this is a collection of works from british musician gp hall, recorded between 1994 and 1999. for over four decades, guitar in hand hall encountered many styles, jazz, blues, flamenco, rock, folk, and classical improvisation. all contributed to the creation of his unique style. emerging from the british blues boom of the 1960’s, he then followed a long and winding path through various scenes and cultures. in spain, he was influenced by flamenco master manitas del plata before touring europe with liverpool band casey jones & the governors. he was commissioned three times (twice by the arts council of great britain) for original music and was immersed in the avant-garde scene of the 1970’s as an improviser, a pioneer of electric flamenco and a composer of large-scale ensemble pieces. during the 1980’s hall turned his focus to soundtrack music before reinventing himself as the solo performer he is today. with this strong foundation he branched into a tactile expression of his craft, discovering a new style which he called industrial sound sculptures. these sonic compositions are performed on electric and acoustic guitars as well as the six-string bass and are played with various techniques and implements including slides, battery fans, the psaltery bow, razors, toys, velcro and crocodile clips which are fed through sound processors to create a rich sonic environment.

fedbymachines has been active for almost a decade now, lurking in the undercurrents of netlabels and digital releases. now shipwrec shine the vinyl light of this shapeshifting musician, an artist who has ably turned his hand to a dizzying spread of styles. this skill is amply shown on his first wax release, relapse ep, where a glut of genres are fed into the machine. ambient. electronica. techno. electro. all are combined to create a textured sound, one of delicate strings, ghostly clicks and static. ochre closes the quintet with a remix, one that amplifies the organic nature of this absorbing encounter.

with the dust still flying around from the mammoth lessizmore 10 year anniversary compilation earlier this year, the label jumps right back into action hunting down exciting new talent in the corner of contemporary house and techno they call home

early electronics by a.k.klosowski made available again through felix kubin s galgarin records label! long before digital sampling was affordable for everyone, a.k.klosowski invented his kassetteninstrument, a custom-made music apparatus consisting of eight sony-walkmen combined with a mute/demute mechanism. the outputs of the instrument could be controlled both by hand and by an automatic trigger module. in addition, a drum computer and some effect machines were fed into the circuit. this technique allowed for very intuitive and simultaneous control over the analogue tape sources.

bursting out of oakland into the ionosphere, a hot pocket of free jazz, house, blues, african & latin rhythms, a fully shuffled deck of everything that might expand your head, all fed into the mpc, and hot-wired right into your heart. now for the first time on vinyl, cut by the steady hand of dietrich schoenemann, pressed by the fine folks at optimal in germany, and housed in a custom gatefold jacket by aybee, deepblak’s chief alchemist.

following the release of 2015’s animistas album on mindtours, steevio returns with the fourth and final volume in the modular techno series after starting the project in 2012. initially conceived as he moved his studio practice towards a purely outboard, analogue, modular synthesiser set up, the modular techno series has charted the development of steevio’s exploration of this working practice both on record and on stage. the work involved in live appearances across the uk and europe over the past four years have fed into the creative process, with rehearsals for sets often yielding the material that has ended up on vinyl. volume 4 is arguably the darkest instalment in the series to date, dealing in a strict economy of minimalist rhythms and off-key melodic touches while still easily identified as the unmistakable tones and distinctive grooves of steevio. in the grand tradition of techno as visionary music, the dystopian tone that lingers throughout modular techno vol 4 points to a future of uncertainty, but this is far from nihilistic music, always within the darkness remains a glimmer of hope.

transatlantyk return with a double header informed by the dark continent label regular universo (architect of their best ep no less) cooks up a splendid slice of culturally appropriated, campfire heat. its graceland era paul simon fed through some expertly assembled 21st century software. on the flip ryan r (reynolds maybe?) offers up umqondo. as western polands answer to awesome tapes from africa, we d say he knows from whence he takes. its a groove so thick even dr livingstone would have trouble hacking through it, an immersive ride though to be sure, and one which will make infinitely more sense at 4am sunday morning than it does at midday on a tuesday.

antonio debuts on ns with an ep of muscular dungeon boogie straight from italy s golden coast via the dank basements of frankfurt. drawing on the metallic throbs of his adopted german hometown, antonio pushes the machines to breaking point, allowing primitive techno flourishes, crushing breakdowns and dopamine-draining house excursions to be fed straight into the back of a tape deck

i came across scaarlet at a drum’n bass party in berlin. three guys, long time members of the music scene, but so fed up by all the politics and bullshits that they decided to go underground and start again from scratch. as a fresh and new label, they decided to give us the chance to release their tracks. so honored we are! here is their press statement: we are rough, i am deep. we are now, i am history. we are straight, i am broken. we are here and i am away. we are unique, i am changing. we are old and i am young. we are image, i am vandal. we are rage and i am shiver. we are many because i am legion. i am nobody, we are scaarlet. 147 vinyl only copies worldwide. no digital. no repress. no bullshit.

emotional rescue returns to the post war music of west germany and the work of dominik von senger and his cohorts based around the dunkelziffer project. this special -sampler- ep of recordings was produced as their part in cologne s stollwerck art complex, that acted as a home and inspiration to their musical experiments. based within the disused industrial warehouses spaces of stollwerck, a mix of post-hippies, punks and anarchists created a community within that fed off each other s artistic endeavours.

enigmatic producer makes his argot debut following 4 scene-stealing, acid-fed eps via hard wax. focusing on meticulous percussion work with judicious use of delay & reverb, it manages to be his most dj-friendly record to date.

after kicking off their label in style with burnski s your love backed up by remixes from trus me and steve o sullivan, constant sound use their second release to showcase a pair of up and coming producers from newcastle., a scott & richard rowell. mrs j has been burning a hole in burnski s bag for some time now, waiting for the right opportunity to get unleashed on the public good and proper. the quality of the production belies the youth of the pair behind this addictive, bumping tech-house cut, although years spent as residents for the jaunt parties in newcastle and london have undoubtedly fed into the quality of their sound.

nitejams 01 is here! the duo behind the fast rising production outfit nummer kick out four hardware jams under a new alias. expect gritty house and pulsating techno, mixed with warping pads, valve saturated percussion and pounding kicks. a plethora of vintage gear skillfully operated and fed straight into the desk! an absolutely essential ep, primed and ready for the floor.

the new ctf is here! with artwork shit and balearic bromance sounds. prinzenengel is alcoholic late 70s electro schnulzensound from the dusted juke box which is fed with d-marks by trannies and queens in a kreuzberg watering hole the other tahanah habahah is for your dancefloor happiness moments. really ill. available on 45rpm vinyl including limited edition artwork poster print.

deetroit drops a confident 6 tracker that is going many places while still keeping the die-hard udr fans fed with that raw sound they want! with this fourth 12 inch you should know by now what to expect. if not, just ask “the underground, they understand-. jack-acidy deep house. stamped white labels.

remastered reissue of big ls 1995 album.

rising fast from the east coast of the usa, dissonant is proud to present andrew m. oritz, a producer and dj who has spent his life immersed in dj culture. having earnt his stripes as a dj across countless clubs in new jersey and new york, as well as further afield in florida, his explorations into production have fed into this first full artist release, fitting perfectly into the ongoing narrative of dissonant.

vinyl edition - double pack #2: omar-s new album thank you for letting me be myself, is alex smiths best album to date. the fourteen tracks on this disc demonstrate smiths studio prowess and his dynamic range as a producer - from uplifting house to raw techno beats and acid! albums dont come much better than this one...listen for yourself!

this is what happens when two scientists of the bristol bass continuum collaborate ...
a. keyhole : have you ever stayed awake for 3 days straight? this track runs in a parallel universe to our own - a bit like being in a hole you cant get out of.
aa. hydropump : die & addison groove force-fed the sp1200 with a secret 90s nutrient formula, creating the pairs first ever collaboration – hydropump. no spider mite here.

demdike stare return to the lab with two extended new productions, inaugurating a series of untamed releases brought together under the testpressing banner. collision was recorded in late 2012 and is pretty much unlike anything you will have heard from demdike before, an intense high-frequency re-arrangement of jungle and noise, like a more brutal variant of the demdike-affiliated hate project, fed through a bank of analogue boxes and pedals, left to spin uncontrollably for 10 minutes before fading to black. misappropriation on the flip feeds off a different noise altogether, perched precariously between the mangled percussion you would most commonly associate with muslimgauze and the metallic clank of industry, a proper sunstroke riddim: angry and unforgiving.

kormacs latest release for scribble records sees him teaming up with old pal mc little tee for the ska driven >superhero< while the guitar and string laden >another screen< is a collaboration with literary great irvine welsh (trainspotting, the acid house, skagboys). >another screen< came about when kormac turned up on welshs edinburgh doorstep with the track written especially for him. rather than take out a restraining order the generous author took him in, fed and watered him and sent him home with the track complete. the result is a double header of contrasting styles that prove kormac is on a creative high.

all nite ep is the young mancunian waltons second set on hyperdub, after his very well received walton ep debut for the label in 2011. title cut >all nite< kicks it off with warm plucked strings, diva moans and lazer-like synths stretched to the point of anticipation over cracking grime handclaps and bass drums, until the track drops into a blocky bass line playing hide and seek with low arpeggios that spiral in and out of the mix, over a giant pounding metallic kick drum before layering on the warmth again. the whole track plays with a fine balance between warm, disco-like lushness and exuberant roughness. >mallet< is driving and darker, building detuned, bell-like tones over a 4/4 beat accented by breaks and fills and gaps, dropping into a big bass line and syncopations that disrupt the beat and bring the drama. >kush< is different again, taking the pace down with low end, synth hip hop with glassy chords, running over woozy pitch shifting rhodes chords fed through a layer of crackly gauze.

daniels stocked the bar, rigged the lights, fed the smoke machine and is ready to welcome us all into room 5 with his brace of new tracks. two polished dance-floor tools in the shape of his and adam ks >in the vibe< and the solo cut >wash the dish<.

the lab, nrks mix series devoted to the worlds most cutting edge djs and forward thinking sounds, returns this autumn with an instalment compiled and mixed by undoubtedly one of the scenes most talented, charasmatic and brightest stars.
hailing from the suburbs of detroit, seth troxler has made an incredible journey over the last few years, from the local dj spots at detroits the works club and behind the counter service at the famous melodies & memories record store, to the most top drawer nights and clubs across the world, such as fabric, panorama bar, dc10, the rex et al.
this 4 track sampler features the always talented andrew weatherall on the remix of radioactive mans germanic new-beat style >fed ex to munchen<, the minimal ambience of arks >arkquarium<, crosstown rebels/wolf & lamb artist deniz kurtel on the remix of chaim, and the truly magnificent cowboys & indians inspired minimal house of unds >rodeo<.

smaul recordings should not be suggestive of being fed by productions of acid pauli, only. however, creative times need being used and martin gretschmann - aka console - member of the notwist - alias acid pauli has collected lots of material whilst the scarce time left last year. on smaul 07 he follows his self-weaved red thread of the year. acid pauli confides more & more in a certain house rhythm paired with these melancholic layered sound-synthesis, already well known by him. astonishing things emerge out of acid paulis musical waves, sometimes even scientially croon quite a bit. nymbiotic (a) comes relaxed but holds a great melody up in the sleeve - seasonly peppered. symbiotic (b) rests bit on minimal house, but acid pauli never relied on that genre. thus, this track does not remain as it seems after three minutes. glitches and sounds break it up to evolve a new symbiosis. symbiotic becomes more timeless in spite of siren-climax peaks and an obsessive string chorus fading in the end.

abusing our soft side for dub edgar 9000 gave us these compelling tracks.>play me minus three (patience vs. epiphany mix)< û what starts like a nicely arranged minimal tune bubbles and billows after a short pause up to a big ride on the acid-dub-ghost-train. at the latest when the decently deployed and gated french horn pad sets in on the second half you are completely lost. not for quick peep û but beware: danger of addiction of endless playing is definitely given.meanwhile the title >hook & bait< of the b-side rather reads like the basic principle of fishing. it really sounds like the classic principle of ambient à well almost, since in this case this ambient track is drifting along itself, underlined with a straight driving and floating rhythm fed by an earthly bassline.petri heil! (as we say in krauts-country)

france fed records to the disco explosion right from the start. most famously, the tele music players were the chart topping, multi-million selling voyage, with the trio of chantereau, dahan and pezin joined by sauveur mallia. phenomenal production and immaculate orchestration made them perfect for the increasingly glamour obsessed disco scene. but more exciting to collectors are the long running series of library lps they worked on.

hot with richie hawtin, marco carola & loco dice! sounds like the soundtrack to the hyperactive child that has just been spoon fed tartrazine. you just can t keep still to this. skippin , rollin , poppin , it just picks you up and makes you move!

once more compound delivers another storming output with some of the creme da la creme of the techno scene to date. division ep has all the elements of funk to hard deep pounding grooves from the likes of glenn wilson, wetworks, dean rodell, monocore, zoid and mucky beats, making this various a must have for any techhead to have in their box. a1: monocore open this ep with lingering whisper a well crafted floor banger that builds over its existence to a total crowd pleaser giving the ep a kick start in the right direction. a2: dean rodell and wetworks prove with their first collaboration that techno can move and groove with a colourful arrangement of sounds without losing the drive that we have come to expect from these 2 producers. b1: glenn wilson leads the b side with risen, again a xxxxl pounder with cheese in true wilson style: a stabby deep number with rhythms and grooves that u expect from the tech master himself! b2: last but not least 1 of the uk biggest up and coming techno artists zoid and mucky beats give their debut on compound with japanese clank a thunder thumper of a track that highlights the strength of sound the island has to offer today. a class floor mangler to finish off an ep that has something for every hard tech division

at salad is the new alias of dj/producers leo elstob (a mountain of one, faith etc.) and rupert lyddon (grand national - sunday best)..... theyve spent the last few months trawling their 50.000 strong record collection and carefully re-editing, re-mastering and re-working everything that fits the rat salad musical junket.... the platform for these amazing reworks is leos new glorys label (see further info below) theyre using traditional methods, old school tape edits and tracks fed half-speed through prehistoric valve amps & compressors to give them an extra rich sound and a unique rat salad double dollop of wallop

blood red shoes are from brighton. they are two people: laura mary and steven. they play guitars and drums and they sing. the pair have found time to record an album that embraces their plaudits and emerges resplendent in all its glory. the first instalment arrives in the form of you bring me down, a jerky, vibrant track where laura marys short, sharp guitar bursts and stevens energetic pounding unite perfectly. its about being fed up with your life and the need to get out of a depressing situation and do it before its too late. limited 7 one comes backed by exclusive b side cant find the door.

pascal feos succeeds with his debut 12 on karmarouge in a matchless manner a fusion of extremely wooden and dry beats with well fed warm sounds, it’s a hard but genial mixture of functionality and deepness. from the essence of minimalistic sound

if youre fed up of looking out your window onto grey dreary weather and desperately need some sunshine in your life then you are in luck. chris lakes new track >carry me away< does just that... described as being >reminiscent of a hot summers day dancing on the beach< this track is tipped for huge success. featuring the sultry voice of emma hewitt, an uplifting piece of blissed out electronica, you cannot help but fall in love with emmas beautiful vocals over a hooky piano riff that is chris trademark. complimenting the original, there is the sébastien léger remix which tears apart chris mix that gives you a deep, dark, electro-twisted journey, still keeping the vocal with a soaring orchestral break that makes the hairs on the back of your neck stand on end

swedish friend per qx teamed up with non other than the british vocal diva shena, who is not only responsible for the smash hit >the weekend<, but also for current club hits like >electrosexual< and >dare me (stupidisco)<.per qx delivers the massive club and vocal dub mixes, while the stereo mutants give the anthem a soulful rub.to round this package up nik denton delivers a bigroom monster aswell. on top of that we are spoiling you with a remix from our main man from russsia, dj electric, who takes this song into warm electronic deepness

bangin uk acid hardtechno !!!

volume 8 again comes with two mind-blowing, stripped down techno productions. these babies will take your for a long and pleasant ride. along the way you are fed with vibration bass, velvet bassdrum and carefully selected high

better known as volum and as one half of angry robots volsoc (his musical partnership with justin maxwell), jean-paul bondys output to date has often been categorised as electro, but not as we know it, jim. since the early 90s bondy has been bringing us his vision of a cartoon future of blips, bleeps, squeaks and tweaks, all fed through your speakers and straight into your brain by a rhythmic salvo of breakbeats, bass, and straight-up, glitched-up funk.. bondys first solo album, >the path of most resistors< marks the culmination of this effort to date, while at the same time representing a subtle departure – not just for bondy, but for compost too. make no mistake, this is a record that is grounded in the kind of solid, machine funk grooves, synthetic melodies and sci-fi atmospheres that the best electro has always brought us

get with you keeps the main room crowds moving with a driving house winner this time combining more gritty analog lines with unrelenting beats fuzzy analog bass and some great vocal drops then r n rs electro nutz mix gives the cut a great electro makeover with a retooled rolling bassline and more prominent electro flavored synths flip for a great carlo grieco rmx fed up is a stomping peaktime track packed with analog grit and soaring synths as the boys lay down a pumped up primetime house anthem

we are living in precarious times. a senile, racist old man prone to temper tantrums has his tiny hands on the controls of the most powerful military machine the world has ever known. a handful of his (no less dangerous) international business associates and personal friends possess more collective wealth than the rest of us put together. the oceans and forests of the planet are dying slow deaths by asphyxiation, force fed 300 million tons of single use plastic garbage every year, and the temperature, both literal and rhetorical, rises the world over with each passing day.

say what you wanna say, but you have to give strahil velchev this: the manÕs a powerhouse. recording and playing live under the kink alias, he went on to become one of finest purveyorÕs of funk in techno and house. what it is, by definition, ainÕt exactly clear. and that is the beauty of it. kinkÕs music is unifying in the best possible way. channeling the spirit and feeling of a time where it didnÕt really matter who the faces behind the music were, kink plays with the elements of genres and sub-genres as if the future of it all is still wide-open. at the same time it could be accused of retro-fetishism, as much as the pope himself is infallible. the pure need to recreate moments, feelings and experience - rather than carbon copies of existing designs - was what started kinkÕs production work. hailing from bulgaria, it was nearly impossible to get your hands on all the records and music that fed into a system of raves, clubs and record shops that seemed far away from sofia, and financially it might as well have meant another galaxy. wanting to dj without having access to the tracks that spun the carousel meant that you had to create them yourselves. so, here we go with a private bootlegger gone public mastermind and one of the loudest voices in house, techno and beyond. from kinkÕs early productions with neville watson to his smash-hit for ovum, a cerebral album for macro, tons of remixes & tracks and his mind-bending live act, playground seems to take all that into a blender. simultaneously a sound-summary, the harvest of a field of ideas, and the exhibition of an artist in his prime, it also works as a sort of kink dictionary: avant-garde soundscapes stand next to boisterous bangers, classic club tracks and peak time emotions

just a masterpiece! 2nd part of omar s vinyl mix

dj friendly unmixed version! incl.exercise one, daze maxim, radio active man, soul capsule and many more

in keb darges own words: i ve done many a compilation in my day, mostly based around the tunes i played at my long running deep funk nights in madame jo jos. that night is no longer on the go, possibly due to a growing lack of interest on my part, (sorry). in the last few years the lost & found: nights at the club have been my real passion, and indeed little ediths and andy smiths passion too. what a marvelous era this is for good music. we may still have pure stuff like dub step: pulling in large numbers of sheep, but an equal number of youngsters are being attracted to retro, or at least retro sounding music. people tell me it is because the youth are fed up with computerized music, or men with drug problems angrily shouting at them over a dull repetitive beat, but i know lots of teenagers who have bypassed this muck all together. must be the internet that is helping kill off the demand for empty music. you no longer need to go to a retro club night, or indeed search out rare records to be exposed to good music, the internet is full of the stuff. my fifteen year old daughter is a marc bolan fan who while researching the poor fellows influences discovered chuck berry, sun records, etc, etc. i dont really know or understand why so many are at last getting into the good stuff, but they are, and it is wonderful for the likes of me.

amazing new album by mathew dear/tip