the strange case of tone drop out volume 4.
i have tried to recount this most peculiar of musical cases many times before but with each attempt some strange ailment has struck me dumb. i feel that if i put fingers to keyboard i might at least be able to help other revellers, less fortunate than myself to share my wicked fate...

“the art of 10 seconds” consists of beats composed on the legendary emu sp 1200. the machine allows you to only use 10 seconds of memory for sampling.
boora explores soviet jazz archives of the 60s and 70s, scientific documentaries, folk music and sounds of nature to bring you the raw and unique sound experience straight out of moscow, russia.

this is soul jazz records’ latest new collection of classic and rare studio one recordings and is released on triple lp plus download code.
by the 1970s studio one and clement ‘sir coxsone’ dodd had already proved himself to be the defining force in reggae for almost two decades. from running the downbeat sound system on the lawns and yards of kingston in the late 1950s to opening studio one at 13 brentford road at the start of the 1960s, ushering in ska and rocksteady and establishing the careers of most of jamaica’s artists – everyone from bob marley and the wailers, ken boothe, toots and the maytals, the skatalites, jackie mittoo and more – clement dodd had until this point dominated the jamaican musical world.

seven exquisite deep house cuts for you by producer toyin agbetu. a forgotten hero responsible for some of the most exquisite music out there. from streetsoul and hip hop to moody chicago and detroit inspired house and soulful garage cuts. all crafted with passion, love and devotion. with this ep frame of mind introduces you to some of his finest works recorded under his shades of black alias selected from several out of print 1990- 92 releases from the intrique label. must have for fans of mr fingers, larry heard! tip!!

professor rhythm is the production moniker of south african music man thami mdluli. throughout the 1980’s, mdluli was member of chart-topping groups taboo and cjb, playing bubblegum pop to stadiums. mdluli became an in-demand producer for influential artists (like sox and sensations, among many others) and in-house producer for important record companies like eric frisch and tusk. during the early ’80s, mdluli projects usually featured an instrumental dance track. these hot instrumentals became rather popular. fans demanded to hear more of these backing tracks without vocals, he says, so mdluli began to make solo instrumental albums in 1985 as professor rhythm. he got the name before the recordings began, from fans, and positive momentum from audiences and other musicians drove him to invest himself in a full-on solo project. it was the era just before the end of apartheid and house music hadn’t taken over yet. there wasn’t instrumental electronic music yet in south africa. as the ’80s came to a close, that was about to change.

by now, the world is familiar with the extensive works of monsieur dimitri from paris. his prowess as a globetrotting dj and taste-maker for over 20+ years, his reputation for the finer things in life, his sartorial style and of course most importantly his infamous remixes and disco edits. isn’t it odd that until now, there hasn’t been an official home for the man’s stellar reworks? it just doesn’t make any sense. this is exactly the reason that he has decided to set up this brand new venture - le edits records. naturally, a high standard of quality is present with all le edits releases across the board - from sourcing 100% virgin vinyl used for pressing to the mastering through tape, to the beautifully crafted and designed tip-on sleeves that were popular with record companies in the 1960’s and 1970’s, to the wonderfully imagined graphic design that adorns said sleeves - dimitri has overseen every aspect of this, his first label.
what about the music? we hear you ask? well, simply put, only the finest disco reworks are to be released on le edits. fans will be treated to dim’s special versions of classics and rarer than rare tracks, all lovingly re-touched and mixed from the reels and master tapes each time, fully sanctioned and created in conjunction with the artists, rights holders and above board distribution. 100% official and 100% essential.

we welcome gabo barranco to the omnidisc family. gabo has a recklessly curious ear for distortion. an enthusiast and creator of electronic music ranging from classic acid house to crackling ambient to venetian snares-style glitch bass assaults. on jazz d, aaaa channels his admittedly shy personality into an identity-hopping slate of ideas that s undeniably intense.

scuba refocuses his scb project with ‘below the line’, coming this october on hotflush recordings.
‘below the line’ inaugurates a fictional timeline of events set in a hypothetical future. a climate-related disaster acts as a catalyst for a complete overturn in society, the repercussions of which will be explored subsequently.
the british producer has become one of modern dance music’s most pioneering figures, having produced four full-length albums, various eps and contributed mix albums to renowned series such as dj kicks, fabric, and for berghain’s ostgut ton label over the last decade. donning the scb name in 2010, paul rose’s pseudonym for esoteric techno found home on labels like aus, nonplus and hotflush recordings, not to mention its own eponymous imprint.

1997. drexciya dont have no phone. theyre too busy to do your remix. mad mikes response was short and to the point, enough to put off some, but not vincent koreman. addicted from an early age, the dutch producer dug deeper and deeper into the mythology and mystery of james stinson and gerald donald. the sounds, images and ideas conjured up by the detroit electro duo pulled koreman in, his fascination growing ever more intense as the underwater dwellers sonically prospered. fast forward twenty years and that fascination has not diluted one drop, in fact the aquatic dream of the wavejumpers is the inspiration for recolonization. these tracks would have never had existed, says koreman, if it wasnt for stinson and donald creating that great, energetic, abstract electronic music and coupled it with an original vision on the african diaspora, art and culture. this music is an homage to th e enigma of drexciya, a tribute to the machine marine men who pioneered electro and a vision. drvg cvltvre continues that vision, one of an underwater race that has reconquered earth, overcoming big business, corporate greed and water pollution to reclaim the surface from man. forget mankind. our time is over, recolonization is here.

in physics, entropy is a quantity generally described as the measure of disorder within any kind of thermodynamic system, including the universe. it counts the microscopic states that system can assume when open, interacting with others or getting altered by external conditions.
thus, entropy makes for the perfect description of the way ilpo väisänen (pan sonic, i- lp-o in dub) and dirk dresselhaus (schneider tm, a s s, locust fudge) have approached music creation since the establishment of their collaborative project angel (now die angel) in 1999. allowing energy to flow freely through machines, bodies and different acoustic conditions, they’ve generated a powerful archive of mutating sonic states. a kind of creative attitude that favors exploring the physical complexity of unstructured electronics.
that’s where the title for their first release on cosmo rhythmatic comes from, “entropien” being the finnish word and the german plural for entropy. getting back to the stripped down set of their beginnings (modular synths, effects, and processed guitar), they’ve come out with one of their most, intense, rawest and noisiest albums to date, showcasing an impressing scale of dynamics while attacking the senses with belligerent tones. oren ambarchi also shows up on two tracks, intertwining his drums, field recording, and guitar within the duo’s discordant layers.
entropien i is dedicated to mika vainio. may your soul rest in peace.

crackazat is back on local talk! this fall he s about to release his second album on local talk, -rainbow fantasia- and as a little taster we re proud to present this 12-... proton blue and called my name got the crackazat signature house sound, melodic, jazzy and of course very catchy. but it wouldn t be crackazat unless he did his own little spin on those tracks either, right? these two remixes shows why ben is a wizard when it comes to soulful chords on a blaze tip. this is for each and everyone out there that enjoys real music.

b-stock! cover with seam split. vinyl unaffected & mint. earth patterns is a new journey into sound by london based australian born musician ben davidson, best known for his disco tinged house singles as ben sun, that were championed by the likes of gerd janson and larry heard. the earth patterns concept presents a more expanded instrumental sound with live rhythm sequencing and synth work, sitting alongside vangelis katsoulis, lars bartkuhn and soichi terada on alex bradleys utopia records. davidson joins the dots between detroit by way of tokyo techno on sunflower to dream ii science deepness on horus rising and some worldly organic rhythms for a modernist and dare we say it utopian sound on after the rain. the analogue sound from his london studio comes through on the gentle and harmonic b-side opener transit pan perhaps the start of a journey beyond the dance floor for the producer. artwork and liner notes by davidson himself, all pressed by bespoke pressing plant the vinyl factory on heavyweight vinyl.

born in a remote log cabin deep in the scottish highlands, eventual reality, the debut album from the james l’estraunge orchestra melds jazz and electronic music sensibilities with a huge helping of heart and soul. in 2014 seasoned producer and musician ricky reid and his partner retreated from the city to embark upon a new life, in his own words “away from the constant, incoherent noise of the world”. as he set up his studio, the clean air and spectacular surroundings began to provoke musical inspiration like never before. then, like a scene from ‘field of dreams’, a series of talented musicians from his former life visited the cabin for a series of late night jamming and recording sessions, leaving behind them hidden treasures to be discovered and lovingly pieced together by ricky over the following months. with nostalgia so much a part of the album’s creation, the james l’estraunge orchestra can’t help but appear somewhat spectral, after all they are truly the band that never was.

solid, powerful and eclectic. skudge has yet again delivered a fine remix 12inch. blue hours remix is featuring on the a-side, where a pumping and pushing reinterpretation of hunted takes the lead.for the b-side, skudge invited parisian and underground house music purveyor brawther, who literary beefs up ?below? with his steroids mix. a perfect mixture of both house and techno, a place where skudge are coming from.

as comfortable being played after manuel göttschings e2-e4 as right before a terekke lo-fi house anthem, it is laced with the melancholy of an early morning post-rave comedown. yet for all the references and name-checking, its a record that is hard to compare to anything else, past or present.

the ep saltamonte features 3 songs in new musical territory, possibly making associations with south american shamanism and connections to dance rituals through both strange and familiar sounds, acoustic and electronic. the duo keope is formed by the experienced, yet talented toni bruna and marcus rossknecht.

litüus returns to avian.
sparse and reflective, the chicago native’s work occupies a curious space on the periphery of the techno genre. by stripping back the music to all but its most vital elements - most notably the sequence, but at the same time maintaining a sense of urgency in its articulation, litüus crafts exquisite, ghostly shadows of busier, more fleshed out material. neither intro nor outro, but rather suspended in some middling point of formation - what remains is a remarkably pure examination of minimalist, experimental synthesis.

following on from our previous gladys knights & the pips 12inch ( love is always on my mind / bourgie bourgie cat no: disco115) it gives us great pleasure to re-issue her most sought-after and in-demand 12inch the walter gibbons remix of it s a better than good time backed with the full version of saved by the grace of your love. this is a legendary and super-rare 12inch which was only ever issued in canada and has become something of a holy grail for serious dance music collectors over the years. a decent condition copy will currently set you back £300+ and that s only if you re lucky enough to find one! it s a gibbons master-class like you know he can. fully remastered on limited edition 180 gram heavyweight vinyl.

poker flat label boss and genuine dance music legend steve bug teams up with langenberg for this excellent two track ep. langenberg has released an unfathomable number of dancefloor fillers under various monikers on labels such as drumpoet community, mule, ovum or styrax leaves and recently released his debut album central heated house on dessous. langenberg is also one half of the project ribn. chord cluster has summer anthem written all over deep yet euphoric, spacy yet danceable, and ultimately a deeply emotive piece of house music that will bring smiles to faces all year. the rhythm track is tight yet remains loose and funky, while the pads and synths dip into just the right amount of acid to keep the ravers lost in the moment. the teaze treads similar ground arpeggiated pulses lead the arrangement, while a chicago influenced groove brings a shuffle to proceedings the joy in the track is evident it s clear the guys were having a lot of fun in the studio.

having given us a taster of things to come back in september 2016, with the pressing matters single, the cyclist returns to hypercolour with a brand new, full length album. and as the title suggests, sapa inca delirium leans heavily on south american mysticism, not just musically, but in the visual imagery that the eleven-track album paints so well across its various tempos and rhythms. from the tropical burst of mood setting opener, go back to the steamy and pacey percussive flow of inhale/exhale which features regular collaborator tanaya harper on vocals, the cyclist’s fourth long player is crammed full of intriguing atmospheres and soundscapes. antiexist, with its down-tempo rolling snare fills and ethereal gregorian chanting segues effortlessly into a blind girl drinks ayawaska, a suitably discordant and hallucinogenic skit that ensures the album flows into the more rhythmic cuts like skateboarding in the jungle and mirrors (the second album cut to feature harper on vocals). even the traditional jazzier vibes of when we all break down featuring joni are kept rugged and boisterous, with heavyweight bending bass, choppy breakbeats and fx’d ambience amongst the smooth jazzy chords and sweet vocal delivery. sapa inca delirium is one of those albums that will reward on repeat listen, such is the diversity of style on show here, and the detailed and wide eyed curiosity offered up across the long players fifty three minutes.

from dive bar to record label, paradise palms’ fifth release is a follow up instalment to its debut compilation lp, ‘bonnie tropical’. featuring music primarily made in edinburgh and glasgow, the collection shines a light on some of the most exciting music being in scotland today. with contributions from 10 acts, this compilation is a charismatic journey into a new generation of modern electronic and experimental dance music.
the vinyl release includes a download code.

for the 6th no bad days release, the label pulls in a shining star from an unlikely place: the city of bandung, indonesia. already loved at home for his work with disco edit gang midnight runners, here munir strikes solo, offering up an extension of his synthcraft and taste for low-slung modern funk + boogie.

mehmet aslan and miajica represent some of the finest operators in basel, and their fleeting wax label is on hand to represent what s good in the swiss scene and beyond. on this latest release they turn to eva geist, who has previously been spotted on macadam mambo and elestial sound with her beautiful mix of synths and vocals, striking a chord between noirish synth pop and heads down club music. -blumareciano- is a wonderfully seductive, slightly spooky stew of a track which san proper then injects with his usual freaky energy to make for a more uptempo party version. then geists begum stretches over the b-side in a bubbling blend of delayed voices, tribal percussion and general outernational surrealism.

disco fruit s sublabel continues to turn out smooth and slick deep, funky house, and this time around tonbe is on hand with the goods to get the people grooving. broken heart features rachel on vocals and some sweet saxophone, hitting the spot just right for universally appealing house music. street groove is a more forthright, clubby affair where the drums take the lead and the keys lock into a loopy late night roll. feel so good features some more choice vocal turns with urgent melodic hooks, and then something jazzy swoops in at the end with some proper new jersey heat to get your body popping.

dj and producer reggie dokes, along with detroit colleague brian neal, come together for a moving and soulful presentation: detroit luv ep. intertwining both house and techno elements seamlessly in homage to the detroit techno and house legacy. artist brian neal may be unknown to most, but he has been creating music for years. here we find the artist tapped by mr. dokes, presenting his music for the first time in vinyl format. this melodic, dancefloor material, is sure to bring brian neal to the spotlight.

hope are in the black phase. everything around them is obscured. every lyric and every spark of music, every photograph and every recording is drenched in black. it’s not the black of wave or gothic bands, but the unpretentious black of portishead or talk talk. a black arising from a wound and at the same time covering the wound, burying it. a scab. a black letting you forget the jazz, the academics, and the provinces that hope has come from. in germany, jazz, academics and the provinces are very close, and hope had to live through most painful experiences, play many unnoticed concerts, and remain unloved to find the love for themselves and their music. only this explains the dark stringency and consequence of their self-titled debut album (produced by olaf opal), featuring monolithic songs like cell, kingdom and raw. songs, sounding rather like dystopic infinity than a light-hearted debut album. songs, compressed to one word, as if the listener should not waste any time with reading, but start listening. listen and dive into the endless hope wave of sound, vehemence and black. and yes, during all of this, the iconic singer christine börsch-supan is naked. we can only guess her contours - it is too dark.

lisbon’s sombra returns in full effect with their trademark hypnotic, industrial yet oneiric techno cuts.
this engaging four tracker features three originals by brussels-based talent damaskin after a string of brilliant releases including an ep for drvg cvltvre’s new york haunted, and a remix by the young portuguese cindy, whose rapid growth has seen him release music on vent and plat at berlin’s techno mecca, tresor.

gost zvuk marks tenth release with a new full-length by vtgnike, arguably the most influential producer on the russian electronic scene who is also partly responsible for shaping the label’s aesthetics and sonic identity.
during the years of his practice vtgnike meticulously sculpting a sound unique to himself finding a gap yet unexplored - somewhere between current hardcore continuum trends and the sounds of classic idm era. but despite falling somewhere on the uk music territories, collection creates a space of its own - the one inspired by the al the splendors and miseries of post-sovietness one cannot get rid of.

obscurum is a two man outfit based in fuerth, germany. formed by roland l. and d. blaze, who have collaborated musically together since 1995. they also own the following labels: e-com, exalt and seico corp. known for their preference for minimal detroit techno music, they command international credibility. dark electronics and pumpin techno with an industrial tinge. several releases on e-com/exalt/seico corp. unite their typical style of production which puts the mechanical part of their music in the front row. functionality without any compromise.

this is a reissue of ‘casioworks’ by gust de meyer, originally released as a cassette on ding dong tapes and records in 1983. this stuff has been making crooked collectors, old and young minimal-wave heads and other music lovers going bonkers for years. at the age of 35, back in 1983, gust de meyer was working as an assistant at the faculty of social sciences of the catholic university of leuven, were he did some groundbreaking work. he got a phd in musical industry and introduced the study of video games.

break at home is the collected recordings of the mysterious group 2 katara which was formed in athens, greece in 1978 by george theodorakis (keyboards, percussion, vocals) with his close friend dimitris papangelidis (bass, guitars, percussion, vocals) tip! this musical-duo recorded quietly over a decade between theodorakis’ family idyllic home studio in the philopappou hill of athens and the nearby studios theta and sr. for some part, the tracks seem like adventurous experiments or even unfinished samplers or riffs the band starts to develop, but at the same time there are productions that are clearly meant to be the backbone of an album that never came out.

next up on bucharest’s raw tools label is börft co-founder, johan sturesson, also known to be part of the swedish electronic trio, frak. the four-track ep consists in music from the private vaults of the producer, that has been kept secret for almost 20 years. rough and gritty, his analogue approach and stripped down sound define the record. starting with the rave sounding “uncle owl” and then moving to a more darkly atmospheric title track, kord shows his muscles on the flipside with some more techno infused and bass driven dancefloor cuts.
always under the radar, johan has been operating raw electronics since the late 80’s, developing his distinctive sound. as kord, he has released on several swedish labels, including his own imprint. together with jan svensson and björn isgren as frak, they have released music on labels such as kontra musik, lux rec and midlight records.

the project -get in touch- is based in mainz and berlin, and was founded by the guys behind orbit iii. their passion is to create a blend of trippy minimalistic sounds with classic house and techno elements and to get in touch with the music. for their first release they are proud to present a primetime killer remix from nicola kazimir contrasting the rather smooth original by willberg on side a. klaser&karrenberg, the highly recommended newcomers from mainz, showcase a dry acid interpretation of the playful floating orbit iii track on side b.

boulderball is a whole new, fully stretched world, inspired by everything from the bomberman hero ost and cesar camargo marianos prisma lp, to going on youtube and playing tracks at 1.25 speed. the lp is made of fizzing brazilian fusion, video game music, virtuoso keyboard playing, funk, and the type of glorious, hook-driven pop energy known to fans of ymo, new order, and mario 64 alike. dope. period.future times is very happy to announce that we re putting out boulderball, the first lp from repetentes 2008 (aka gabriel guerra of rios 40% foda/maneiríssimo crew), this september!

following on from the first part of heatwave remixes, mike maurro digs deep into this legendary groups catalogue to bring us another duo of stellar reworkings. this time their jazz-funk classic the groove line from 1977 gets the mm remix treatment and is backed with their evergreen slow-jam always and forever. 2 deeper cuts this time but the quality is just as high as maurro really understands this music and knows what to use and how. fans of heatwave will undoubtedly adore these new mixes and people who are new to the group will be amazed they hadn’t checked out the legendary mr. rod temperton and his super talented pan-european band of musicians before! naturally, everyone is welcome to this party...

released in 1974, téo azevedos first album grito selvagem (wild shout) is an irresistible blend of soul and rock with an unmistakable brazilian character. as many other lost gems of time past, the album found little commercial success, and still during the 70s teo turned forever to the true brazilian popular music the forró, the roots of sertanejo and the rhythms and traditions of brazils often forgotten countryside becoming, from then on, a genuine cultural reference in brazil not only as musician and composer, but also as a poet and researcher of popular folklore, being awarded the grammy latino prize in 2013.

i think i have never met anybody, with the exception of brazilian guitarists baden powell and toquinho, as connected to his instrument as agustín pereyra lucena – vinicius de moraes the words by bossa novas seminal poet vinicius seem fit as a good introduction to agustín pereyra lucena, the undisputed ambassador of brazilian music in argentina, and a revered guitarist since his early years. pereyra lucena became fascinated by brazilian music during the years of bossa nova, a sound that would define his career despite his later incursions in jazz and french impressionism. this passion led him to drop his architecture studies and become a full time musician, forging his own sound, befriending vinicius and toquinho and sharing stage with many of brazil’s greatest musicians. released in argentina as ese dia va a llegar in 1975, and the following year in europe as brasiliana, this was pereyra lucenas fourth album. a tasteful blend of covers and original compositions, the result is a thrilling bossa jazz album with a character of its own, and which also served as the starting point of guillermo reuters career, who would shortly after start his project candeias, with agustín pereyra lucena on guitar.

tidy line-up including randomer, gilbr, voiski and tolouse low trax. tip! in terms of experimental, techno, very few come close to the impact that this uk producer has had on the scene. with a sound that is rarely classifiable, randomer’s dekmantel contribution is a staggered, minimally-twisted, dark, kind-of-two step, awesome thing. versatile records’ gilb’r has found himself an integral part of the dutch scene since moving to amsterdam, and brings forth his organic, percussive grooves that have helped define his music, and label to date. salon des amateurs’ tolouse low trax provides a seasoned session of amniotic, grizzled, hypnotic post-everything music, that is eerily discomforting and wonderfully pleasurable at the same time. and on the ep’s fourth track, parisian techno wizard, voiski adds layered organic, futuristic loops that work to stale the progress of time, and space.

the complete twr72 - lucid release wasn’t enough so it gets a remix treatment by psyk, henning baer, rod, neznan and twr72 itself.
psyk kicks off with a tom based space out remix of lucid. heavy soundscapes and pads are layered over the fine rhythm of toms. henning baer takes care of aporia with a weird metal loop kinda vibe and a straight forward beat rhythm to keep the speed.
twr72 gave colloquial a groovy treatment. with minimal, filtered and slightly oldskool elements they changed the original parts into a little killer. talking about minimal, on the flipside rod delivers greatness on lucid with his cut and slide technique. neznan closes the ep in style, because his style is impeccable. when you thought you’ve heard it all, neznan jumps in. an experimental take on erudite is what you get. and like always, there are hidden messages in his music.

groundbreaking debut album from funk rock pioneers funkadelic, including all the alternate 45 versions, and the ssociated non album b-sides.

row row row your boat gently up the stream, nyra back on the oars for canoe 005, heave-ho.

do yourself a favour and dance across the floor when listening to the new jacob korn-record, aptly titled son of gx. the music is heavily based on the good old yamaha electone organ. the home organ for the world s gentlemen was modified by jacob himself and is now an integral part of his studio. as you ll hear it on the ep, it injects a decent dose of fun into jacob s vision of house music. at least, you will instantly notice that when listening to singlefinger chord, a track that conquers the floor with its disco elements. rumours say that jacob s cat toddled on his poor man s yamaha cs80 when producing cats on organs. if that s true, the cat provided an irresistible hook to an already slamming, italo-inspired track. son of gx is every bit as compelling as the first two tracks with its synth trumpet glory while the slighty darker fun blocks sustains us with heavy percussion works straight out of the yamaha electone organ. on top, you ll get a remix for singlefinger chord by new york s jacques renault (let s play house) as digital bonus.

jules etienne has been skirting around labels such as apersonal music for a few years, but here makes a strong statement with a new record for cocktail d amore. triangle des bermudas is a swinging yet cosmically inclined jam powered by warm synth arpeggios, which regular collaborator massimiliano pagliara then nudges up into crafty deep house territory. cuban omlette is a delicate affair that interweaves pattering percussion and nagging synth lines to make a particularly heady brew before johns job finishes the record off with a richly layered drum track that should have djs across the board getting tricky in the mix.

london based disco outfit faze action team up with celebrated anglo/brazilian artist, nina miranda for proto house crossover. faze action have always managed to take different musical traditions and blend them to create sounds that are somehow familiar whilst simultaneously containing the unexpected. last year s mangwana, featured long time faze action collaborator, zeke manyika, singing in his native zimbabwean shona over faze action s infectious disco production. this time, british/brazilian singer, artist and all round creative force de majeur, nina miranda, takes things further with her invitation to vamos pintar or let s paint, in portuguese. on the surface there is the familiar faze action restyled proto house but it soon becomes apparent that the brothers have appropriated more than just a brazilian vocal. punchy 808 drums and fizzy synths are infused with brazilian caixa and pandaro as if they had always been designed to co-exist. the remixes come from the illustrious max essa, whose british born/tokyo resident background chimes well with the international nature of this latest offering. his slo-mo bubble dub simmers with mediterranean sun that reclines into romantic piano flourishes and dubbed out vocals, whilst the extended dub manages to draw out the original elements at their original tempo. faze action s own paradise 90 dub closes the package by keeping close to the original arrangement with added economy and plenty of dub delay of course.

* dom & roland’s label has gone from strength to strength from its conception in 2006. featuring collaborations by dom with other artists such as noisia, hive and amon tobin the label has continued to push sonic boundaries whilst staying true to it’s ethos of “not selling out”. it is currently in a “dubs from the dungeons” phase releasing sought after unreleased music from the 90’s from various accomplished artists every month on limited edition gold vinyl. * phoenix – dom ft technical itch a straight dancefloor dj smashout made from two of the featured artists most seminal tracks combined. dom & rolands thunder and technical itch’s reborn. nuf said! *tears in rain – dom & roland a futuristic roller from the “bladerunner” era. it perfectly captures the mood of the film. a big hitter at the metalheadz sessions in the 90’s this was smashed by doc scott and randall in many of their sets. again featuring a reworked alternating clean and distorted -flow break- and big 808 bass this style of production pioneered the way for dom’s later work. this turning point in dom’s history is now finally mastered and seeing it’s release on vinyl 20 years later.

hollands house & techno kingpin de sluwe vos kept his best work until today to be released on his patron imprint. a four tracker which combines low tempo sharp synths as well as dancefloor shakers with rolling snares and undeniable claps for a dark and sweaty night club setting. as he is equipped with a deeply rooted understanding of club music, de sluwe vos raised the bar with this release for the future releases on the patron records imprint.

clean slate is the first release from addremove on swiss label thrènes. there isn’t a lot to say about addremove himself or herself as he/she prefers to keep their identity unrevealed, at least for the moment, so lets concentrate on the music. clean slate consists of 5 original tracks and a remix from jk flesh (project/alias of justin broadrick of godflesh, final and jesu).

the dub-ito label was founded on the friendship and musical vision of southern italian duo claudio mate and francesco mazzocco. the label s name is a play on words from different languages, giving a unique outcome the label s new series, nihon no toshi (japanese year) will feature ongaku (music) from the japanese underground scene.the ifrst release in the series is by the tokyo unit of rikinari hata and adam gyenes, aka soloist & second apartment, who summon up a reverberating analogue selection for lovers of industrial, ebm, noise and new wave. -untitled- is the perfect album for fans of cabaret voltaire, spk, suicide, and factory records.the album comes in a black disco bag with a 12&#8243,,, full color poster.

ziúr is a female berlin-based producer and she’s bringing some future club industrial vibes to objects with her deeform ep. in 2015 she started ‘boo hoo’, a night dedicated to the queer community, along side joey hansom. bookings are inclusive, having female identifying and people of colour on the bill with a core friendly and accepting space for people to party. ziúr first made stirs when she remixed peaches “how you like my cut- from the totally nsfw but incredibly fun ‘rub’ lp. she then exploded on to the scene with her debut club vibe taiga ep on infinite machine earlier this year. ziúr has come a long way from her experimental noisy punk band ‘sissters’. punk vibes still run through the dark and bass-heavy sound of deeform ep though. her use of environmental noises, dogs barking and the like, are evocative of cityscapes and dimming lighting when the streets meet dusk. “my testing ground for my own music is when i work at a venue and i do a sound check,” she explains. “if people freak out, then i know that it’s a good track.”