eric estornels lone romantic releases -anomaly-, the new ep of the veteran english-born, france-based producer carl finlow. -anomaly- is the 3rd instalment, following estornel’s maceo plex album -solar- and the return of his mariel ito alias with the -2e komst- ep, remarking the distinct sound of the label once again, while pushing a step forward at the same time. with the relaunch of mariel ito, the electro and idm alias of estornel, that was active in the early 2000s with releases on modern love or scsi-av and that will see a retrospective album from that time on r&s records, lone romantic is a new suitable platform for carl’s music. however, from the 90s until today, his vast catalog traverses through the most relevant labels out there such as warp, soma, klang, scsi-av, novamute, satamile, electrix and his own 2020 vision. -anomaly- is a four-tracker showcasing classic electro schemes with ease. a frenetic mysticism and a meditative melancholy stand behind the most innovative trajectories of funk, within a mood much divergent than the usual conservative reverence towards the genre.

label boss nachtbraker is finally making his solo debut on quartet series after a successful ep last year on heist recordings. widely known for exploring different sounds and angles with his productions, this record is the most club-orientated to date. intricate ghetto house with a slight french touch to straight up 4x4 with a pinch of jacking flavour would be an accurate description of this release. the use of 90s hip hop samples within this auditory concoction successfully highlights nachtbrakers excellent ear for detail and penchant for exciting, eclectic and downright weird changeovers. the main hitter taking over the full a side is the title track small towel people. an uplifting bass line accompanied by heated 909 percussion and a hypnotic thriving arp to seal the deal. on the flipside, youll find kippendijen on the b1. a heavyweight in the house category, some glimpses of early days jacking house and a little french touch on the filter. throw in a breakdown even houdini wouldnt be able to handle and youll find yourself putting this track on repeat. then when the needle hits the b2 groove, zomaar kicks off with an energetic mpc style breakbeat before morphing into a deep jam of lush chords and a thrusting 4x4 beat. the track closes after switching back to the first part of the record and ends in a sublimely deep and dubby breakbeat.

ess o ess (aka chris stoker and jamie blanco) return to not an animal to further indulge in the organic house territories previously mined for the previous releases. the duo have an uncanny nack for deftly balancing the rockier end of disco with the authenticity of early house, and never more so than on -secret place. the original bounces and struts in a pleasingly groove laden hypnotic fashion, while the dub version turns down the guitars and turns up the synthesisers for a more heads-down dance floor excursion. on remix detail kuniyuki takahashi makes his 1st appearance on the label. on the vinyl you ll find an interpretation which can be best be described as pitched-down balearic-techno, which clicks, clacks and folds upon itself, drowning in waves of reverbed drama-drums at a deceptively low tempo. kuniyuki also provides a second remix as a digital exclusive, mildly pulling back on the pomp of the vinyl version, but replacing it with a spacious pathos, complete with backwards guitars that reminiscent of an electronic within without you era beatles. angaphora make their naar debut with their own wildly stirring remix of the lead track, which evokes the golden era of 80s melodic pop music to bewildering success, laden with digitised emotion, singing ebow guitar, and not a kick drum in site.

as weekend circuit approach their 20th release, argentinian duo yyyy return for their second full length ep on the label to celebrate this benchmark. the yyyy modus operandi is already familiar to the initiated - expressive, raw techno experimentalism from the outer reaches. carry this blood is a collection of 4 moods and sounds, carved out with emotion soaked ambience, synapse flaring distortion and machine fracturing rhythms. repent , as the title suggests, takes no prisoners, leaving no survivors in it s wake, it is a glimpse into a tear in the time-space continuum where chaos rules. hands towards the giver is epic, glacial, spacial widescreen techno. dramatic and urgent, the soundtrack to a doomed planet collapsing from within. carry this blood bestows an eerie, cold feeling. an atmosphere of regret and loss hangs over it like a thick fog on a hillside, punctuated only by a heartbeat mimicking kick drum offering a human touch. of thrones and comfort snaps us out of the haze, the fog clears and we are faced with the frenzied electronics and thundering kick drum of this most sinister of tracks.

figure jams enters the next round, setting up a pairing between two hardware-loving, no-frills techno-purists. both artists build on vibrant, machine-made roughness, yet each leaving their uniquely flavored footprint. kicking things off is eindhovens albert van abbe, whose wide-open soundscapes and searching synths evoke an emotional impact that goes far beyond mere tools, able to equally move and sooth even the fiercest of late-night lovers. low-key producer sp-x appears on the flipside, ready to get lost deep within layers of hypnotic loops. searing percussion, rumbling bass and dubby synths engage in complex conversation, subtly swelling and swaying but always keeping the groove ever so tight.

intraverso is a journey in that momentary inbetween land that many of us experience sometimes. it explores the turmoil of feelings of when one gets stuck in the middle, floating in between ambition and complete stillness.
fabrizio lapiana is a well-known name on the contemporary italian techno scene. he has been involved in music since the 90’s when he started dj ing in his hometown rome. to date he has over two handfuls of releases on labels such as figure jams, arts and m_rec ltd - as well as his own imprint, the well renowned attic music, founded in 2008.
intraverso is fabrizio’s debut album, set for release on his label. the record is a very personal journey, according to the artist himself. you here find him examining different territory than where he usually heads within his productions. the album, which consists of nine songs in total, was composed between april 2016 and february 2017 in his studio in rome. written in a state of -introspect-, we here see an artist in motion. changing. evolving. the perfect moment to explore something new and unveil a different side of yourself to the world.

black truffle is honored to present the first ever reissue of whirled music by max eastley, steve beresford, paul burwell and david toop, one of the key documents of the inventive and energetic scene around the london musicians collective in the late 1970s and early 1980s. originally released on toop’s own quartz label in 1980, the lp features a remarkable series of performances made entirely with whirled and swung instruments and objects. part of the second generations of british free improvising musicians, the prolific scene centered around the performers heard here chafed at the limitations present within the music and ideology of improvising legends such as derek bailey, evan parker, tony oxley and john stevens. where the first generations of british free improvisers often demonstrated a rigorous commitment to non-idiomatic free improvisation and instrumental virtuosity, musicians like beresford reconnected with the dada antics of figures like han bennink and surrendered to joyful musical promiscuity, gleefully disrupting expectations around ‘serious’ improvised music through quotations (of anything from betthoven to reggae) and deliberate amateurism.

having tamed last year s havoc and disparity into the damaged rapture of layers of reality, anthony linell is opening a new calendar with the sheared isolation of his latest album, a sense of order. linell has put his toolkit for summoning euphoria aside here, instead sculpting a glowing, diaphanous fog that swells into pensive melodies and arpeggiated whispers. graceful for the way in which it makes the bleak hospitable, the charm of coldness invites us toward the empty and the beautiful, and away from the miserable.

sombrero galaxy (also known as messier object 104, m104 or ngc 4594) is an unbarred spiral galaxy in the constellation virgo located 31 million light-years (9.5 mpc)2 from earth. the galaxy has a diameter of approximately 50.000 light-years, 30% the size of the milky way. it has a bright nucleus, an unusually large central bulge, and a prominent dust lane in its inclined disk. the dark dust lane and the bulge give this galaxy the appearance of a sombrero. astronomers initially thought that the halo was small and light, indicative of a spiral galaxy, but spitzer found that the halo around the sombrero galaxy is larger and more massive than previously thought, indicative of a giant elliptical galaxy.3 the galaxy has an apparent magnitude of +9.0, making it easily visible with amateur telescopes, and it is considered by some authors to be the brightest galaxy within a radius of 10 megaparsecs of the milky way. its large bulge, its central supermassive black hole, and its dust lane all attract the attention of professional astronomers.

terekke drifts gracefully onto music from memory with a long player of looping ambient pad pressure. big tip! the recording of improvisational loops began in 2012 during yoga classes at body actualized center in nyc. in the spirit of past new age or minimal music, it aims to open up a space within the room giving the listener a chance to explore inward or outward. it was recorded using a digital synthesizer, reverb, and looper. terekke, january 2018

german producer silent-one presents an ambient four track release on his own label intimate silence this february. part of the from another mind crew longside obscure shape & shdw and javier ba&#776,,hr, silent-one (real name benedikt merkl) launched intimate silence as a platform for ambient music in 2016. since then the label has hosted artists like ressort imprint regular g&#322,,o&#769,,s, taapion records co-founder pvnv and arsenik records’ dold, however this release sees the label founder make his very own debut. fuzzy atmospherics and chilling chord sequences set the tone for the ominous ‘human border’ before ghostly synths and twinkling melodies work together to form ‘decide your fate’. on the flip, mesmerising arpeggios meander within an echoing setting in ‘sign of anxiety’ until the murky ‘lost souls’ pairs dusky elements with a spoken word sample to create a sci-fi aesthetic to conclude the release.

for the next release on epm music, bryan zentz reprises his stare5 moniker on the new four-track, void swimmer ep

new york’s p.leone debuts on rekids special projects with four vinyl-only techno cuts this february. debuting on spencer parker’s work them records in 2016, p.leone has since launched his own imprint entitled e-missions alongside label partner caiazzo. moving to berlin last year, the american producer has quickly earned himself a name within the german capital, making regular appearances at the likes of tresor and ://about blank, and now joining respected berlin-based label rekids as part of their vinyl-only series. metallic echoes, robust kicks and breakbeat percussion lay the foundation for ‘rose petal breaks’, before ‘noon service’ demonstrates crystalline synths and futuristic effects. on the flip, thudding drums and energetic claps form ‘hold me down’ until the ominous ‘sometimes i feel strong’ concludes the package with rattling components and a cacophony of intricacies.

vozduh (air) marks the first in a series of eps by nocow for figure, showcasing his emerging signature-style of electronica-tinged techno. drawing inspiration from the sheer endless winters of st. petersburg, his series builds on classic idm tropes, imbuing them with a noticably russian and deeply personal sensitivity. as each part of the trilogy is represented by an element, the tracks on vozduh are vaporous by nature: from the crackling ambiance of opener bouis to the weightless vocals on stoic forgiven, as well as a surprisingly introspec-tive take on ghetto-house or the wafting melodies closing out the records b-side - all forms seem to be in con-stant shift, casting a dense yet permeable body of sound. with two more releases on the way, which will be exploring the themes of voda (water) and zemlya (earth) within this artists singular spectrum, the outlook (which also includes a full- volume edition) on this approaching season is anything but gloomy.

odd recordings launch their new vinyl series oddwax. within a relative short period the label has managed to gain the attention of dj s and ravers alike - with tracks like pachamama that was championed by carl cox for months, radiate that was played numerous times at bpm festival & awakenings, nagelbett thats been hammered by adam beyer for the last year & oddball (sasha carassi remix) thats caused a riot in ibiza this season with multiple plays from sasha & digweed - all four hits shot up the charts, hammered all over the globe and now for the first time available on vinyl. label heads arjun vagale & ramiro lopez have carefully curated the first in the series

family, fish, shapes. these are only three of the many topics that stefan streck aka the micronaut recently devoted himself to within his releases on labels such as acker records or analogsoul. always with a clear line, but never intellectualising, is how the multi-instrumentalist and producer pursues his scientific curiosity in terms of sounds. his tracks are elaborate and yet danceable. sometimes they are composed minimally, sometimes they are utterly playful. within just a few bars, subtle sequences transform to energetic roller coaster rides since the micronaut loves having a game with contrasts. his newest ep on freude am tanzen proves this anew.

dekmantel regular matrixxman returns with the third, and final instalment in the sector series, part iii: polyphony. in this triptych, the producer from san fransisco sets out to highlight the key components behind the sounds and style of techno, exploring the range within the confines of a particular limitation. following parts i and ii, which looked at rhythm, and acid, charles mccloud duff charters the realm of polyphony with four, meticulously produced techno tracks, expanding his repertoire of cult, dancefloor music.

phonk d debuts on ndyd records with his latest baby, the disco goodies which contain four stellar tracks, each one with a unique twist and made within the last three years. like wine these creations got better with time. from the smoothly rolling darlin playa to the more dreamy pink champagne, the german veteran-producer excels in many ways when it comes to funky and discoish sampling. the intensity doesnt stop on ‘paradise voyage and the fat-paced ‘maintain is truly maintaining the highest level possible in terms of dance-floor-filling sounds. ‘disco goodies are packed with highlights and sounds that that are going to stick to your memory like kids to cotton candy. ndyd german record label launched in 2014. founded by kris santiago to serve the purpose of promoting and releasing disco and house music.

lvis mejía s newest project, titled anthropology of amnesia is an acousmatic essay addressing our utter necessity to remember in the face of existential oblivion, an innate behaviour of the human race. presented as a 33 minute long continuous composition, anthropology of amnesia unrolls as a series of chapters, the contemplative character of the piece opening a particular frame within the listening experience, where lvis mejía attempts to convey the phenomenon of the collective consciousness through the cultural traces we leave behind. mejía s takes the idea of -one species, one culture, one past- and places it at the center of the concept of the piece. anthropology of amnesia examines a number of interpretations of rituals, orchestrations, chants, synthesis and field recordings - nestled within the piece are recordings of animals, fire, water and a human heart - the sum of these sonic identities incidentally reshaping their roots. the diversity of the sonic sources highlights the comparative study element of mejía s work yet the common thread remains the human experience, recorded stories and the viva voce.

for this release metrist delves into a set of carefully constructed and deeply rhythmic but ear-grabbingly idiosyncratic, mixed fidelity dancefloor-geared oddities. the first three tracks are united, in a fashion, by the artist’s skill at programming a series of drum tracks that set a definite tone for the productions. within a quite partisan field of often microscopic generic variety, largely pinned down to the tempo and timbre of electronic drums, here metrist has pursued a tricky-to-define path. the bounce of new jack swing is twisted amongst stripped back polyrhythms, equal parts groove and glitch seasoned by some futuristic acid filters that create a constantly shifting aura of space and textural nuance around the individual drum hits. quite often arrhythmic interjections punctuate these ‘grooves’, be it the sawing bursts of noise and snarled, incoherent vocals on ‘an soaep’, the non-language and playful, bubbling bass surrounding the half time feel of ‘on golden seize’ that builds to something approximating an industrial take on uk funky or the brash sub-wobbles that intrude ‘pantomimer tongue’s juddering knife-scraping-on-a-balloon stutters. ‘caaacel the horze’ closes the record in a less weighty style, with crunchy arpeggios running on a synth that sounds like it’s picking up interference from a radio channel, as snatches of moaned vocals allude to a deeply ambiguous yet chilling narrative behind the music. thudding kicks intrude on the skittish melody but in a non-rhythmic way reminiscent of someone trying desperately to snatch your attention by banging on the adjacent wall. gauzy melodic textures in the background provide a calming counterpoint to the uneasy qualities of the composition

the brilliantly beguiling r-zone series hits release number 20 with another genre defying four track ep by no one knows who. as always, the music looks backwards to go forwards and frantically blends breakbeat, rave, acid, house, electro and techno into wild new forms. the geometry of shadows kicks off with a flurry of pinging kick drums, rushing synths and smeared chords that manage to be physical yet serene at the same time. chrysalis is deep detroit style house with gurgling basslines and warm future soul synths extending off into the cosmos. ship of tears then races through the galaxies as asteroids, shooting sci-fi synths and glassy melodies all fly by in enchanting fashion, acid is buried deep within and the drum programming is busy and direct. the parliament of dreams closes things down with more haunting celestial pads and cold acid lines that are all backed by boom-bap breakbeats. its dance floor euphoria of the highest order once more.

acid paulis album bld dropped earlier this year and was a superb reminder of martin gretschmanns unique place within the electronic music. breathing musicality and adventurousness into everything that he does, the album covered a number of moods and emotions, from dystopian carnivalesque vibes to moments of high intensity, through to deep melancholia and synth laden ambience. following on from the a remix package, b brings another huge selection of producers into the fray to reinterpret the originals. first up, hamburg hero stimming works over ‘amadou - flipping the original, into a techy bomb. a thick kick underpins a shuffling, off kilter rhythm and beautifully treated melodics. stimmings feel for gently pushing the dancefloor into new places shines through. ‘rené is reworked by roman flügel, the ongaku/klang/playhouse boss whose influence on the european electronic music scene has been immense. always willing to experiment, ‘rené is the perfect canvas - arpeggiated blips and beeps echo primitive electronic explorations by the likes of francis bebey, and a huge subby kick drum take this track into space. alex boman sets to work on ‘jeanne, locking into his signature groovy, tribal approach to working the dancefloor. the swedish producer adds dubby elements, an irresistible percussion track and disruptive, random sounds to the thick, heady mix. dutch wunderkind satori tackles ‘jorge - twisting the original into a psychedelic groover that finds room for backwards vocals, marimba-like melodies, fat basslines and shuffling breakbeats.

time for a little recognition… pets welcome a true polish techno founding father to the fold: jacek sienkiewicz. dj since the early 90s, producer since the late 90s and one of the earliest artists to stamp their country down on the techno map, jacek was one of the first polish producers to be signed by the likes of trapez, cocoon and klang and laid down the foundations for the likes of pets founders catz n dogz several years later when they emerged as 3 channels. og status confirmed, hes remained just as consistent as he is influential. this single is proof: ‘su17 is a bubbling sine cauldron that starts with a simmer but builds to a boil with its ever-morphing, lava-like flow. expert drum momentum and sudden layers of instrumental help to create a fluid three-track-in-one experience that spellbinds you crowd for the entire eight minutes without realising. ‘mustang is a cascading synth odyssey that gently rises and falls like an escher looped staircase. gradually building in momentum with more of jaceks signature hypnosis flare, its not until the drums double up with an almost live-style visceral feel that you realise just how high jaceks taken you. it comes complete with a star-lit switch from berlins serial innovator tobias, where the synths are deftly refocused and a whole layer of orchestral delight are layered within.

fresh off the back of his debut ep 2nd nature , which received support from seth troxler, laurent garnier, ame, maya jane coles, archie hamilton, mano le tough & damian lazarus, dokta returns to 20/20 vision alongside the dance music and audio obsessive leonidas who s been topping the juno vinyl charts recently with his releases kay suzuki and hobbes . the uncompromising 15-minute composition merges dokta s unique electronic arrangement style with a transcending live saxophone melody and an original vocal recording of nycs paradise garage and loft regular david vickers, with a spoken word tribute to dave mancuso and his legendry loft residency, recorded before the great mans passing last year. structured with a driving kick, off set drums and rhythmic keys baby powder proves once again dokta refuses to work within formalities, offering up a release that is both truly unique and impossible to ignore. baby powder sees dokta continue to push the boundaries of electronic production, effortlessly compounding live elements that explore exciting new musical territories

repress of this album by the drummer of fela kuti. produced by doctor l. incl asiko as sampled by jaydee for commons hot shit! featuring remastered versions and ariya (psyche juju mix) as bonus track, which was not part of the original release. tony allen completely rewrote the books on what was possible within the afrobeat genre with his stunning 1999 album, black voices. when one considers exactly what is going on throughout black voices, it is quite mind boggling, as it is almost impossible to associate a minimalist, electronic feel with the massive walls of sound which allen was known to create.

prolific producer mathis mootz is very well known within the drum/bass and hardcore techno arenas as being one of the innovative pioneers to merge both genres with an unique approach. his contribution to the electronic music community is not limited to his explorations within only the drum and bass and hardcore genres, mathis also has various experimental projects, most noteworthy being his m2 ( squaremeter ) project with releases on mille pleateux, ant-zen and hands productions. the sound of m2 is defined as a combination of micro sound and industrial soundscapes. the panacea is no stranger to the world of techno as some may suspect, his command of the position chrome record label came from his close relationship with force inc. music works which was one of the earliest german record labels to fuel the underground techno/rave scenes in the early 90’s. since position chrome came under his guidance in 1997 it has become one of the most important labels in electronic music due to it’s integrity and an impressive release of quality music for it’s genre. more recently, he has been investigating the techno landscape with david frisch together known as new frames, their latest release on hands productions is essential for those interested in contemporary electronic music of the dark techno/industrial kind. “ above the absolute “ is a 12’’ of mercenary techno produced with expert skill. the opening track “ above the absolute 96 “ is pure sound wave balance with all the components for what is sure to light any dance floor on fire. “ most basic resolution “ is a dark, mood shifting, hard acid techno reminder of what it means to create music for warehouses, pure old school for the hardcore. “ overdrive ee “ continues in a more contemporary direction and demonstrates a mastery of percussive elements in tune with the kind of atmosphere that brings people together in the dark. the final track “ walter “ goes back into the future with a track aimed at the headstrong, an exceptional closing chapter that hits dead centre on the search of the perfect beat. an overall completely impressive work from an artist who has set no limitations for himself.

ltd copies, deep groovin / disco / hosue

the 2nd propaganda album, originally released in 1985, now back on 180 gram vinyl with extensive 6 page 12 inch booklet included.

kuf create emotion-laden dialogues across layers of time and dimensions of sound. voices recorded in private are chopped up and brought out center-stage to sing with beats hammered out right here and now. glowing synths push forward. basslines rise to grab the melodic role of a track while a vowel is truncated and locked into a grid, driving the rhythm. voices move within the frame of a sample, performed by hands pushing keys, guided by the ear, immersed in a trio sessions deep flow… a vortex of quirky hands, responsive ears and glowing circuits. since thomas a. edison first recorded the human voice in 1877, the recording arts have changed music forever. musicians have explored the endless possibilities of bouncing their input onto layers of tape, off the walls of an echo chamber or the circuitry of electronic helpers - technology that modulates, spatializes, shifts, divides or multiplies the work of human hands and mouths. an era of sampling offered a cubistic analysis of the recorded past and djs took dancers onto intricately fractured time travels. this is the historic foundation that kuf keep probing.

tmpz002 of temporize records is an ep from glasgow affiliate dam-ru, drawing on themes of gnosticism, occultism, cosmology and automatism, dam-ru displays his attempts at transcendence through sound, and delves deep into the subconscious, to a world within worlds.
he crafts complex yet warm, organic electronic music that flirts with ambient, dub and experimental sounds. with “too many voices”, his debut ep, he explores a far eastern, mystical theme in producing 4 tracks that wouldn’t feel out of place in an epic film score.

lion and the mean ecstasy of “you’ve got a woman”, the b-side to their sole release comprise a rare burst of psychedelic western soul from two names best known for dutch progressive rock and new wave. drummer peter de leeuwe, departing from the symphonic leanings of dutch prog-fixtures ekseption, penned it in 1975, layering syncopated explosions of hand-claps, vibraslap and slick drumwork with neutron-star density, with super-producer hans van hemert nearly bursting glenn robles vocals through the fore. the shoes subtle edit provides exactly that, gently teasing the organ- and requintohinted contours of the track to better suit the treasure within. chicago-based septet whitney have brought some attention to youve got a woman with a recent cover, and the faith with which they recreate much of the original instrumentation proves the extent of lions accomplishment.

after the success of his recent comeback ep entitled exiles ep, the icelandic artist cold shows us that he is here to stay and ready to make his mark in the international techno scene. dub safari offers us intricate soundscapes and otherwordly chords which are impeccably assembled into five minimal techno masterpieces. a side starts with a dreamy voyage where ethereal pads seamingly blend with punctuating kick and a acid bassline. second cut gives us a darker experience. a pulsating groove where chords and percussions offer an interesting sonic playfulness. b-side offers three minimalistic techno tracks ready for both the dancefloor as well as for dancefloor within your mind. thule records is considered by many to be a pioneers in the field of dub-influenced techno music and was a starting point for many of iceland s most renowned electronic musicians

swiss producer honorée returns to rekids with maree haute ep this january, featuring two intelligently produced deep cuts with a remix from perlon’s margaret dygas. basel-based artist honorées inaugural release marée basse ep appeared on rekids earlier this year and demonstrated a musical understanding acquired from extensive dj experience within switzerland’s club scene. marée haute ep is honorée’s second outing on rekids and includes a remix from renowned minimal dj/producer and panorama bar regular margaret dygas. dorian delivers crisp drum grooves which underpin mesmerising chord progressions, haunting synthesizer motifs and spacey vocals before 208 provides infectious drum rhythms, glitched vocal cuts and hypnotic melodies which sit on top of a rumbling low-end. margaret dygas take on dorian offers a pulsating bass hook and sharp percussion which lays the foundation for dubbed-out synths and ethereal atmospheres to close the release.

after over a year of radio silence, ourtime music introduces stark. a collection of coded messages from within the city of salford. limited

alan parsons hatte sich bereits als tontechniker der abbey road-studios einen namen gemacht

dm002 showcases 5 dance floor cuts from keita sano, lucretio, alter-d, bioroot, and asymmetrical. this ep was inspired by the video games jet set radio and jsrf. some of the soundtracks for jsr and jsrf were produced by the latch brothers (including mike d from the beastie boys), and features tracks from other great musicians such as cibo matto.
the artwork of this release captures the essence of the video game and the ep within. hazy nights out in the capital, neon lights, high rises and 4:00 am eats.

bastinov returns on his beloved etruria beat after the big success of solar system with a brand new four track ep, wormhole. kicking off with the title track, characterized by a powerful 909 groove and strong synth, were plunged deep within its magical atmosphere. materia follows with its wonderful ambient pad and energetic kick, before were taken on a melodic tangent by the synth driven ‘paradox. closing the ep and rolling out another beautifully crafted 909 groove is the thumping quantum gravity.

ever throughout a long-standing chameleonic career in nightlife colleen martin has been one to challenge expectations and confidently confront boundaries. having established herself now firmly within the techno scene as lady starlight, she continues to do so on her ep for figure, presenting a statement of bold and pounding beats. ‘which one of us is me? showcases a completely intuitive approach to making music, with every track coming together as a direct stream of creativity, channeled straight into the solely analogue hardware. it imbues each composition with a strong sense of immediacy, a quality that only further intensifies the raw energy transmitted. this pure form of expression translates into a record brimming with artistic authenticity - enveloping, moving and deeply impacting.

head honcho of 4plae records, adam monti aka admnti has created 3 sublime tracks, portraying the more uplifting, housey side of what he represents. following this, the london based trio wax on mare st. have supplied their take on adams highrise showcasing their very particular, yet similar sound within their remix. here we have the birth of the euphorbia ep!

sue zukis inaugural recorded document the we are all very anxious tape is in our opinion one of the most innovative audio expeditions that has resonated with us. boldly defying and deconstructing conventional genre tropes we arent being bias by saying that either. this is a genuinely sincere perspective. the key to sue zukis music is her vocals where she misanthropically preaches the records themes of psychological alienation and despair, trapped within an augmented virtual reality. whilst trapped and unable to properly function inside this distorted simulation there are the bewildering sounds of a thousand voices and every conversation unhealthily looping inside yourre mind, through the echo chamber. manifesting into a bleak neurotic obsession and feelings of inadequacy, a desperate plea, blinded and fatigued by the unnerving glare of the computer screen, processing too much information and not knowing if the human interactions youre experiencing are genuine or artificial.

the son of a radio dj who introduced him to the world of record collecting, harris grew up with music, progressing from violin, to high school drum line, to the jazz studies program at virginia commonwealth university. he also continued working with other instruments and developed an interest in sampling. his development as a producer at first, without a computer or sampler came first learning to replay samples on the drums, piano, bass or guitar. dj harrison finds himself inspired by local musicians in the richmond scene thats as diverse and nonexclusive as they come. among rappers, producers, punks and bluegrass bands, he falls within reach of an expansive pool of musicians to collaborate with. he lives and works in jellowstone, a house turned recording compound occupied by his band mates in butcher brown, a garage punk jazz funk group.

edition 1 is a various artists compilation and the ninth release on alix perez 1985 music. the album is to be understood as a statement of intent as well as a snapshot where the label is right now. alix has assembled his favourite artists operating within the 85bpm / 170bpm axis and the result is a coherent album that cements ties with newcomers such as monty, deft and tsuruda whilst also bringing new light to existing relationships with fracture, ivy lab and chimpo amongst others. its an exciting time for 1985 music, an outlet thats quickly becoming known for great art across the board: be it music, clothing or design.

limited picture disc anniversary edition - “sgt. pepper’s lonely hearts club band” as you have never heard it before! new stereo mix by giles martin.

anniversary edition - “sgt. pepper’s lonely hearts club band” as you have never heard it before! new stereo mix by giles martin.

tom wrankmore previously recorded under eliphino and now launches new project automne. automne has a two diametrically opposed themes within it, natural balance and transition and machine like, automated. music will explore the interplay between these two areas.

new years deal - the legendary lidell townsell on the legendary trax label - what s not to like? get the hole might sound like a fairly dubious title for an ep, but it works within the realms of chicago house! released in the golden year of 88, this ep contains nothing but vintage midwest acid grooves! you could argue that the xxx rated message behind lead cut get the hole is an early precursor of what would come out of the chi via dance mania and other associated labels and artists in latter years. rumour has it the track had an impact on the super underground b-more club scene too unsurprisingly! if you like your house music rough, ready & raw then this is for you! warehouse sounds, box jams, it s all here! remastered in conjunction with trax records, fully legit, now is the time to revisit a cornerstone of classic chicago house music, often imitated, never bettered!

the dynamic duo of second storey and appleblim return to r&s for another slice of their off kilter dance floor alchemy second storey & appleblim bring their detroit machine rhythms and sleek electronic grooves back to r&s for the ‘gimme 6’ ep. since their initial forays in 2015 on the label in the form of a trio of eps and a compilation that introduced the world to their unique strain of cyborg funk, the duo have gone on to refine their sound to ever new creative heights. this new ep is the fruit of that hard work - opener, and title track ‘gimme 6’ sees their production grandiosity hit new highs - swooping pads soon give way to slurping twisted bass and mechanistic hi hats before a collapsing breakdown freakout twists the trad techno blueprint into exciting new shapes. ‘levying rooks’ injects a sense of frenetic levity - serrated bass and scudding percussion, while ‘aperture‘ is drenched in swooning pads and fizzing, flanged out hats underpinned by relentless mutant kicks. too often modern electronic club music is all too content to sit heavily within genre boundaries, and ‘rules - ss&a’s gleeful disregard for categorisation and innate sense of melody, harmony and rhythm make their offerings the perfect antidote to the jaded veteran techno fans as well as the gleeful new jacks

chicago godfather mike dunn presents a new album thats fuelled by a pumping heart of pure house and a body of powerful analogue muscle. my house from all angle is a record destined to fully reinstate this already respected figure at the upper echelon. despite releasing countless classics like face the nation, god made me phunky, let it be house and personal problem, plus plenty more underground gems under pseudonyms like qx-1, the jass man, the phunky people and the md connection this is mike s first longplayer since 1990. the album title represents the different styles of mike’s large and long-standing catalogue that’s beloved of both diggers and djs alike. a master of deep stroboscopic acid, booty jackers, hip house and groovy us house/garage all are represented within.

reeko debuts on avian. in recent years, the spanish producer’s name has become synonymous with exquisitely produced, hyper-functional techno variants. releases via pole group and planet rhythm as well as the artist’s own mental disorder outlet have seen juan rico develop a distinctive sound that places elements of noise & ambient within a contemporary techno framework – harnessing a dense, abrasive energy without compromising groove. layers of ethereal pads, filtered noise and feedback fx are compounded into a tight, mono space, pushing back on powerful, propulsive low end – making for a decidedly heady listening experience.