”topics” is a new album by ljudverket co-founder tuomo väänänen. it explores the styles of dub and dub techno on six tracks, which range from droning soundscapes to more rhythmic affairs which could even work on a dance floor. true to label’s ethos, the production is understated and pays attention to fine details.

dubbed-out dynamics and unrelenting electronics from autumn.

and again robag wruhme delivers a stunning four tracker with his unique style !!! finest minimal masterpieces with a good intuition to set nice little details on th right position..

carrer bonaire ep ist ein mosaik von klängen, die ein unendliches spektrum von emotionen durchqueren und von interpret masterminds, upercent und santiago garcia handgewebt wurden, mit akribischen details und quintessenz bis zum ende der ep.

an excellent collection of works from bossa nova innovator joao gilberto on double vinyl. includes a booklet with details from the recording sessions.

a limited edition, and last ever, repress - it is no secret that rvs is not truly a record label, but is in fact a downy creature of the forests! in keeping with this faunal existence, our whiskered beast has recently returned to the foot of a familiar shrubbery whence it emerged and has begun burrowing fiercely at its roots. in doing so, it has unearthed a vast and dusty tome of innumerable chapters, named the reverb chronicles, that details over 20 years of foraging habits. hence, we present the first four-part volume of the said opus for your perusal and distraction.

electronic minimal synth punk and proto industrial lp. more details can be found in the detailed description below.

freaky and deeo mininal two tracker / details unknown

a lot of cabannes and the micro house stories go into this fusiform ep. the production, details and groove makes these two micro house tracks exciting and mind persitant. outstanding and funky, going on and on, just right, this two tracks booster is timeless!

the entire tape was made using a cursed roland sp404 sx, filled with broken beats, warped vocal samples and playful synths and glitches. the sounds range between meditative ambient, lo-fi beats to study to and jungle. the composition is relaxing and zen, but in the meantime will give you enough quirky details to hold on to.

placebo are still brimming with new ideas. recorded over three months by producer dave bottrill (chosen by the band largely because of his work with tool) in his toronto studio and mixed in london by my bloody valentine, smashing pumpkins and nine inch nails supremo alan moulder, placebos sixth album is a startling, alive, vital and boundary vaulting record that marks a whole new era for a band that were in need of a change.

“live in houston” is a new step in the search for a timeless sound stamped secret value orchestra, which draws as much from the memories of the youthful musical loves of its members as from the group s desire to offer a contemporary synthesis where the boundaries between genres are blurred more than ever. in the end, there remains only the extreme pleasure of digging into compositions where the impact of immediacy does not take away anything from the finesse of the composition and the details that staple each piece in the brain, for days and nights, without ever really disappearing.

its tempting to think that the opening of schloss02, which features the sound of track racing behind a cavernous broken kick, has some connection with the fact that dj/producer karima f runs schloss out of a disused porsche repair shop with contemporary artist ida ekblad. but then you might start to wonder about other details, like whether her production is influenced by a teenage effort to fit in with the cool kids by playing the violin (it isnt). the three songs on the debut 12- of oslo mainstay karima f take off in their own direction, tripping through bleeps and metallic riffs on the way to something more ethereal.

005 is the second release on valby rotary for label co-head tom vr. “angel” is a euphoric and elegant club jam with intricate details dazzling throughout. the b side “getting the best of me” is a shuffling garage track built around an improvised arp synth line, with nostalgic chords for a tearful send off into the depths of winter.

three years incubation, visionquest compadre antonio thagma returns to follow up his evergreen ‘leather soul’ ep. taking off where his molten constructions left us in 2015, it’s another kinetic experience where the groove is full, and only, focus… and the one and only ricardo villalobos is on hand for a genuinely beautiful remix. ‘sferikum’ instantly locks you in: upbeat with a subtle strut and a maze of psychedelic textures, this one is all about the rolling subs that underpin every element, bringing everything together with fluid motion. it’s backed by the broken electroid charm of ‘everything i wanted’. spacious, pensive and laced with an array of dizzying details from sly acid sinews to crafty drum variations by way of a sudden heart-stopping breakdown. truly, this lives up to its name. complementing these two exceptional originals, and celebrating antonio’s return to visionquest at the highest level possible, villalobos has been recruited for remix duties. a key staple of his sets this summer, it’s a singular 13 minute trip rich in subversion, twists, glitches and surprises. but, as always, the groove is the full, and only, focus. welcome back antonio…

coming next from adult only: the repress of one of the most sought-after 12s from the label back catalogue. ao19: “formula express – main course” was originally released in 2002 and featured guillaume la tortue, jef k and chris carrier.
this is actually some of the last records ever produced by the mysterious guillaume la tortue, one of the pioneer of electronic music in france, who’s quoted by laurent garnier in his infamous “electrochoc” book as one of his main influence back in the days.

the record opens on the “main course”: a classic tech-house number with a beautiful 909 beat and a tasteful use of various samples and fx all through the track. the funky vocals still sound fresh today but the secret here (as often with chris carrier’s related work) is the groove – the kind of groove that reminds you summer days in the park while the strong bass-line announces already the next track.
on the flip, “starter” stands out as the perfect dancefloor killer with an infernal groove and a real fat analog bass-line that will keep you moving whether you want it or not. add just a few crispy tribal percussions on a classic raw 909 beat and you got the simplest and dubbiest song of the record but also the most efficient dancefloorwise.
the last cut, “apple pie”, might be the deepest of them all. spacy melodies and trippy vocals in the background make you first feel like you’re chillin on some extraterrestrial beach far away from earth. it starts as a nice breakbeat building the atmosphere before slowly evolving into a more 4-4esque tech-house with the bass coming in only after a couple of minutes. even if the sound was resolutely analogic, the whole ep is extremely well produced with a special care for details. at many levels this three-track ep is a landmark in the label history.
time for repress.

am 21. september erscheint das neue, vierte villagers album the art of pretending to swim. nach der zurückgenommenen, intimen atmosphäre des vorgängers darling arythmetic (2015), auf dem sich die zeitlosen singles courage und everything i am is yours befanden, verfolgt das neue album ein vielschichtigeres, facettenreicheres konzept, wie man es schon von conor o’briens debütalbum becoming a jackal (2010) und dessen nachfolger {awayland} (2013) kennt. eine gute prise soul, ein intelligenter rhythmus und ein umwerfendes spektrum akustischer details, analog wie digital, erzeugen eine hoch emotionale stimmung mit überaus eingängigen melodien. fein austariert, mit raffinierten perspektiven und songtexten, die die existentiellen Ängste und hoffnungen in einem eher hoffnungslosen, dystopischen, von technik bestimmten zeitalter umarmen, ist the art of pretending to swim das bislang wohl am opulentesten ausgestattete und beschwingteste album von villagers. das album wurde von conor o’ brien in seinem studio in dublin geschrieben, produziert, gemischt und zu großen teilen auch eingespielt.
die schwarze heavyweight lp erscheint inklusive vierseitigem booklet und mp3-downloadkarte im klappcover.

am 21. september erscheint das neue, vierte villagers album the art of pretending to swim. nach der zurückgenommenen, intimen atmosphäre des vorgängers darling arythmetic (2015), auf dem sich die zeitlosen singles courage und everything i am is yours befanden, verfolgt das neue album ein vielschichtigeres, facettenreicheres konzept, wie man es schon von conor o’briens debütalbum becoming a jackal (2010) und dessen nachfolger {awayland} (2013) kennt. eine gute prise soul, ein intelligenter rhythmus und ein umwerfendes spektrum akustischer details, analog wie digital, erzeugen eine hoch emotionale stimmung mit überaus eingängigen melodien. fein austariert, mit raffinierten perspektiven und songtexten, die die existentiellen Ängste und hoffnungen in einem eher hoffnungslosen, dystopischen, von technik bestimmten zeitalter umarmen, ist the art of pretending to swim das bislang wohl am opulentesten ausgestattete und beschwingteste album von villagers. das album wurde von conor o’ brien in seinem studio in dublin geschrieben, produziert, gemischt und zu großen teilen auch eingespielt.
die limitierte deluxe-edition erscheint als schwarze heavyweight lp plus roter 10 inch inklusive vierseitigem booklet und mp3-downloadkarte im klappcover.

mihigh & lizz teamed up, creating a clearly defined narrative on the launch of the 12-inches melodrom label, where the close, sometimes ambiguous details are incredible. the ep is loaded with the style of both producers: it combines mihigh’s minimalist sound with a strong attention to stylistic details and lizz’s trademark groove.

berlin based electronic mainstay marquis hawkes has announced details of his second lp the marquis of hawkes. the album will be the producers second lp for us, following his critically acclaimed debut social housing for the label, which was released in 2016. entitled the marquis of hawkes, the new album adheres to a specific sound palette whilst still displaying eclecticism across its eight tracks. opening with the beat-less droning ambience of beton theme, the album takes in a variety of themes from across the house music spectrum, from the deep and dubby meditation of instrument of thought to the body jerking rhythms and retro bass stabs of tough love, the introspective mood of the matrix, to the soulful new jersey styled house grooves with a contemporary twist of sunset building through the optimistic joyousness of ‘hope in our hearts before closing with lidells heartfelt and passionate emotional overload on we should be free. first emerging in 2012, after being sought out by glasgow label dixon avenue basement jams, and having previously been heavily involved with the free festival sound-system culture, the london born artists iconic sound has taken shape with the influence of music from cities like chicago, detroit and new york alongside the uks underground house scene. with both depth and clarity of vision, marquis hawkes second album for houndstooth expertly hones a shining hybrid of classic slamming house and grittily soulful optimism, making for a career-defining piece of work.

i am really proud to present this 3-tracker by victor ruiz on noir music. i think he is one of the best and most flawless techno producers right now and together we have carefully picked three tracks which perfectly showcases his production skills. i often write how i’ve worked with the artists on my labels to make their tracks reach their best potential. with victor i feel everything has been served to me on a silver platter as his productions are already perfectly crafted. although victor changed details right up until last minute, some of thesetracks also dates back 2 years, so he has had plenty of time to make everything sit and sound right. after a nine month break from releasing originals i feel truely honored that victor has chosen noir music as the label for this venture. both victor and i feel these three tracks compliment each other and at the same time showcase his skills to make great, diverse music. check the entire release. the music will speak for itself.

it is a pleasure to work with david granha and to present his 2nd release on noir music. not only is he a super talented producer but he is also open to taking his tracks a step further and in the process evolve as an artist and producer. i have been playing these 3 tracks a lot in my sets around the globe and almost each week discussed change of details with david. it makes me proud to have this “savala” release on noir music cause you can hear from the title track “savala” is an extension of his previous release on the label and with “balea” and “mortal sins” he moves his sound-design to new ventures and a more minimal, raw approach to the final outcome. exactly what i wanted from david. exactly what i hoped for and well…… even better. these 3 tracks just sounds amazing and they have been crafted perfectly step by step over a long period of time. a lot of passion, energy and love have been put into this release. on top of that the titles of the tracks also have sentimental value to david, so there is also a deeper meaning with this release. give them a spin and experience how powerful these tunes are.

this is the debut release on noir music from brazilian k.a.l.i.l. we have been working quite some time to perfect this first release from him on the label and give it the edge needed to stand out. after tons of road-testing and going back and forth with production ideas i am now happy to have 2 perfect tracks ready from k.a.l.i.l. that really showcase his super solid techno sound and production flair. “involved” (co-produced with any mello) is a quite simple trip with any’s spoken word in center of industrial elements wobling it and out. this track works really well in the clubs because of its on point minimalism, the high intensity stacatto synths and the catchy vocal line from any. it’s not easy to do big tracks without big basslines – but that’s what k.a.l.i.l. and any mello truely achieved with this one. “revolved” is a track i signed already last year and since then k.a.l.i.l. has been perfecting everything about the track from small details to bigger arrangement improvements. this track has that big bassline that sits right in your face. it also has the right build for those peaktime moments in the clubs. i have been playing “revolved” a lot over the past months and people go crazy for those big bass drops. we are honored to have another great producer join the noir music family and proud to have another belter of a release ready for you.

berlin based electronic mainstay marquis hawkes has announced details of his second lp ‘the marquis of hawkes’, due out 24th august 2018 on fabric’s in-house label houndstooth (home to call super, aïsha devi, special request and more). ahead of this, hawkes will also release a new single featuring acclaimed uk soul singer jamie lidell. the single, entitled ‘we should be free’, features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by hawkes himself. both this, and the essential previous single, “don’t u”, which featured the vocal talents of ursula rucker, will appear on the forthcoming album.

an ardent heart is a focused techno mini album that brings forward stefan goldmann’s most dancefloor-centered material in a decade. the tracks push and pull relentlessly. despite their linear appeal, there is an intricately balanced interplay between the heavy-handed kicks, the bouncy bass accents and the sizzling, yet clear-cut details whipped up by the rallying drums. the peculiar, seemingly “vocalised” mode of synthesis is maybe the most unifying sonic characteristic of the six tracks and one coda. formant shaping, vowel filters and airstream perturbations let a wide range of sounding elements speak in the tongues of a cybernetic babylon. layered polymetric patterns perforate the aural plane with alien scripts. clearly structured, yet opaque messages that seem to have traveled for aeons emanate from the red-hot circuitry. they spill into a network of delays, channeled down into labyrinthine corridors, enveloped in electrostatic noise. most tracks build on chance patterns evoked with hardware sequencers and freeform modulation sources. the resulting synthetic systems are as cohesive as they exhibit vast internal variation and range. thus balancing simplicity and complexity right in the middle, the results are just as immediately gripping as they can feed sustained attention. a wide palette of distortion and overtones mark the contours of individual elements that seem to have near-physical qualities – as if there were metallic strings, thick membranes, a resonating sphere, all struck by electric mallets, caused to vibrate by mechanical bows and sung by silicone lips.

“performance”, drenches industrial-infused techno in high definition details, divining a cracked bump & flex from the condensation of a joyride. with a handful of tapes on posh isolation, as well as an album on luke younger’s alter, kristian emdal and simon formann have developed a project whose momentum and reputation has steadily escalated, finding common ground between electro-acoustic methods and quantised club nights.

#3 in the periklas series comes from nicolas wiese, a berlin based electronic and audio-visual artist. “unrelated” is available as handnumbered lim.ed. clear vinyl lp in silk-screened sleeve and download. rich in details, “unrelated” is a vital proof of wiese’s artistic skills and a highly entertaining concern, melting electro-acoustic, musique concrète and sampledelia!

hello to johannesburg. thor rixon is a versatile musician from south africa who seamlessly blends different styles, genres, collaborations and tempos to a unique fingerprint of his work. always driving and uplifitng with bold atmospheres and little details, each track a story stuck in your head. either eerie or euphoric, always like the shadow of a memory, indistinguishable from the rest. baie dankie, thor

leather, steel & fist
“it is the celebration of a state of mind, a sexual taste, an open vision, a certain freedom, a specific place.”
the project is composed by three releases in details: first release leather, second steel and third fist. a different artist for each release.
the second artist is stephno from italy!

botanic presents camo: a four-part new release from kuala lumpur-based adam kasturi. among adam’s most melodic and thematic work to date, the release comes to you as an introspective 12-minute voyage through tense urban landscapes, punctuated by relieving arpeggios, meticulous percussive details and inescapably laced with the enigmatic producer’s signature industrial undertones.

what should have been a quick process has taken a bit longer than we hoped, but thats the way of handcrafted products, be they ginger beer or sourdough bread, and like the bread, the vinyl is currently cooling down to ensure an undisturbed, top quality product. np004 contains two tracks, cunningly devised in yorkshire, reflecting the area s no nonsense attitude and warmth. the final touches of mastering, have been added once again by the highly trained ears of moog expert dr spaventi. this continues to give us a very important international dimension to what is still a local artisanal product. specially formulated to make you dance and give you something a little extra, we ve switched to stealth black paper sleeves for this release, and where cutting engineer failed with inscriptions, as can be their wont, we ve lovingly re-designed the label to incorporate details of the free gift we re providing

conforce is back on his home label with four more of his richly detailed and hugely atmospheric techno tracks. its his first release on delsin since latest album autonomous back in 2017 and finds him in typical underwater techno territory. celestion kicks things off with smeared pads and rubbery, dubby drums instantly setting a hypnotic groove. the serene ambience makes it feel like youre deep down in the ocean and various deft sonic details drift by the keep things on the move. vessel is another fathom deep track with supple drums undulating on the sea bed as beams of synth light things up from above. theres melancholy in the pads that brings a rueful vibe, while zephyr is more troubled and turbulent thanks to the wet, gurgling synths and darker bass sounds. aerial rounds things out with heavyweight, rumbling kicks and ominous energy that keeps you on edge, despite the presence of beautifully celestial keys. as ever , it all makes for an absorbing trip.

we are glad to intruduce you this new joint venture, crvel are p.e.a.r.l. and tensal colliding in the studio with the aim to create cyclical weapons for the most osbscure dancefloors. raw synth lines, crispy high frequencies, continuous sequences and plenty of details and subtle twists that keep the flow going. four exercises of futuristic techno with no turnabouts, straight to the point with a timeless attitude.

dysnomia reminiscent of the infamous quote there are four lights, the release kicks off with an homage to the will of resistance. from captain picard to orwell may the (referential) chain of command is not as evident as h4ls sci-fi passion, the title tracks power structure couldnt be wielded more efficiently: while stomping kick drums and subtle hi-hats build up a foreplay full of suspense, the witty melody with its warped and distorted sounds grants four lights the perfect authority. following a similar approach, fesch with its bouncy and mantra-like groove, in which synths playing a ping-pong game, completes the swinging a-side. deepa & biri, the israeli dj and producer duo from tel aviv, start the flip side with their interpretation of four lights. by using breaks and greater attention for details, the remix not only redirects the originals energy into more hypnotic realms, deepa & biri extract the melodys keys in order to create a moody and dense version. resonating from two decades of warehouse reverberation experience, disc 2 dysnomia finishes the release with an idm-drenched workout, full of uk bass knowledge, unpolished electro grooves, and swirling synth poetry. absolute freedom means absolute lawlessness.

having established itself with innovative releases from the likes of lucy, blawan and roots in heaven, the experimental zehnin label now looks to paleman for four more fierce tracks. now often releasing on his own plmn label, this classically and jazz trained artist has previously won plenty of fans and plaudits for heavyweight rollers on labels like swamp 81, 81 and school records. emerging from the ashes of dubstep to come up with his own deep techno sound, he is a rinse fm regular with his experimental show ‘trenches and mirrors this exploration with tracks full of texture, modular synthesis and visceral percussion. opener ‘2068 is a dark and foreboding bit of economical techno. monolithic kicks set a forceful groove below as they rock back and forth, and factory floor sounds, scurrying little sonic details and rattling hits all peel off the groove as it powers on

max loderbauer, who has so far made consistently engaging contributions to the arjunamusic family, is back to lend his unique interpretive skills to the master recordings for the brightbird album by joão paulo esteves da silva, mário franco and samuel rohrer. loderbauer has set himself up for a challenge, since the original album’s completely improvised flow of small-ensemble, conversational jazz feels complete enough without outside intervention. however, loderbauer’s role as electronics operator in the similarly attuned ambiq trio has already shown that, through his mastery of tone color, he has a talent for teasing out the additional hidden details within an apparently ‘complete’ sonic environment. it’s a task he manages to accomplish without ever overriding or contradicting the cohesive message provided by his collaborators.

dark entries is proud to release ‘commerce’, the third ep from san francisco-based trio inhalt, german for “content”. the group was founded in 2009, and for the purposes of this recording are matia simovich, philip winiger and steven campodonico. inhalt’s core operative strategy is of sonic fidelity and integrity rather than nostalgia. their first release was a split 12- on world unknown in 2011 followed by two eps on dark entries, a remix ep on emotional especial and a part time punks session on cleopatra. ‘commerce’ is a close examination of the self destructive tendency of the ego in relation to the allure of negativity and mass tragedy. the ep details the psychopathy of relentless thirst mandated by neo-liberalism and traverses through the adoption of social and economic technologies that strengthen domination vis a vis self enslavement to disempowerment. employing the best of both modern and vintage techniques, the four songs on the ep utilize dense production, big snares, and powerful german vocals from philip. inhalt are informed by the brooding soundtracks of john carpenter as much as the vastness and sheen of trevor horn, and set out to explore the borders between the vocal-driven pop song and the expansive dancefloor 12&#8243,,,, arrangement. the record was produced over four years at the bands own black sun loft recording studio and different fur studios. paul lavigne mastered the ep in london, england at kontrast mastering and george horn handled the vinyl eq curve at fantasy studios, berkeley. each ep is housed in a specially designed jacket by leo merz and includes a lyric sheet with english translations.

it was vladimir ivkovic who introduced me to the world of rex ilusivii. a world where the spirit of a genius holds sway. i remember spending an entire night at vladimir s house in germany, listening to all those recovered pieces, and feeling like i had entered another space-time. mitar tragically left us, one november night in 1999 in brazil, leaving behind an extensive body of work consisting of more than 500 pieces, for the most part never released. being submerged in such a unique universe, so singular, brought me happiness. it also filled me with hope, because i tell myself that today there must be many other outstanding musicians who produce in the shadow of the traditional circuit, just for the pleasure of making music. listening to the music of mitar suboti&#263,, makes you part of his world. he did not stop producing from 1983 to 1999, in different styles, but with an instantly recognizable touch.his music also marries the evolution of recording techniques with new instruments that have appeared over this time, from the tr808 to the digital samplers. it took me more than two years to select the music for this record, as each time i listened to the material it revealed other details and other possibilities. i am extremely happy and honored to present this record to you, in which i try to do justice to the different, versatile- facets of suba.

label newbie benjamin taylor teams up at the resopal label for three long session tunes. front side is a 8-minute heavy bass bomb filled with taylor’s understanding of subtle things and freaky details. flip-side comes with well-arranged drums, synths and shaking percussions for moving your butts on the floor.

exhumed tapes i is the first in a multi-artist series of cassette releases on the modern cathedrals label. with label art featuring small details of “important graves,” the series will dig into eery, broken beat techno with gritty textures. the first cassette begins in a natural place: with altstadt echo crafting four works presented with an image depicting the grave-side rubble of his often-referenced inspiration albert camus. it will be limited to 50 hand-numbered physical copies. copyright: modern cathedrals 2018 mastered by tim xavier @ manmade mastering, berlin

eshu, the production collective and record label from nijmegen are back with their next offering. their 12th release is a various artists release that features blm, joburg and steven siwalette alongside label members ivano tetelepta and jocelyn abell. it comes on the heels of teteleptas absorbing dub techno album, senang, and is another high class offering. nijmegen based siwalette is first, previously contributed to the label as part of sys. his stragglers is a sparse but atmospheric track with industrial drones and slowly turning drums taking you through a desolate factory late at night. his second offering is alien encounter which is just as it sounds - a spooky, unsettling bit of cinematic sound design with menacing bass and icy pads all growing in loudness until they eventually consume your mind. lastly on the a-side, uk producer and fear of flying label boss blm lays down a skeletal groove thats embellished with beautiful, yawning synths. scattered little details and fx making this a cavernous piece that encourages your mind to wander and get lost. on the flip, jocelyn abell and ivano tetelepta cook up a heavyweight, mid tempo bit of dub techno with sharp hits and rolling kicks lulling you into a trance. last of all, the emerging j?burg picks up the pace with a perfectly chiselled bit of rock solid dub with looping drums and icy hi hats sinking you deep into its midst. this is an excellent ep that packs in a range of fascinating sounds for both the home and the club.

after releasing a successful archives vol.1 in 2017, italian dj and producer luca vollaro, aka electrorites, is back again with the fresh follow-up archives vol. 2 via his own label structure records. the ep is a hurricane of industrial stained energy, demonstrating a rather free and open musical inspiration and direction. the thick, dense grinding groove define the four tracks. it starts with archive 004 which features powerful repetitive sub-kicks and ends with extremely strong bangs just as if the track is exploding. distorted and mixed mechanised sounds style ctrls remix resulting a very dark adrenaline charged techno track. in archive 005, the sequences and bass loops are stunning and the last-minute banging drum shots will leave you wanting and dreaming for more. to finalize the ep, endlec remixes archive 005 where the listener fully absorbs all the harsh petite details

“den heliga Ån” (the sacred river) is the debut album of ambient wizard and techno connoisseur aos. the album is themed around the river helge Å that runs through the town of Åhus in the southern parts of sweden. the town in which aos grew up. the music reflects both a deep love of the river and the nature that surrounds it and has a melancholic feel of a time passed by.
on the course of this album aos invites us to take the journey on the river with him: from the sweeping electronic gestures of timelessness in tiden upphör vid mölleholmen, via the melodic pings that can be heard throughout graften, and the ritualistic electronics at play in jag eldar vass vid kavrö until the blissful mellowness of vår i biflödena – where spring has arrived, and both the river and the music are filled with a calm melancholy, yet joyful in its celebration of a winter that is ending.
this debut album collects six tracks of soft techno, ambient atmospheres and field recordings with a close attention to details, harmonics and electronics.

the lines you are about read are a laconic introduction to the music of an elusive new musician on antinote. biographical details about him would probably not help comprehend his music and might even seem slightly contradictory with the music itself, as reigi haipa has been produced in reims at least, it would have been much more accommodating if the capital of champagne was located somewhere in-between sheffield and london.

very limited repress. long awaited amazing longplayer by jay bliss! after a few years of releasing quite a bunch of eps on various labels, jay bliss has pulled down the throttle for a while. this doesnt mean that he took time off from the studio, on the contrary, he perfected his signature sounds. spending time to bake his own imprints aswell, its only natural that his first lp will see the light of day on stomping grounds. lush and organic pads, playful textures and attention to details are the building blocks of this introspective work, divided into 6 pieces. in perfect tune with the acoustic aesthetics, max binski creates a clean, yet beatiful peace of artwork. vinyl only.

ltd 100 copies - taking it back to the old school and manufactured in the space of 5 week, this handmade nugget of black crack beat the previous release and all it s issues. dr spaventi once again provides the expert mastering to some artisanal yorkshire electronics from northern powerhouse. the full range of frequencies have been lovingly captured and set for eternity into nice and solid, hand pressed plastic before being bound in gorgeously minimal white paper -inners-. adding individual nuance to each and every record, is a stylised image of the visionary york philanthropist, joseph rowntree. details of which tracks are which are lovingly incorporated into this image using a black ink to stand against mr rowntree s brilliance. the hand screened label, uses the latest in dual pizza/kitchen table printing technology™ with a tried and tested lounge floor drying system to ensure any moisture is gone before the vinyl is shipped, so that transport weight can be kept to a minimum and savings passed on to you.

we got to know dan only, an exciting emerging artist from the toronto underground, when he collaborated with jesse futerman on our recent deep love 2017? compilation. his debut record, released on adam marshalls new kanada imprint, introduced his deep instinct for electronic music and unique, boundless approach to deep house. an avid collector of old school gear you can hear the analogue warmth throughout this intricately detailed yet heavy hitting four-tracker. its clear opens. a solid house jam, its thumping drums and resonating melodies follow a steady bass groove ready to heat up the dance floor. be major…believe leads in more gently before warbling key lines and synth details layer over gritty percussion pushing the mood closer and closer to bursting. this one conjures images of summer nights and distant coast lines. on the b, simmering vocals and tropical rhythms dance amongst straight forward house energies on dont you understand. rich with subtleties, its somehow smooth while seriously impactful. finally we have truffles. a very modern twist on disco vs house its an original italo infused gem with an edit feel, that maintains the vibe of an 80s era hedonistic night throughout. perfect as a peak time mood elevator or blissful, hands-in-the-air closing record. were convinced dan onlys future is bright and are overwhelmed by the quality and musicality of this, his first solo ep on dirt crew recordings.

ziemlich genau zwei jahre nach der ersten kollaborationssause aus dem märz 2015 legt tausendsassa jeff Özdemir sein zweites -friends--album vor. an diesem beteiligt waren keine geringeren als f.s. blumm, andrew pekler, halloumi express, sonja polligkeit, benjamin wild und dizzy (rotation) - wer solche freunde hat, darf sich glücklich schätzen! wie bereits auch beim ersten teil geht es bei den 20 neuen stücken drunter und drüber. jeff Özdemir, multiinstrumentalist, komponist, produzent und besitzer des berliner plattenladens 33rpm store sowie mitgründer des gleichnamigen labels, mag es seit je her bunt. wer will, kann hier 1001 einflüsse aus jazz, chanson, soul, gameboy-sounds, dub, minimal, psychedelischem wüsten-blues, siebzigerjahre-pop, klassik und john-carpenter-sounds heraushören. oder sich wundern, dass neben deutsch auch auf französisch, türkisch, japanisch und portugiesisch gesungen wird. aber das sind nur details, die für sich genommen wenig zählen. worauf es hier wirklich ankommt: die atemberaubende kombination zeit-, generations- und stilübergreifender akkorde, rhythmen und grooves besitzt ein ästhetisch rundum stimmiges klangbild, das seine volle wirkung entfaltet, sobald man sich diesem im ganzen hingibt.

four tracks of ny-flavoured boogie and house goodness - quality is the key word from copenhagen based music for dreams and here is another home run. willie graff splits his year between dj residencies in new york and ibiza. in this new outing with studio partner darren eboli, the influence is, as the title suggests, clearly ny-based. over only four tracks, the pair manage to craft a stunningly comprehensive exploration of the essential elements of dance music. opening track -love flight- staggers into a lush string-driven groove that recalls the glory of metro area meets wally badarou vibes. minimal yet playful, it lounges somewhere in the depths of the house tradition, calling on familiar sounds while throwing in odd details along the way (harmonicas?). it takes both skill, devotion and a sense of humor to pull this track off, making for a strong opening. -moon tan- lingers on a metallic hook that drags you into a plethora of percussion followed by a rubbery soft baseline. dubby key work would suggest this was a new wave band jamming at compass point, while the icy chill of the xylophone transports you into 80s italo territory. -second sun- pulls out the bag of boogie tricks, relying on a firm but humble baseline and smattering drum machine claps. nile rodgers-style guitar licks guide us onwards into a well-orchestrated jam that builds up and breaks down with perfect timing while dreamy chords reach for the sky. -first light- keeps the groove tight while dipping over towards more balearic temperatures. steeped in a watery atmosphere and gentle organic percussion, it focuses in on a trance-inducing arpeggio that lulls you in to the swaying badarou-style synth swirls that intercept it.