house and breaks vol. 3

next adam beyer rave anthem

after the success of the 2 late 4 love ep, roy of the ravers returns to emotional response with a double lp with a deeper perspective, experimenting in ambient and drone textures, lucid techno travails and acid interludes.

kicking your bassbins - pzg & dubsknit aka we rob rave from poland dropping four tracks of upfronted happy hardcore that has been melanged with juke, trap and jungle mashup technics.

desolat label boss loco dice kicks off 2018 in fine style with a huge new single which sees the him reflecting on his musical roots and his connection to dusseldorf, detroit and beyond, whilst giving a taster for a brand new long player to come later in the year. dices recent past has seen the master of robust house and techno funk serve up killer remixes of mobys classic ‘go and release his underground sound suicide album, whilst continuing to headline the biggest clubs and festivals around the world. at the same time, he has directed his endless passion and musical sensibilities to bare upon his desolat label, with a stream of records released from some of the most exciting artists around and supported by djs across the globe. now though the stage is set for the first new loco dice original recording in some time and it is sure to see him once more at heart of the global scene. the bristling ‘roots is a typically forceful track that blurs the lines between house end techno. it has twitchy synths bringing the energy to hurried drums as smooth chords add real soul. the claps are coarse & edgy, whilst dices own dark vocals bring a brooding atmosphere and the whole thing is a synapse firing rave-up that cannot fail to detonate any dance floor. an instrumental is also included for even more visceral thrills. this timely new single is the lead track from dices latest album project, entitled love letters and to be released later in 2018.

following a big ep from richy ahmed, play it say it returns with a talented collaboration in the form of mark fanciulli and rob cockerton, with honey dijon on the remix. mark fanciulli has carved out his own sound that takes the best of house and techno, turning in his own infectious releases on the likes of joris voorn’s rejected, as well as the legendary planet e and intec. long time friend and collaborator rob cockerton joins fanciulli, who’s own credits lead to labels including suara and snatch!, and together the duo cook up a storm here. ‘slave to the rave’ is the fantastic opening cut and is a real party starter with an old school feel. acid stabs bring raw energy alongside chattery claps straight from chicago in the 80’s, whilst the whole production is bolstered by slick drum programming that won’t fail to work crowds into a frenzy. the excellent ’10 channels of bliss’ is equally massive, with robust kick drums down low and huge incendiary hi-hats up top. swaying claps and rolling bass all help lure you in and shape shifting synths bring all that important looseness and colour. next up, classic music company artist and new york tastemaker honey dijon steps up to remix ‘slave to the rave’. her version is dark and intense, with an unbridled sense of frantic raves bottled up in the train-track grooves and the cleverly filtered vocals, this is a powerful ep of high class, high impact dance music.

mihalis safras makes his debut on hot creations with his raygun rave ep. hard-hitting basslines and rolling melodies feature throughout the ep plus a ‘paradiso’ remix from mathias kaden. with an addictive and melodic bass, title track raygun rave is a dancefloor awakener with influence from a bygone era. one stop to babel is up next with bouncing bass and mesmeric synthesis, mathias kaden has reinvented the track on the flip, incorporating robotic synths and wavy vocals. finally, sagit has a muted bassline, with a springy melody throughout and a hard-hitting kick that makes an appearance halfway. since 2006, the material series co-founder has been steadily rising within the house scene. hailing from the city of athens, safras has had an impressive array of releases on numerous labels including cajual, relief and material. his play it loud remix for marco carola last year received a huge response catapulting him to new levels of stardom. producing since 2001, kaden has demonstrated his versatile style and individual approach throughout his career. alongside his djing capabilities, the german producer demonstrated his impeccable freestyle efficiency playing part-live sets throughout his album tour. often called upon for his remix abilities, he has featured alongside artists such as mathias tanzmann, anja schneider and trentemölle

from the very outset, the m.c.d.e. remix of shit robots >answering machine< picks up in a completely different realm from marcus lambkins original, which appears on his 2010 debut, from the cradle to the rave. the stuttgart-based producer has replaced janine >planningtorock< rostrons slowly rising vocal opener with outerspace emanations that fade as they drift into a constellation of wide house grooves and deep bass. rostrons own pizzo remix is up next, and in (a)typical fashion, she takes the song and shifts its mood by clearing away the dancier elements of its predecessor in favor of a foundation of strings in every form: plucked pizzicato notes, low cellos tones, and high pitched violins that flit through. last up is another rostron creation, the whisper remix, which actually outpaces lambkins version in bpm, but is lighter all the same. here, she uses synths almost as a wash of white noise – a whisper, if you will – and only drops heavier vocals here and there along the songs rustling path.

marcus lambkin, aka shit robot, is joined on this excellent debut full length by a list of notable contributors: james murphy co-wrote several tracks and mixed the album, while juan maclean, planningtorock, lcd soundsystems nancy whang, hot chips alexis taylor, house of houses saheer umar and ex-nation of ulysses and the make-ups ian svenonious all contribute vocals and co-writing to >from the cradles…< stellar arc of songs.

and again clusters comes with two rave infected techno tunes.. this two tracker is produced by icepack and rob tryptomene

tipp

a double vinyl collection of techno classics, compiled by dj mag.

90s nl hardcore on red vinyl incl dj isaac, dj rob, neophyte, charly lownoise & mental theo, forze dj team and more !

the ultimate halloween-themed novelty rock n roll soundtrack featuring vintage sides from the 1960s and audio of 3 horror movie trailers.

technobase.fm-best of vol.2

90s trance / trance classix on 2cd

limited collectors edition on yellow, blue and red 180 gram triple vinyl, housed in a gatefold sleeve.

2lp gatefold with sticker & special partial glossy print, 1 per customer

brumes sur le zoo ist die erste veröffentlichung des labels garde-robe records, das von der androgyne crew, dem gründer und künstlerischen leiter des clubs macadam in nantes, betrieben wird. diese ep mit 4 tracks versammelt die künstler von androgyne: combe, moksha, gti und youl. brumes sur le zoo- ist eine einladung zu psychedelischen raves, eine musikalische reise, die an die ganztägige party gloria anknüpft. Übersetzt mit www.deepl.com/translator (kostenlose version)

monster dance edm party sampler on vinyl !! happiest floorpower !

uk south coast hardware maniac chris moss acid turns his attention towards ’92 style hardcore oldskool breaks and rave. getting serious props from the likes of truss, anja schneider, colin dale, de sluwe vos, lauren flax, chrissy, photonz, boxia, justin robertson, volvox, alienata, skream, and loads more. vinyl is limited promo copy

20 jahre total - total schoen !!!

supported by om unit, rob smith/rsd, sully, tom ravenscroft, flight, foul play, mantra, double o, dead mans chest, fff

acid hologram is a record that travels between past, present and future. it is a real mix of different stiles, this makes it difficult to define as a genre. analogue incursions typical of acid and electro fuse with the melodic immediacy of trance, cohabit with cruel drum breaks and crazy idm interventions, creating a scenario composed of different styles and nuances, bizarre as well as emotional, enveloped by an idea of euphoria typical of the underground music of the early 90s, that allowed us to rediscover a personal sound, without compromise. produced between the end of 2013 and 2017, it was published as a limited edition and the first cassette release by weme records, the idea of the format justifies the need to publish such a high number of tracks, on an alternative medium that is able to reflect the identity of an equally unconventional sound. the tracklist titles reveal visual suggestions that recall the years of the rave scene of the early 90s and the cyberpunk imaginary in which the author grew up

a year after the heartbreaking loss of brother scott hardkiss, gavin and robbie hardkiss release 1991 which was described by magnetic magazine as a throwback to that heady time as well as a timely loop into the future. reunited in the bay area in 2010, gavin and robbie produced an album that stands tall in the often repetitive world of electronic dance music. named for the year the hardkiss collective was formed, 1991 references the sounds and sentiments of their early rave days while exploring new funk and pseudo pop directions.

chevel gives the prism-pushers at mumdance & logos’ different circles their first album release with always yours, a slanted new take on the ‘weightless’ paradigm, floating somewhere between headspaces associated with the styles of lee gamble, actress and logos. paradoxically the longest and yet most minimalistic release on different circles to date, always yours says its piece in succinct yet expansive terms, rendering precisely tooled rhythms and technoid motifs in acres of suspenseful emulated space in a way that connects the brutally efficient dynamic of late ‘90s tech-step with a raster noton-like appreciation of pointillist reduction.in that imagined space chevel moves like a soviet gymnast or prototype robot fluidly executing a demanding routine full of intricate, rigid steps. from the ambient airlock of one evening in july he pulls off the aerobic mid-air rolige of the call, which comes off like a syncopated sleeparchive workout, before twysting into the knotted quasi-step of bulletand stepping into hyperspace on arp 2600. another ambient interlude warming bath returns the lp to balmier states, before the jagged pulse of data recovery pulls back into the dance like a virulent alva noto piece, and dem drums pitch to the rave’s darker side, but ultimately the lushly self-explanatory underwater and always yours keep the lp hovering around the edge of ecstasy and the abyss with a grasp of heady, day-after feelings known to ravers the world over.•the first artist release on logos and mumdance’s different circles•floating in ‘weightless’ space between lee gamble, logos, actress and alva noto•vinyl master + cut by matt colton at alchemy.•cover photo by yusuke yamatani. design + layout by our place

after an almost instant sell out last time around, london label tone dropout return for vol. 5 of their series of 12-s. an acid washed ep drawing from the ranks of their ever growing family, each of the four tracks celebrates the timeless appeal of the silver boxed 303 after the rain by label regulars the he-men opens with the soothing patter of raindrops, a hypnotic acid line rising from the deluge to morph into a moody house ride drenched in its own outbursts of spectral sound. dawl is also back on home turf with asylum , following a repress of his sought after solo ep for pareidolia recordings. less about seeking refuge than losing your mind it motors along with steely intent, darkly funky bleeps, throbbing acid and industrial percussion embracing the twin legacies of sheffield and detroit. italian dj and producer robbenspierre launched tone dropout s digital offshoot with a full ep last year and makes his vinyl debut for the label with quarta vanitas . bubbling breakbeat house, a trancey euphoric lead and swirling ethereal vocals take you deep into the thick smoke and laser light of the 4am dance floor. in the wake of an appearance on tone dropout vol.4, corporeal face returns with another rave induced vision. trapped on one, the rushing warehouse breakbeats and bass of permo erupt into waves of acid, fractured vocals and serotonin-depleted synths adding a dark edge to the ecstasy.

central to the israeli club scene, deepa & biri have long been defying expectations even within a community they helped construct. serving as resident djs, activists and bookers for tel avivs legendary barzilay club, the pair helped build a transcendent club scene. hugely influential artists such as robert hood, derrick may, rødhad, ben klock and moritz von oswald passed through the club, enjoying legendary crowds and what they could surely sense was a genuine air of anarchy, rebellion and unadulterated rave pleasure. as the duo held down dozens of parties with dozens of djs, there was no ‘eureka moment for their emerging sound, just a steady stream of brilliant, inspiring electronic music, much of which left an indelible imprint on the pair. now based in berlin, for deepa & biri, things are much the same, even if the landscape and the city is different. always rooted in the fertile ground between machines and emotion, on their second full-length lp, ‘dominance, the duo demonstrate their unique grasp of the sensitive, unfolding relationship between man and machine. steadfast in their insistence never to remain in one lane in terms of their sound, ‘dominance flawlessly segues between forcefulness and weightlessness. from beginning to end, this is not a record afraid to show its teeth with an uncompromising, instantly recognisable techno palette that kicks the foundations of any sound system with menace, anger and determination, particularly on tracks such as the dense ‘voltage and pulsing throughout the more industrial flourishes of ‘ecole de nancy and ‘seeking solace.

seth troxler’s play it say it label opens up 2018 with another release from the highly regarded ataxia, who serve up their third ep for the imprint. the detroit duo impressed with their previous outings on the label, the supertouch ep back in july 2017 and the acid ep in 2016. since then they have also released on leftroom and nervous and continued their eight year residency at prominent detroit venue tv lounge. their fresh take on motor city techno often comes with flashes of acid and makes cyber punks ted krisko and eric ricker one of the most interesting pairs in the game. opening up the essential ep is ‘quicksand’, an immediately arresting and busy electro track with real machine soul. the bassline bubbles and boils underneath crisp percussion and emotive keys bring a sense of tenderness. it’s a macho cut with robust drums and is sure to win over any crowd. the fresh ‘hot snakes’ is a deep, menacing track with dark bass gurgling beneath the airy hi hats. frazzled synths are dystopian and brain frying, and together the whole thing takes you into hypnotic territory with an intense sense of urgency that is impossible to ignore. last of all is the freakiest of the lot. the brilliant ‘texas is the reason’ has circling bass that is warped and intriguing and will own any club, while the drums drive on and trippy keys are skewed and twisted up top. it’s a truly intense record for late in the night that is sure to become a big tune. this is an expressive and varied ep full of contemporary and innovative detroit house and techno sounds and marks another step in the ataxia story.

all the greatest hits of the alan parsons project in a superb symphonic rock show. recorded in parque pies descalzos, medellin, colombia, 2013. triple vinyl release, joused in a gatefold sleeve.

musics favourite robotic pair receive an uncompromising, post-rave rework from the london dj, signalling their already fearsome the brainwasher in weirder directions still. on the flip, legendary pianist and entertainer gonzales finds his tinkling/rapping combo never stop transformed into a very analogue, jackin club tool built around his tongue-in-cheek spoken verse.

a seriously jittery slab of hardcore raver material, this is perhaps fpl s most robust roast yet: filtered thru the heady history of classic 90’s hardcore techno and peak time trance euphorias, caffeine’s tracks showcase a viciously deft arrangement sensibility, utilizing a revolving door of precisely cut breaks, bubbly, effervescent pads and synth melodies, creamy sub-bass and loads of crispy vocal signifiers, imagine if the rza had listened to lots of orbital and early trance records and made this after liquid swords and you’re almost there.

new york s p. leone is back with the second release on his newly launched e-missions imprint featuring work them records founder spencer parker on remix duties. born and raised in brooklyn, where he discovered the legendary storm rave parties run by frankie bones and adam x, p. leone cut his teeth djing in the lower east side of manhattan before making techno himself. before long the producer dropped his first two releases on work them records, joining a roster spanning radio slave, spencer parker, young male, anetha and physical therapy. e-missions was then launched in early 2017, acting as a platform for co-founders p. leone and caiazzo with more exciting artists soon to be announced. discipline signals is dark and robust from start to finish, with functions of discipline 1 inaugurating the package with resonating kicks, trippy elements and industrial synths. functions of discipline 2 follows a similar aesthetic but heads into a deeper direction with its cavernous atmospherics and glitch inspired effects, making way for laced with its sinister drones and tantalising melodies. spencer parker then remixes laced , concluding matters with rugged drums, energetic hi-hats and a rumbling low-end.

hot on the heals of his ethereal, raw & scrunchy ep for the lobster theremin main label, stu robinson aka asok returns with a quick fire reply via lt sub-label mörk.
applying a similar template of contradictory elements, cobbled into a melded, half-melted mass of aquatic techno, proto-rave and depth-charged deep house, inner circle is the transformation complete. a step into the unknown without a shadow of doubt.

written & produced by roboknob. mixed by stefan goldmann. mastered by rashad becker. info: weve said it before: technos vanguard can be found in the east right now. sofias quirky techno underground is densifying. evolving around the diviat slon parties (residents: stefak & stefan goldmann), the beton nights, the indoors offspins of artmospheric festival and unannounced appearances of kink under his cyrillic guise, raw and rave-infused techno is increasingly defining the citys sound of the small hours. roboknob are part of this movement, and this is their debut ep. a live hardware duo, yasen and stanislav drop rugged, noisy machine jams around the bulgarian capital and have been regulars at artmospheric. the ep’s tracks have been distilled from their live repertoire and mixed by stefan goldmann into sharply defined form with added bite.dexydi is greek for acid - the corrosive liquid, not the music. accordingly, its heavy-handed single-note bass attack will cut through anything.spellbind is more bouncy with frantic upward movements, distorted percussive fallout and a seasick bass foundation. liulka handles two layers of time rubbing off of each other: quirky and pushing high in the sky, against the bass drum mechanics down low. a suitable acoustic symbol for sofias state of techno.

henrik schwarz first work for running back and concurrent solo piece since 2013 is a prime example of the mans uncanny production abilities. recent years saw schwarz more and more gravitating towards the intersections between electronic music and jazz, classical compositions or african sounds than serving the weekly bread and butter at clublands busy buffet car. now, not also you is a return to exactly that honourable craft and service. built around an imagined and imaginary curtain lecture from a saint to a sinner and housed in one of henriks most techno looking robes as of yet, its a no-brainer or shall we dare say a reaper of a track without frills but with a fata morgana like rave signal. oh, there is a dub for snobs (not you also), too. peak time, high time, any time. nice sleeve on top.

the echt walle traxx sound like driving a rented car in the shadow of the tv-tower through bremen-walle, bringing back the empty crates of beer from last night’s outdoor rave, craving for champagne breakfast while being lovesick and exhausted, and it’s raining outside (slightly).

the third release in this series opens up with fanon flowers remix of be good to me on the a-side, and has everything we love about fanons signature sound, an industrial rave-stomper that provides a heavy 909 beat topped with mercilessly propelling chicago-style claps. the b-side kicks off with henning baers remix of visco space saves the world a super trippy and minimal interpretation of the much more heavy original, which was a raw and gloomy industrial monster with a bold noize overload. its progression changes build up neatly but peak in an epic spiral break down that shatters the soul. b2 is a remastered version of herz aus stahl by the mastermind christian morgenstern himself, presenting an upfront, sinister electrofunk monster that attacks with waves of synth menace straight from its metallic robocop-heart.

jami bassols has been a close member of hivern since its beginnings as one half of aster. now, following the release of noche/ templo, his two acclaimed edits for nvh, he returns to the label with his solo debut as jmii. in thrills, the barcelonian producer displays a sound that s equally raw and lively, with a very personal sense of quirkiness. the title track is jmii s most expansive production to date. an uplifting house number built around an elastic bassline and sprinkled with a bubbly arpeggiated melody, echoed vocal snips and ravey pads. bailar is a sort of lunatic take on chi-house, with a crude bassline, psychotic organ chords and feverish percussion coming together to form an ultra-infectious groove. tightbrass follows a similar path, but conducted by frenzied synthetic horns that bring to mind a marching band of manic robots. in his remix, comeme s christian s. brings the track to a darker territory, reducing it to it s core elements and focusing in a nasty bassline that will for sure cause serious damage in the dancefloors in the upcoming months.

selected advent deal - gerry read with a complete leftfield take on house music. mental jacktrax! mental jacktrax by gerry read. easy to resist these non-formulaic jack tracks in the days of conformist dance music cause its not the tunes that will make your crew do the fist pump thing during the weekly big headliner rave... but we like!! mr read is funky as fuck and reminds us a bit of dutch techno punks unit moebius (which is always a good thing!)

throwing rave parties since 2011, the bp collective has been founded with the objective of bringing a new breath to the french underground techno scene. in the bp tag und nacht” parties the visual universe tends to merge with the sound. each of the two stages has something different to tell: tag for the open air, nacht for the dark and smoky room. this project is based on the belief that the story told by sound depends on the visual atmosphere in which it is played. indeed this very first ep is built between those two atmospheres, the 4 tracks of the ep could be played in any of the two scenes tag or nacht with a totally different impact on the audience. on the tag stage, both of the tracks are colorful, atmospheric and dynamic whereas on the nacht stage, they become dark, trippy and powerful. this record is the first release of the two artists x1000 on the a side and vidock on the b side. both of them are part of the bp collective since the beginning, they draw their influences from the 90s detroit and belgium techno and trance scene. its difficult not to think about artists like the martian, model 500, robert leiner or the whole r&s label while listening to these 4 tracks.

‘psych , the long-awaited freaks album released in 2014 gets a re-release in 2015 with some brand new remixes. freaks, a musical partnership between luke solomon and justin harris that s spanned twenty years and includes the music for freaks label, four albums, and an avalanche of singles on the likes of playhouse and hot creations to crosstown rebels, news and international deejay gigolos. the album was released to rave reviews and featured a much awaited gathering of material from the late 00s onwards, including collaborations with robert owens, stella attar and diz washington. this 12- includes interpretations from dave aju, jamie 3:26 and freaks. for over a decade, san francisco innovator and a vital part of circus company, dave aju has been producing and performing his unique brand of electronic dance music, a consistently fresh and expressive sound. his remix of situations makes no exception, a strong piece of jacking house music with bubbling sub bass, strong raw percussive beats, and an effective use of diz vocals and the flute sound. on the b side misfits is reworked by chicago s master jamie 3:26 who turns the tune into an acid house monster and by freaks themselves who extend their original version for dance floor action. a strong package…and more to come !

mit dem neuen album we got a love meldet sich die musikalische dfa maschine shit robot eindrucksvoll zurźck. hinter dem roboter mit den elektrisierenden beats und melodien verbirgt sich der ire marcus lambkin, der die neun songs auf we got a love in deutschland bzw. in new york aufgenommen hat. schon wie beim vorgaengeralbum from the cradle to the rave aus dem jahr 2010 versammelt lambkin auf dem neuen werk zahlreiche gastsŠngerinnen und gastmusikerinnen um sich, darunter dfas nancy whang, museum of love und luke jenner sowie hip-house-hero lidell townsell und die australische saengerin holly backler.

vinyl only! second round in the little hill, for this ride, rave in the hill ep, we have more techno raw material, another two original tracks from label head lorentz, with techno-stomped works. here little hill team-up roberto bosco (wave music) wich propose a remix full of atmposphere and again owl(bpmfamily) strike us with his strong interpretation!

robert dietz returns to running back with old fashioned frankfurt sounds techno soul leanings, rhein-neckar ambient, bold melody moves and todd terry rave house reminiscences. 4 tracks 4 hits 4 you 4 ever.

the latest offering from san franciscos icee hot label finds the young imprint officially welcoming another artist to its gradually expanding roster. that said, contakt isnt exactly a stranger. the michigan-reared, new york-based producer is one of the founders and resident djs at brooklyns turrbotax® party, which has long been a sort of sister party to icee hot. contakt has previously released music for respected outposts like local action, grizzly, and dutty artz, but nobody else and tessera 04 find him taking an important step forward as an artist, delivering tunes that are richer and more really realized than anything from his past. particularly on nobody else, contakts flair for big-room melody remains intact, but he takes notes from classic kms, filling out the songs cresting synths with a full-bodied bassline, a hooky vocal sample and a sturdy rhythmic underpinning. tessera 04 goes deeper, channeling maurizio while delving headlong into a dense cloud of synths and maintaining a steady sense of forward momentum. on the flipside, icee hot resident ghosts on tape continues his recent hot streak, infusing nobody else with punchy drumwork and a potent rave sensibility. detroit legend robert hood then rounds out the release, transforming tessera 04 into a pulsing and purring slice of heady analog techno.

vinyl kills mp3 is a vinyl only label, featuring releases from emerging talents. >another world speaks to us< is the first ep from parisian young gun birth of frequency, featuring an exclusive remix from his mentor zadig. watch out for this one, this well overlooked 12 inch contains some amazing music from the finest techno genre comparable to the works of robert hood, convextion, or jeff mills. while another world speaks to us main mix is an intimate deep chord driven track, the hard mix is a lot more percussive and dance-floor oriented. zadig remix on b-side is a pure mental techno banger

shit robot returns with his first new material since the release of his debut long-player, >from the cradle to the rave<. after spending much of 2010 and 2011 touring the globe with his live show – including a string of dates opening/performing with lcd soundsystem during their final shows in nyc - the rebooted robot is back with >the green machine<. the first result of his stuttgart/new york studio adventures is a double-header of dancefloor jams, >teenage bass b/w >space race<, which is released on vinyl and digital on dfa on may 21 2012. its the first in a series of releases called >the green machine<, which will culminate in an album early next year. lead cut >teenage bass< rides a rude ebm bassline and rave alert sirens, before expanding further with key changing chords and a defining arpeggiator. the hypnotic >space race< is a distant relative of 2007s chasm – a meandering, melodic, star-gazing robo-techno workout