry heard to be heard here) of mr. duke’s musical masterpiece. carefully breaking down and building up the arrangement, kon even pulls out previously unheard vocal gems from george duke himself hidden in the original stems giving the listener a glimpse of the studio vibe during its recording. this release also boasts the original version taken directly from the studio masters of the highly sought after 12”. all in all floor stomping disco magic from one of the world’s best remixers further sonically enhanced by boston native caserta on the mix.

tenderness - a short-lived disco project helmed by james purdie and skip mahoney only released one 45 and one 12” single during their brief existence. known for their work with chuck brown & the soul searchers & frank hooker & positive people and many more, this duo were undoubtedly a highly talented producer, songwriter and keyboardist combination. originally released on rca in 1978 keep on trying was an underground club hit. the record still packs an immense punch today, it’s a mixture of tough streetwise drums and percussion and swooping dramatic strings and brass will surely hit the spot for disco aficionados. the kind of record you can imagine causing all out pandemonium at the garage while the scents of amyl and sweat fill your nostrils. the kind of record that would make everyone on the raised stages and podiums at the powerhouse whoop and holler in collective joy as frankie stylishly segues it into a punishing percussion break-down. yep. it’s that kind of disco record, so rare and so coveted that even the infamous dj harvey put it over his knee and gave it a good editing way back when. there’s been a shedload of poor imitations knocking around, dodgy euro bootlegs etc, but this 2017 repress is from the master tapes (yes, we can prove it) and is fully, 100% legit in every way. keep on trying - now available again, released in conjunction with rca. back on the streets. same as it ever was! essential disco heat here, buy on sight!

spearhead records label boss steve bcee returns with his 4th studio album, and itÆs safe to say that itÆs his best one yet. not just a solo affair, bcee has also drafted in some of the finest vocal and production talent around. with features from two time best d&b vocalist winner riya and d&b legend logistics being just the start. northpoint is bcee at his most diverse. from the early 90s hardocre influenced keep moving on to the jungle roots of hollow eyes this is an album that really showcases how broad the d&b spectrum can be while still keeping to the spearhead ethos of being uplifting musical d&b packed full of heart & soul. bcee said i wanted to make an album packed full of d&b that would work in a club just as well as it would in the car. no fillers, no showcasing how i can produce house or hip-hop or whatever, just pure no nonsense drum & bass. with bceeÆs spearhead presents brand regularly selling out shows at clubs like the legendary egg in kings cross & shoreditchs village underground, plus his growing dj & production schedule and the vanguard project his alias as a duo with fellow d&b produced villem, itÆs safe to say that even though bcee has been in the game for 16 years, heÆs only just getting started. support from friction, mistajam, metrik, technimatic, s.p.y, nu:tone, logistics, london elektricity and a whole load more

london based club night and newly formed label snap crackle & pop s third releases comes in the form of a dark take on new wave influenced techno from berlin based new yorker curses. side a kicks off with a hypnotic techno stomper another view which playfully tips its hat to early electro albeit through a visor of coldwave inspired guitars. together in the dark delves into even darker territores with ice cold organs reaching for the light through the grinding ambient yet groovy undertones. on the b-side inga mauer ramps up the dancefloor tension with her machine like acid rework pulsating and crashing urgently together in the dark, whilst the golden filter turn out a low slung trip of brooding synths and haunting vocals before cascading down the rabbit hole in a swell of industrial motorik beats and percussive explosions in their take on another view

es heißt schon lange, dass björk bald ein neues album veröffentlichen werde. doch bisher gab es weder ein titel noch ein releasedatum.
jetzt erscheint die erste single »the gate« als erster vorbote des neuen albums auf einer limitierten 12” vinyl! björk beschreibt den song wie folgt: »›the gate‹ is essentially a love song, but i say ›love‹ in a more transcendent way. vulnicura was about a very personal loss, and i think this new album is about a love that s even greater. it s about rediscovering love – but in aspiritual way, for lack of a better word.«

thomas apokalypso marks his return to rett i fletta almost exactly 3 years after he started it with blusjketuta and apne slusa. and following a now famous winston churchill saying: this is not the end, not even the beginning of the end. this (apokalypso) isthe end of the beginning! and the rest is history. or simply great tekno not tekno. all available on full pupps techno not techno offshoot rett i fletta!

a return to the source: ribcage is where it all began for the dubfire project. after years of exploring, subverting and setting brave new benchmarks in the house world, this marked the start of ali shirazinia setting out to set the same creative benchmarks in techno. restrained, drawn-out but beastly when it wanted to be, the original was a serious statement of intent. even at the time you got a sense it was going to be a historic tune. loco dice especially felt that when he signed it to desolat 10 years ago. to celebrate this time-flying milestone, dubfireÆs recruited two of the most respected names possible for remix duties. first up, the unstoppable, unavoidable, unquenchable dense & pika who keep within the dramatic rising template but with a whole new set of instruments and texturesà and a percussion palette that absolutely sizzles when the whole groove kicks in mid-way. phenomenal. hot on their heels comes a unique remix invitation to on-u legend and one of the ukÆs most decorated and treasured studio controllers adrian sherwood. turning in a serious techno re-cut that pays tribute to every element and takes over 12 minutes to make sure they each shine amid the head-twisting pools of tripped-out decay, itÆs clear his time with pinch has had a profound effect. two incredibly well considered and detailed remixes that remind you what remixes should beà brave new chapters of a story we all love being told. these will sound great when the 20th anniversary remixes are commissioned in 2027.

aleksi perala s second album for the basement series. simulation goes even further down the basement hole than before. trippy, deep techno but still firmly rooted in the colundi sequences.

the intergalactic research institute for sound presents de, a compilation of various artists representing georgian electronic and ambient music. / de is a compilation of music from artists of different backgrounds getting together in order to showcase the dynamic influences within the georgian scene. tbilisi is getting worldwide recognition at the moment for its booming club scene, but what this project aims to illustrate is what is happening outside of the club context. natalie beridze who has been performing worldwide since 2004 is known as the first female electronic music artist in georgia, rezo glonti has built his studio inside the hull of his boat, and zesknel is a resident of the renowned bassiani club, while myi and severiane were discovered thanks to myspace, soundcloud, and word-of-mouth. all these talents manage in their own ways to present / de, with murky and melancholic cuts. melancholia is at the core of beauty in georgia. that is not the case in germany and many other cultures, where melancholia is often charged and bound to a negative feeling, which some might perceive as weakness. consequently, one could be tempted to say that even if it‘s electronic music, de has a traditional georgian quality. but that would be putting art in boxes or cases because what is georgian art nowadays, when so many artists from this origin are scattered around? as giorgi maisuradze states in his mission statement for de, the world is their home.

arthur russell epitomised the spirit that defined downtown nyc in the 70s and 80s. yet his inability to complete projects resulted in limited output. be with now present the reissue of event horizon, an album arthur did finish with his cult group the necessaries. criminally neglected for 35 years, its scarcity on vinyl has caused it to evade his most diehard fans and its relative obscurity has rendered it largely unknown, even amongst arthur acolytes.

in the whole history of hip-hop music, few groups can claim to have been as influential and important as joseph saddler’s group grandmaster flash & the furious five. many of the genre’s signature elements and trademarks can be traced back to the supergroup founded by the grandmaster, their discography was among the first to feature recordings of scratching and turntablism, their’s was the first to feature songs with political and social commentary, they were the first to refer to rappers as mcs, some might even say they were the group that first coined the term hip-hop.

following excellent releases from skatebard, les crocodiles and lunar concept amongst many others, pleasure unit turn to cut the rug crew member mike misiu for their latest instalment of cool-headed modern disco. do what you need sports a metro area demeanour, with a classic vocal hook sprinkled in at opportune moments for maximum impact. the dub mix is no less satisfying, even with the famous sample rubbed out, but in fact the real pleasant surprise of this release is b2 jam love talk. with its funky midtempo 90s breakbeat and heavy-hitting piano, it s an addictive party starter that harks back to the acid jazz days while still fitting right into the here and now.

conceptual drum n bass album by kos.mos.music, which has been prepared for several years and consists of tracks united in their unordinary commonness. in a word, the general genre of the album is drum n bass, but all the tracks and each in particular are a mixture of different electronic genres based on drum n bass and jungle rhythm. one can hear sounding of idm, ethnic patterns, feel a strong influence of psychedelic electronics and in patches even some techno.
the album is opened by the harsh reality by loucura & dailiv - a powerful halfstep based on kick and bass, hypnotizing pads and drones with putting in trance melody. further dynamics of the album varies from dancefloor rolling tracks by electrosoul system, liquitek, vortex involute to avant-garde dissident & marginal, deep liquid tracks by nclear, triple sky, nummix, basic maneuver, bop & electrosoul system collab and breakbeat/jungle track by pryzma. the album is closed by shamanic bass track by light monday.
the vinyl version contains exclusive track by m25 & first function with more predominant idm texture and includes a cd-copy of the full album.

dasha is back on sonic groove for her first outing on the label in six years. in this time elapsed dasha has released just two dance singles both some years ago. her last musical outing in 2015, is the stunning masterpiece experimental listening album entitled -sleepstep- on raster noton. now finally after a quite long hiatus from releasing dance music. dasha returns with -ain t no god nor king-, a four song extended play release . this deep minded, beat driven journey starts off with -katusha- a hard minimalistic, mesmerizing affair with strong delay effects on the kick drum forging a subconscious state of time and space as it echoes it way through mountainous canyons far away from civilization. next up is -dystopian drive-, a percussive song which brings an atmosphere of doom and gloom full on, with a gritty & stringent ebm bassline and tripped out layered acidic effects riding the thick bass waves. -black swan- takes it a few steps further into even darker dismal territories, a nearly nine minute journey which is a fitting sound track for surveilling a haunting post nuclear apocalypse scene from up above. -acid melancholy- is a 303 tweaked ambient sound sculpture with a metronomic pendulum rhythmic perc swinging back and forth which signals that time has run its course and the end is near.

“songs of love sung by robots” from the moment this machine is booted bop begins buzzing with kinetic warmth. this is something characteristic of swarvy’s sound, the la-by-way-of-philly musical polymath with a vast catalog including sunsoaked live instrumentals, jazz-infused loops and lo-f gems. with bop, he is musical mad scientist, ?aunting his technical fnesse as he plunges into the realm of abstraction. swarvy makes his mark in bop even while grappling with its colder, industrial elements. with broken rhythms and jagged textures, he pieces together tunes of emotive beauty. the result is undeniably playful and delightfully odd, something like songs of love sung by robots. through its wavy ambience runs a current of aural ephemera - bits of speech samples, bossa riffs, and r&b with opaque origins. bop’s genrebending tracks will take you to ten compelling dimensions, forming an archeology of cyberspace and musical artifacts that’ll leave your cold robotic heart melting in the la sun.

having helped launch the sugarhouse label with his paradise forum brethren, jamie paul gets a chance to show off his talents on his debut 12inch, adding to the labels already impressive catalogue with another swathe of classy house jams with a modern twist. double g definitely sports the chops for the peak of the night, but it s also shot through with a welcome weirdness and a fuzzy warmth that should find favour with a wide range of djs. even so is a more laid back, bumping affair that matches the smooth finish of the a-side, but says something different altogether. label mate maurice jnr meanwhile serves up a remix of even so that nudges the delicate tones in a techier direction

the memory box parties have been celebrating the classic foundations of acid house for some time, and now they ve launched a label to push their love of squelchy 303 even further. robin ball steps up for the first release with some classic examples of how to ride the well-worn machine and keep it sounding fresh like the first rays of morning through the warehouse window. -acid stomp- needs little explanation - it teases with some subdued 303 warbles before the real meat of the track kicks in and the frequency starts freaking. acid duck is a more reduced affair, while collaboration with neil tibbetts sqolch works a few deep house elements into the mix. mvdc finish the ep off with the abrasive, grungy thrust of back in the dayz

u-roy was a true reggae pioneer, dubbed the originator for good reason. bursting onto the jamaican scene in the earliest 1970s, he pioneered the vocal approach called ôtoasting,ö which in addition to branching out jamaican music into a new era, was also heavily influential on an american genre in its infancy: rapping. on dread in a babylon, his third full-length, he stretches out over traditional roots grooves provided by the soul syndicate and skin, flesh & bones bands, riffing on topics including love (ôrunaway girl,ö a 1975 single released in the uk on virgin records), the bible (ôthe great psalmsö), walking the straight and narrow (ôlisten to the teacherö), and even his take on governmental policy goals (ôchalice in the palaceö). the album finishes with an instrumental version of bob marley & the wailersÆ ôtrench town rock,ö for good measure. u-royÆs style and charisma are always on display, and û as with all of his classic records û the groove rules all. presented on black vinyl with a poster of the glorious, ganja-drenched cover art, itÆs the perfect chance to revisit one of the more underrated voices in jamaican musical history.

win2win, aka black spuma, aka lauer and fabrizio mammarella. is that enough names? new project from two of slow motion s most loyal artists fantasia 500 channels the spirit of detroit electro and even dare we say it ghetto house through the disco grinder to make something totally new. with enough chug and swagger to rock any floor this four tracker is 100% party ready.

french artist marc nguyen tan released two renowned albums in the early 2003 and 2006 under the artist name colder on trevor jackson’s seminal label output recordings. in november 2015, colder returned after a decade in hiatus with his third, highly acclaimed album many colours followed by two other lps titled the rain and goodbye in 2016. kasper bjorke is one of the most acclaimed and versatile producers and djs hailing from denmark. kasper has released five renowned solo albums over the past decade and remixed a wide range of artists, from rebolledo to weval. the two artists first started working together when kasper remixed colders single ”your kind” - and colder in return remixed bjørke s track ”marbled blood”. the idea to take their collaboration even further was formed when the two of them met in person during sonar festival in barcelona in 2015. in 2016 they then teamed up in the redbull studio in paris for a three day improvised recording session. the result is the black magic ep in stores on september 8th via throne of blood. a collection of five raw, driving post punk / new wave and techno influenced compositions, recorded via the studio ssl desk in paris, using hardware synths and drum machines played through some exotic vintage effects. colder recorded his mesmerizing vocals on the spot along with french drummer julien sabourin and saxophone player thibaut javoy. the ep will be followed by a stellar remix package from the golden filter (optimo music), mutado pintado (paranoid london) and french producer and dj pilooski.

charlie ahearn s 1983 film wild style holds a place in both music and cinematic history as one of the first examples of a hip-hop film. since its original release it has been widely praised for its hybrid approach as both a narrative musical and a documentary, and as a time capsule of sorts into the culture of hip-hop during its infancy in the 1980s. besides its classic depictions of mcing, turntablism, graffiti, and breakdancing, the film also featured now legendary figures of the genres in acting roles, such as grandmaster flash, fab five freddy, busy bee starski, and many more. wild style went on to garner an immense cult following, portions of the film itself would be sampled in records by artists like nas, beastie boys, mf doom, and more, and would even be exhibited by museums in chicago and boston as part of programs on the art of the 1980s.

the must have status of joey negros -remixed with love series has been firmly cemented with both dj and home listening disco lovers since the release of the first two volumes. since the last release jn has been working hard on sourcing more disco multitrack tapes and producing new remixes while the zr team have been equally dedicated to clearing and licensing these new versions. the enduringly popular mtume/lucas produced phyllis hyman soul classic you know how to love me gets a new makeover that reworks the original elements into a more dramatic version with many peaks and troughs, stretching it out to over 10 minutes. even for those love the original this new mix gives a favourite song a fresh new perspective and reason to be played again. motown sounds philly style instrumental bad mouthin was an underground hit on dance floors in new york, london and chicago from the late 70s onwards. it was also famously sampled in bob sinclar s no 1 gym tonic. the original is a pretty dense, everything in all the way through style production, whereas the jn mix opens things up in a bit with more room for the individual parts to be heard. the end result is an extremely energetic bassline driven disco cut that works super well on the dancefloor.

here at quantize we simply love confounding expectations cos, guess what? we love all kinds of music and don t like to be stereotyped. but this one even surprised the hell out of us so much so that we figured it deserved a 7inch vinyl release in tribute to the original format. think (about it) was originally recorded 45 years ago in the summer of 1972 by the fiery lyn collins. produced by the godfather of soul, james brown, it barely scraped into the rnb top 10 at the time and normally would have faded into time as just another great james brown produced record but in 1987, it started to get sampled by a new generation of hip-hop artists like roxanne shante and robe base and dj e-z rock. suddenly the world woke up to the possibilities of sampling and since that point, think (about it) has been sampled 1908 times and is the no.3 most-sampled record of all time. so we decided to cut a new version of it with real musicians and one of the few vocalists that would be capable of matching lyn collins firepower - dance music s diva supreme, the incredible barbara tucker. we wanted barbara to really cut loose on this and she didn t disappoint. and yes, those are real keyboards, real guitar and real horns. believe us, this session was off the scale! so when we finally got our breath back we decided we had to get this out on a 45 on its 45th anniversary! it seemed the most appropriate way to do justice to a record that simply jumps outta the grooves. we believe think (about it) will have universal appeal pretty much everywhere since the song is now implanted within the dna of dance music across the world.

arriving as the third outing of len faki’s recently established non-profit platform lf rmx, these previously exclusive edits take on a raging classic by courtesy of frankie bones, godfather of the north-american rave scene. the new hardspace mix bolsters up the characteristic vocal and synths for even more frantic effect but trades in the percussion for faki’s signature assault of claps and hats. these also dominate the stripped-back hardspace tool, which carefully builds momentum only around the sirens and some seriously sizzling low-end rumble. both of faki’s personal mixes capture the original’s raw energy, yet manage to appear in both sleek but powerful presence. as with all releases of lf rmx, the proceeds of this record will be donated to the berlin charity project straßenkinder e.v. to be used in actions against child poverty.

the second release from bobby analog’s body fusion imprint follows in the footsteps of the first with heavily swung drums, some creative sample manipulation and a lot of soul. three tracks laced with tough 909’s, tape driven bongos, some lovely strings, an organ and even a touch of acid.

it s been quite a while since naibu’s last feature on scientific. more than a year has passed since the release of his acclaimed “case study”, a mature and eclectic quasi d’n’b album rich in live instrumentation and tons of intricate details.
and here’s a follow-up to this work a four track remix ep featuring reworks by some of the biggest names in the atmospheric deep drum & bass current of today. naibu’s already captivating take on music gets reinterpreted in four different ways, so just know that you’ll be treated with a sense of freshness and familiarity at the same time.
spanning a variety of shades of drum & bass, from hiddenwave’s deep and rolling take on “turn me down”, through seba’s nostalgic rework of “astray” and bungle’s powerful, cosmic rearrangement of “case study”, to future engineers heavyweight, solid-basslined reinvention of “fighting for attention”, the ep acts as an excellent supplement to naibu’s original work, offering listeners even more of auditory pleasure.

2024 repress incoming! the ever-reliant deepchord kicks off 2014 in his usual stylish way with two deep uts in the luxury ep. after last years jaunt into the ambient with 20 electrostatic soundfields, rod model return to the world of slick beats and even dreamier synths and atmospheres.

dudley strangeways steps up to chord 002 along with label owner luke black.
chord’s old friend dudley strangeways fills side a with 2 solid tracks, typical strangeways textured bass and edgy minimal.
while on side b luke black stamps his signature minimalistic sound with 2 stabby, wonky and spacey cuts.

the label of the post-autonomous kindergarden from berlinÆs east cross awakes after a long beauty sleep. weÆre back behind the decks with a lineup that is carving out contemporary techno. finnish producer samuli kemppi, from helsinki, has accompanied us since the beginning of our club. musically, he stands for a minimalist, crystal-cut sound hailing from galaxies far, far away. fabrizio lapiana is a long-time friend of the house. his sounds are able to expand even the smallest dance floorsùhe sculpts spacious soundscapes and sends dancers on a deep dive into dark and melancholy travels. we are particularly excited about the presence of our resident akmÛ, who comes to us with energetic release after his first ep on connwax. he will be bringing his steadfast love of detail and sly playfulnessùelements present in all his dj-sets. with these three numbers, the ://about blank 002 has compiled the best of the mdf soundtrack. next stop after powernap: lobby and garden. rave on!

it was the 23rd century, mankindÆs darkest hour. the war had been raging for almost a hundred years. we had been fighting for so long, no one could even remember the reason why it all started in the first place. for decades millions died for the same piece of rock. again and again and again. the hope was to start over, free from the prejudices that had divided us for so long. that was 800 years ago. when we came here to rebuild our lives. weÆve come a long way since then, we have grown, we have prospered, we have flourished, but we will never forget.

yan cook has positioned himself as one of the key figures in modern day techno and without hesitation one of the faces of the planet rhythm imprint. this time around he returns to his warm home with the eight-track counting “drifted island”. even though it’s listed as an ep it’s almost a full length album in its own right. yan cook takes the listener on a voyage that covers all sides of his musical spectrum. sturdy technoid rhythms and otherworldly structures make drifted island a true work of versatility.

for over forty years, the apostles of aba have stood as the jewel in the crown of the music scene in eastern nigeria. since their formation in 1973, the band has turned out memorable performances in a variety of styles including rock, soul, funk, pop and reggae. even today, the apostles continue to thrill audiences in their hometown of aba with dazzling shows. cultures of soul is proud to present one of the apostlesã more obscure¨yet relentlessly funky recordings in a full-color custom reverse board jacket. banko woman, originally released on the eponymous lp on love day records in 1977. straddling the world realms of afro-funk and disco, the track has long been a coveted dance floor filler amongst djs, and for the first time is available for a wider audience. on the b-side is faith, luck & music, also from the original banko woman album.

naoki e-jima s disc shop zero record store in tokyo holds a special place in our hearts. since before idle hands was even established, when rooted records was king, the cosy, liberally stocked shop has served as a sympathetic outpost for bristol s rich culture of soundsystem music. over the years, naoki has championed all the best music to come from our fair city, from smith & mighty through to pinch and pev and on to the output from our own humble label. it s been a vital connection to help our music reach the right heads on the other side of the world, in turn providing a platform for our most treasured artists to gig and further the cause of the music we love. as a thank you for all the support naoki has shown bristol music over the years, idle hands has put together a special tribute 10inch of tracks that chime with his particular musical tastes, shining a light on some complementary gems that might have otherwise never seen the light of day. its also a chance to fill in the missing idle013 catalogue number – fortunately, the number 13 does not represent bad luck in japanese culture. on the a-side, the mighty (pun intended) rob smith takes to a track from outboxx s debut album, originally intended for a remix 12inch that never came to be. in his learned hands, lost soul becomes a shimmering stepper marked out by beautiful cascading arpeggios and of course plenty of fulsome bass, with arresting fragments of vocal drifting in and out of the mix for good measure. rob s status as a true legend of bristol music needs no explanation, but his presence here is furthermore because naoki is such a fan of his music. on the b-side, atki2 makes a welcome return to the label after bringing a classic ray of sunshine to idle hands on the second single we ever put out. as well as being a big release for us, it was apparently huge at disc shop zero, so it feels right to bring the effervescent hes royal to this 10inch release. with a sunny disposition at heart, these two tracks make sense sharing a 10inch, but it s even more fitting that they sit side by side as we doff our caps to a true hero of the global underground. thanks, naoki.

the first release from heartless on steve bicknells 6dimensions. acid tinged techno lives throughout the ep. hazy modular sequences, sizzling precision crushed atop of a constant kick drum creating an organic aesthetic. early support from steve bicknell, ben klock, jeff mills, robert hood, derrick may, francois kevorkian, function, luke slater, and more..

didier allyne embodies a certain kind of underground already in the mid 90 s : a record store clerk, distributor, artist and dj, he cross-cuttingly approched the scene even back then, when -french touch- was massive. embracing the new trends from a sideways perspective, he emerged with his own blend of broken beat, soul jazz and warp style electro, always keeping the groove in sight, basicaly what techno is all about, as deep and singular as it gets he began the parisian shop traffic records in 1998. this compilation will be in several volumes that have been flagship pieces of this shop influenced by fat cat records, wally s groove world in others ...this first techno volume highlights the influence that didier received at fat cat by the introspective piece stasis -so-lar- on time in right in 1993 & ritchie inkle, one of the designers of nu loop & whose piece - happy face -represents the techno sound represented by traffic records

it had been four years since juxtaposition, radians last record. chimeric is not a polished album. within the context it is raw, broken, even dark sometimes. steady, multiple rhythms, layered on top of each other disappear into chaos and turn back into discreet structures in the next moment. references of rock music, executed with the precision of a sequencer, mutated, restructured. a lot on this album is about control and the loss of control. the risk of failure. but chimeric is much more free. some of the longer pieces are composed of very different parts and different colours along a continuous timeline. they tend to evolve in a narrative form and are moving through various scenes and surroundings, which is also present in the spacial relationship between the instruments.

u-roy was a true reggae pioneer, dubbed the originator for good reason. bursting onto the jamaican scene in the early 1970s, he pioneered the vocal approach called “toasting,” which in addition to bringing jamaican music into a new era, was also heavily influential on an american vocal style also in its infancy: rapping. following up the record store day 2017 release of u-roy’s classic dread in a babylon, traffic entertainment group now brings us a very welcome reissue of the vocalist’s 1976 full-length (and fourth) album, natty rebel, which has been out of print for more than 30 years. produced by tony robinson (known for his work with big youth, lloyd parks, the gladiators and many more), the album’s 11 cuts range from bouncier and sometimes even disco-tinged grooves – “have mercy,” “go there natty” and the album lead-off, “babylon burning” – to the classic roots stepping that drew fans to the legendary jamaican vocalist over his long career – including “so jay jah say” and “natty kung fu.” at its core, this is a deep journey into the heart of rasta living, spoken by one of jamaica’s most underrated dub and roots legends, and it’s one of the strongest full-lengths in his expansive catalog. whether you are experiencing u-roy for the first time, or replacing your decades-old original lp, diving into this reissue of natty rebel is one hell of a way to spend an afternoon. or, if you’re not careful, a week or two.

we hope you are enjoying the summer and vacation is going hand in hand with some lovely festivals right now. even though nobody wants to think about summer coming to an end we are already looking forward to september at least because of one thing: our next record rose11 will be released mid-september. after his last release on rose five years ago our pal m.ono compiled the royal juice cuts no.01 with 4 tracks. we hope you like it!

across the street from where trouw used to be, lies a nice little hotel. it was in the basement of this hotel, where a curious meeting happened. something so coincidental and so unassumingly trivial, that even the slightest event of randomness could have prevented this from ever happening, yet it did happen and here we are. this curious meeting was the result of an open studio door of nachtbraker, and the hint of disco coming out the door, where dr. san proper just happened to pass by in search of whatever it is he searches for at 10 am on a tuesday.