circus company and the mole have long been making eyes at each other across the same crowded dancefloor. colin de la plante?s primary project is synonymous with the off-kilter corner of house music we like to spend our time dancing in, and the labels he releases on are close cousins of the circus troupe. from wagon repair to philpot, musique risquee to perlon, it?s a wonder that we haven?t worked together previously, but finally that?s been put right with little sunshine. stripped back, understated disco grooves have always been the bread and butter of the mole?s sound, while infectious, cyclical melodic patterns are equally important in making his unique version of house music. on the title track, those elements are presented with full force, but in between the driving rhythms linger the most gorgeous keys, bringing a mellow introspection to the track as a neat counterpoint to the energy of the drums and arpeggios

pink fluid is not an italian edm duo by the same name but the new band of jon tye & pete fowler who form the core of seahawks! as ransom note once called it: a partnership born of a psychedelic guide to monsterism island - the soundtrack to pete s illustrations, toys and figures - cemented by gigs playing records by boston, steely dan and fleetwood mac at the big chill bar, fuelled by a passion for vintage music-making machines, and given a name after a weekend spent in sailors outfits at bestival. from tracks synthesised around aor samples, seahawks now record pretty much as a full band - which includes members of hot chip and the horrors. so, what happened to pink fluid… ? jon: the first pink fluid release pipe dreams’ is coming up on prins thomas horizontal mambo imprint, we don’t know when but we know it will be beautiful when it does… and it does now! pipe dreams is an 8 track, 32 minute mini album of sheer, almost translucent, beauty. mambo hq 26.7. 2017 horisontal mambo is a new sublabel by full pupp /oslo

one foot on the dance floor & one foot in a garbage can. founded in 2016 in paris by stéphane bodin and françois marché, delodio cultivate eclecticism & joie de vivre. issuing vintage tracks recorded on cassettes and modern productions with the same passion. one way of doing things, differently and sincerely. debut 12- from parisian producer fm. 2 tracks distiling the vintage classic rave house vibe of a tr808 on a cassette tape. music for the floor. enjoy !

helder russo is the youngest of eleven, raised in lisbon in a family from the island of santiago, cabo verde. he s a prolific music producer with a couple of heavy releases on groovement recordings and as half of gatupreto on tink!. russo s music is thought out and solid, his reference list is long and diverse, citing rhythm & sound in the same context as miles davis, sade, the late great mj, boo williams, carl craig or jay dilla. the result is a soundtrack composed with care and attention, detailed and rich though still powerful and present.

that crystalline moment we all know too well. what was saturday night has become sunday morning. pleading with sleep to come while piecing together the last few hours of the party you’ve just left. few would claim to be at their most productive at this ungodly hour. not hekkla, this is when he gets down to work.
the nachtbraker ep is the product of several of these post club jam sessions. or in the words of the artist “the same places revisited again and again in the midst of night.” translated from the dutch word “night owl”, hekkla’s latest extended play delivers on it’s promise, serving 4 cuts of floor filling goodness ready for breakfast.

london based feelings expand their horizons with the birth of their new label feelings worldwide. following in the footsteps of their much loved parties, the label will see releases from some of the pioneers of the dance music paired alongside exciting new artists who ring true with the blueprint those pioneers created.
for the first release feelings have enlisted iranian born, london-based producer kasra v, delivering an incredible slice of middle-eastern inspired house. on the a side is the early 90s inspired fantasy, a dance floor thumper with a tribal house feel you could imagine rolling out the speakers at a dreamscape party, followed by the dreamy pris providing a contrasting sunrise vibe to the prior track. on the flip is myth a steady piano-led builder inspired and written in the style of southern iranian tribal music, followed by a remix of the same track from legendary nyc producer cozmo d under his dream 2 science alias bringing a straighter dancefloor ready versioin with the heavy deep house flavours his d2s project is lauded for.

a leading light in explorative techno mininalism & drum & bass revivalism at the same time. highly recommended! tip!

one foot on the dance floor & one foot in a garbage can. founded in 2016 in paris by stéphane bodin and françois marché, delodio cultivate his eclectism. issuing vintage tracks recorded on cassettes and modern productions with the same passion. one way of doing things, differently and sincerely.

theatre records was founded with the idea of concentrating the major genres of electronic music on a single stage. many centuries of theatral art have taught that the tragedy and the comedy are strictly linked in spite of their differences. with this pillar theatre records contains various genres that at the same time are separated in two different sub-labels. theatre white – the mask of the comedy includes the strenght and musicality of electro-house and progressive-house. theatre black – the mask of tragedy keeps inside the soul of genres as deep-house and tech-house.

very limited album discs available now!
this is the first album oscar mulero has released under his own name, after two acclaimed lps under the moniker trolley route. well known for his skills as a hard-edged, raw and floor-orientated techno dj, his productions go far beyond, digging deep into the intricate landscape of intelligent techno, floating moods, reminiscent atmospheres, harmony and detail.
grey fades to green is the affirmation of his maturity as a producer, using both hardware and software in the pursuit of a highly coherent and diverse album.

the tenth output of invite’s choice records is another hard hitting banger made by border one.
drumrim’s straightforward four to the floor kick is accompanied by a hard hitting bass and a repetitive leadsound that evolves throughout the track. the overdriven hihats and rides combine well with the panicky sound. diffuse goes along with the flow set by the a1 track, yet has a bit more percussive feel to it due to the toms added.
hatchet on the b-side provides an aggressive kick and percussive elements. the sound evolves around one overdriven synth sound that drains you in to the track. perfect for fast transitions while mixing. copylust ends the ep a bit slower bpm wise, but emits the same energy as the previous tracks. straight-forward, hypnotising, hard hitting contemporary techno.
another great showcase of the talent harvested by invite’s choice.

2017 altenative label art ... after his critically acclaimed frustrated funk releases >alsoran< and >vox automaton< in 2007, gerard hanson returns to la familia frustrada to drop yet another selection of his finest material. again 2 releases. this time starting with harbour city sorrow followed later with a 12 inch on frustrated funk. >lunar ruins< shows his deeper side again with skillfully crafted tracks loaded with fragile moments of elegance and beauty. the title track is already known from his amazing live sets, and was recorded around the same period as >alsoran<. typical e.r.p. basslines combined with tear jerkin strings. with >into the distance< gerard shows his love for the early dmay sound and programming style. the final track >mimosa canopy< is an experimental minimalistic track with warm pads, clean production and lots of tweaking freakyness. great release again from our humble texan friend.

limited edition remastered reissue of an obsure italian balearic disco song produced and arranged by victorio pezzolla the same man behind the project -asso - don t stop- that was a big hit during early 80s in the n.y.c. underground clubs, regularly played by larry levan at paradise garage and by david mancuso at loft. the plus on this limited edition reissue is that the production is directly handled by the former producer to obtain a more accurate sound compared from the first release.

dark entries is proud to present the deluxe 2xlp reissue of ‘come visit the big bigot’ by severed heads, oone of the longest surviving bands to emerge from the australian post-punk independent music scene. they began in sydney in 1979, incorporating elements of ‘industrial’ noise-generation, tape cutting & looping and electronic sound synthesis. as the project developed song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style. after many line-up changes featuring garry bradbury and psychedelic guitarist simon knuckey, severed heads was the vehicle for composer tom ellard. ‘come visit the big bigot’ was severed heads’ first record to be released commercially simultaneously in australia, north america and europe in 1986. it was a prime period for this industrial dance music and bigot was a respected album that did well from the tour they did with skinny puppy that same year. quite a few people still define the band by this period. ‘come visit the big bigot’ was made on a fostex 16 track recorder in tom’s bedroom, employing the newly acquired akai s612 sampler and roland sh-101 to create most of the drum sounds. the album signaled a new direction, flirting with the dance floor and the pop song. presenting the heads at their most cohesive, while retaining their distinctive musical stamp. tom’s vocals are harmonized, slowed down, sped up, run through fuzz boxes, backwards, drum machine rolls, sampled guitars, horn sections, and voices but with a subversive rather than malevolent intention. tape loops are more subtle and define their own space and texture. like the original australian version of the album, we’ve included a bonus disc featuring three extended remixes by sydney dj robert racic (who produced the edited 7” version of “petrol” we reissued in 2015), plus three b-sides from the ‘twenty deadly diseases’12” and two additional tracks from the same recording sessions.

...and in the end, not a great deal is known about the spanish duo futuro. the saga begins with the discovery of a cache of test pressings deep within the shelves of a very dusty record shop near the plaza del toros de valencia. as is the case with these things there was no promo sheet or any other information outside of three clues etched into the run-out groove: futuro, jollyman, mcmlxxxvii. through deduction and reasoning it was soon realised that jollyman was a short lived italian record label that closed it s doors in 1987. there were rumours for a while that jollyman was a mafia wedding gift to a music enthused female family member, but as the journey continued it became slightly more likely that this was a tax write-off for it s owners, as the label itself was never very successful, and was more likely an afterthought rather than a full on passion project. that is not to say that there were not gems hidden within it s small catalogue, most notably from noted library musician, composer and arranger alessandro signoretti, without whose help this release would not be presently in front of you. alessandro s assistance led us to the infamous hafenklang studio in hamburg, germany. the very same studio used by boytronic to record their classic lp the continental (some of the same dx presets can easily be heard on both albums) and despite the insane amounts of musicians that have passed through those doors the owner clearly remembered the duo and finally the mysterious futuro had names: javier c rayón and raúl láynez.

too late for the italo boom, and too early for the sonido de valencia craze, the recordings of futuro have sat on master tapes since 1987 finally awaiting their much deserved audience. bordello a parigi are more than proud to present this lost late slow-mo synthesizer italo masterpiece onto the world.

passport to paradise continue their winning streak with an exclusive release from man of the cloth, digger extraordinaire, john zahl / jaz. if you ve seen his video for thump, you ll know that jaz and his works are weird, wrong and wonderful: in a word, the ethos of ptp is alive and kicking in this release. first up, geisha chugs along in the cosmic dust of 80s synth assortments and flourishes of koto. scatter-brained brilliance from the deepest of osaka basements. a2, move to the beach, heralds a sleeker, sleazier side to jaz s episcopal offering. it builds itself out from a latent groove that ushers in the end of the night, carrying you to the empty seafront just before dawn, where a breeze ruffles the palm trees as you dig your eyes into the moon. turning the page, we have a rework from the same post-kraftwerk heritage, but this one is more potent synthpop roller, a straight-up, no frills edit for the toughest of dance floors. the final track, twin theory, is a lofty affair from the outset, its arpeggiated bass holding the track to ransom: it is playful yet very serious, sublime and sarcastic. this is what passport to paradise are bringing to your homes and dancefloors. don t miss ou

“eagles & butterflies has taken storm in electronic wonderland - boiler room arpeggiator was originally titled 14 minutes of arps and its exactly that. its one of the simplest tracks iv ever made with probably only 8 layers that your weaves in and out the whole way through, really love the subtleness of this track where at the same time it is also a beast! oyeme is maybe the e&b sound people are familiar with, big marimba melodies, fat sub and rolling hats with a big break, love this one prophet was originally just an experiment when i purchased a prophet 6, its a little crazy and pretty full on, love the funky bass in the one from the sh 101. all the parts for this where recorded in a few takes live and two whole track was made in 2 hours!

it s been quite a while since naibu’s last feature on scientific. more than a year has passed since the release of his acclaimed “case study”, a mature and eclectic quasi d’n’b album rich in live instrumentation and tons of intricate details.
and here’s a follow-up to this work a four track remix ep featuring reworks by some of the biggest names in the atmospheric deep drum & bass current of today. naibu’s already captivating take on music gets reinterpreted in four different ways, so just know that you’ll be treated with a sense of freshness and familiarity at the same time.
spanning a variety of shades of drum & bass, from hiddenwave’s deep and rolling take on “turn me down”, through seba’s nostalgic rework of “astray” and bungle’s powerful, cosmic rearrangement of “case study”, to future engineers heavyweight, solid-basslined reinvention of “fighting for attention”, the ep acts as an excellent supplement to naibu’s original work, offering listeners even more of auditory pleasure.

the third instalment of our amenizer series continues in the same vein as the previous two, with a generous serving of every junglist’s favourite breakbeat, on a no frills white label vinyl, with an undercover artist providing the ammunition. jedi hi-fi is an alias of one of our core foundation x family members, and if you listen keenly it shouldn’t be too hard to work out who is responsible for these four cuts, with a trademark jungle sound which is heavily influenced by 80 s jamaican dancehall sound systems and 70 s dub production..... reggae reggae sauce – as the vocal says “serious damage” and that’s what this track will do no questions asked..... sound check 1 – dubwise from start to finish, the signature sounds ofjedi hi-fi are evident throughout from the top to the very last drop. sound check 2 – jazzy intro vibes soon give way to a head nod amen patternand creation discoteq vocal samples bounce in between the beats and bass. problems – the final track of the ep sees some expert echo chamber work.

it was the 23rd century, mankindÆs darkest hour. the war had been raging for almost a hundred years. we had been fighting for so long, no one could even remember the reason why it all started in the first place. for decades millions died for the same piece of rock. again and again and again. the hope was to start over, free from the prejudices that had divided us for so long. that was 800 years ago. when we came here to rebuild our lives. weÆve come a long way since then, we have grown, we have prospered, we have flourished, but we will never forget.

another very fine release in asthmatic kitty s library catalog music series, this album comes from william ryan fritch, a prolific film composer, sound recordist and multi-instrumentalist from oakland, ca. fittingly, music for honey and bile takes on the character of a cinematic score, collecting a number of varied instrumentals that show an incredible range to fritch s diverse talents. in addition to the composition and production, fritch performs virtually everything on the album, playing piano, guitars, violin, viola, cello, flute, clarinet, sax, trumpet, marimba, vibraphone and dulcimer to name but a relative few. this is seriously impressive stuff, and chamber pieces such as too anxious to dream , shadows like despondent ghosts and tongues that chatter like pigeons sound like the work of a large ensemble rather than just one man. the variety exhibited on the album is breathtaking too, switching between large-scale productions complete with multilayered strings and percussion to more intimate pieces like eggshells and the manipulated piano drone minimalism of chewed their nails to caustic red pads .

this is the debut release from re-303 records. acid music made on the machines of the same name, the re-303 bassline. the second home of acid ep captures the underground acid sound of helsingborg, sweden or so called -helltown-. three deep acid cuts and a recent live recording from helltown acid militia cement the sound of the city. we are here

four years after his excellent eclipse 12-, roberto auser is back on a rotterdam staple: pinkman. color your soul has adopted some, but not all, of its older brother s attributes. lumbering with menacing intent, the title piece leaves wreckage in its bruising wake. -do you want to believe- is cut from the same deviant cloth. grunting rhythms stomp on tortured strings, industrial shrieks cry beneath the boot of a raging beat. the closer, -wake u up-, has auser toying with his victim. steam hisses, acid lines bulge, pistons pound and sirens blare in this boiled work of brooding brutality.

joe armon-jones & maxwell owinare forces to be reckoned with. both integral parts of the burgeoning south london jazz scene, these young musicians contribute to numerous outfits including ata kak, jamie isaac, mc pinty, moses boyd exodusand ezra collective, as well as pushing their own solo projects.this is their first combined effort. idiom is the result of multiple collaborations under the direction of joe and maxwell. featuring nubya garcia, oscar jeromeand jake long, it is heavily influenced by the hardcore continuum and covers everything from 2-step, broken-beat and house to jazz and dub.having been compared to artists like 4hero, floating points, harvey sutherlandand moodymannall in the same breath, joe & maxwell arealready garnering support from radio 6 musics gillespeterson, jazz fm/musica macondas tim garciaand jazz fms chris philips.this is an accomplished body of work by some of the most exciting young talent in london right now.

the maginificent seven is a remake of the 1960 same-titled western film, which in turn was a remake of the 1954 japanese classic film seven samurai. the score will be the final james horner score to be released posthumously.
presing on 180 gram audiophile vinyl, housed in a gatefold sleeve with 4 page insert included.

big sean is due to release the lp for his recent release, ‘idecided.’ via kanye west’s g.o.o.d. music and def jam recordings / virgin emi. in recent months big sean has been announced as puma’s global ambassador and creative collaborator. prior to this, big sean lit up 2015 with ‘dark sky paradise’ which featured the likes of drake, ariana grande, kanye west, chris brown, john legend and more. ‘dark sky paradise’ spun off the smash hit single, ‘i don’t f**k with you’ featuring e-40. sean was also a major collaborator on kanye’s ground-breaking ‘cruel summer’ album in 2012, and shared multi-platinum success with kanye on the grammy®-nominated ‘mercy’ (also featur¬ing pusha t and 2 chainz), and ‘clique’ (with jay z). released on 2lp translucent blue vinyl, gatefold sleeve, sticker.

dream diary is a label operating out of brixton that has previously featured the likes of afriqua, tom gillieron and richie littler on its roster, and now it s the turn of the head honcho oslo roma to serve up some more of that subversive four-to-the-floor business. mars water- is an infectious minimal roller with bass that wraps itself around your cerebellum and pulls you in deeper, while -bubbles- does the same but without any drums to buffet it along. how good is the party is a more experimental affair that deals with off kilter rhythmic fragments and spaced out textures, leaving ep closer twotet to drop a more immediate slice of electro on the situation.

fort romeaus second outing for running back is another exercise in dance floor synthesis. starting where its predecessor saku left us with the green shimmer of a fairlight, emulators you might have guessed it greets us with the grey realism of an e-mu ii. purchased first by none other than stevie wonder, immortalised in ferris buellers ode to absenteeism and the original loon sampler, there is nothing this machine cannot do for you the same goes for fort romeau. his disco-informed, trance-induced tracks that usually end on a high note, are elevated by ambient soundscapes that end with a bang and sugarcoat your warm-up slots, while bird-heavy bonus beats that stand up on their own or help you out in the mix. nice like a stick of liquo-rice.

this summer 2017 tom bulwer launches parasol culture, a vinyl only imprint, focusing on quality house and techno, with a tinge of “it’s a london thing”. dutch born tom came to london as a uk garage dj working up his way the ranks of pirate radio stations (freek fm, unknown fm), to producing and working with uk garage legend karl ‘tuff enuff’ brown. this year tom is focusing on tb audio, his analogue mastering studio in east london, and producing music on the deeper side of house and techno as a solo artist. tom has released on labels such as nu faze, !k7 and signatune records. he also regularly writes with long term partner in crime anna wall under their own names and under their moniker casse. the first parasol culture release is the output of tom and anna’s winter months under the same roof and in his studio in hackney wick. 2017 also sees tom start a new venture with dexter kane (murmur, get physical, fear of flying), aptly named, alternate facts, a vinyl only label and free party series, wax and stacks, party over profit, power to the people.

roman producer (and a force behind minimalrome label) valerio lombardozzi known as heinrich dressel returns to barba with a second release for our label, titled -the styx swamp-. heinrich has a unique way of combining classic techno and electro sounds with elements from the beloved drexcyan universe and john carpenter leitmotifs, and making them come together in a manner that both moves your body and pushes your mind beyond the point of awareness. as with the previous record, -lurking underwater-, here he pulls off the move with the same efficiency and without sounding like he s repeating himself. -gray slope-, -sailing the nether waterways- and -the styx swamp- are all quite moody and deep, rich with sound and thick with vibe. however, the tracks feel equally at home in 4 am techno situation and a heady afterhours affair. he truly is a master of crafting hybrids whose influences get so flawlessly embedded that it s hard to point them out. if that s not enough, -the styx swamp- got a treatment by nigel rogers aka perseus traxx, a multi-faceted producer and a mighty live act performer. nigel stayed respectful to the original but made the original s bouncy groove into something more direct and reduced, while retaining the same feel conditioned by lead synth s hypnotic quality. we re known to give a little bit of extra love to our releases so (as all before) this one s pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by emaemaema.

coeo are toy tonics lead artists and they dont joke! technically perfect on a level that most producers start to get jealous. musically filled up with so much knowledge about the history of disco and house that its no wonder that big names like kenny dope, borrowed identity and tensnake are huge fans. and their styleà? its a pure hedonistic discoish attitude that combines the funk driven eclecticism of today, the curiosity of young music cats who always want to be ahead and a sense of quality in music that we miss in so many of todays house music productions. in fact its 2017 and a lot is changing in the house scene. the old melancholic deep house now is quite dead - while most deep house charts are filled up with sample based funk house. coeo are regularly on the top of the several deep house charts, and there is a reason: their tracks have that kind of new, nasty, sexualised vibe that gets more inspired from the late 1990ies french touch house or early masters at work production. from jazz djs and dj sets of wildstyle djs like harvey or the idjut boys. its not any more about the old schematic ketamine deep house that always sounds the same (and makes your feet fall asleep.) listen to flesh world! its black music basically. its booty sound. disco for sure. this track gets you riding on a trip. play it one time and youll play it every time. and: check the percussion jam remix by toy tonics head kapote.

if you were in the global house music scene around the turn of the century, you ll be very pleased to hear the news! dubtribe sound system brought a wealth of inspiration and joy to the worlds house music community with its deep, rich, thoughtful, musical and lyrical message at the height of their existence. sunshine and moonbeam jones, the prime instruments behind dubtribe, dazzled audiences with their performances and further with their releases on home label imperial dub. during an apparent long hiatus, sunshine jones has actually been as busy as ever, doing his own thing, as always, and touring city by city around the world to deliver his message, sound and soul in person to his legion of followers. on the heels of the tours and shows, mr. jones is ready to release the incarnation of sounds that he s so eager to share. the good time vibes are all there with a current poignant meaning for all to ingest. as they say, -the more things change, the more they stay the same.- although in the data age, this release is deeper and more meaningful than the old adage ever could imply. pacific beach vinyl is pleased to announce, sunshine jones fall in love, not in line in three equally glorious renditions.

first ep of the label lowlife cartel. dissociative tones, texture of the sound and atmosphere sought here, more than melody. no boundary in genre but same sonic ethos. the two sides of the ep includes two tracks ambient/downtempo fitting with patient listening. three other, lofi tracks, and more efficient to play into clubs. face a starts with -nerve splicing- by telekommunist, also known as wpx7, face covered and steps muffled through a deadening blizzard of tape saturation and white noisey envelops that find a balance between deepening the sense of immersion and a retained groove. -kairu- by a. latif, affiliated to the experimental and elusive russian label john s kingdom. an arsenal of textures are employed, surrounded all the time by different kind of breeths carving out a growingly satisfying contrast between the shivery charm of its melodic line and the roughness of its elements. a rough diamond. face b, -kfs-, by vslds (present on the next cousin carl release, after kinway and voyd) is a delusional and abstract piece of lofi hip hop. setting skittish drums and heavily altered rapper vox sample, smothered against a grey-ish canvas of blurry, washed-out pads. this feels both playful and unhealthy. -gotta go fast-, by paul santangelo (venetian causeway), is marked with the very personal style of this artist who does his way across the ever effervescent lofi techno scene. the round, drag-shed bass, fits with an introspective melody and atmosphere. -every man has a woman who loves him-, by loophie (raw russians), surprises the listener at the end of the disc with a lofi house track sampled from john lennon, very effective in club. the czech lofi house videomaker moskalus edited a video of it on his youtube channel. 5 artists to follow.

drummer and music producer desmond mahoney is another of the unsung heroes of british reggae. born in jamaica, he moved to the uk in 1967 and began his professional career playing drums in a band called young ones from zion. he was a founding member of black slate when the group formed in 1974, played with them through their glory years and after running a sound system in north london for many years, returned to the fold when the group reformed a few years ago. his first foray in music production probably came during a brief period in toronto in 1978, working with a band called the ishan lions, but he was back in the uk in time for black slate’s breakthrough material, which brought them onto ensign in the uk, barclay in france and alligator in the usa. at the same time, he continued to arrange and produce for a number of british reggae artists operating in both the roots and lover’s rock modes, female duo nya & natty’s ‘one love stylee’ seemed to bridge the two styles quite successfully on this greatly sought-after 12-inch, first issued in 1981 on the s&g label, then based at a record shop in bow.

route 8 and s olbricht are both highly regarded artists in their own right, but less light has been shed on their collaborative endeavours as ste pwri tmod. largely lurking around the go! finger label, this second instalment of selected works is taken from the album of the same name, giving a proper vinyl outing to some of the stunning tracks previously confined to cassette. -when i pictured myself- is a wonderfully laid back jam peppered with personality at every juncture, while -horriflowers- takes a more uneasy trip into machine techno led by a growling synth. things cool off considerably on the dubby -nirrimi- and then -strobes- rounds the record off with a brooding, wavey cut for dark, romantic dancers to lose themselves in.

opuswerk presents himself with a phenomenal debut on the label, these 3 cuts shows the world how the music has the same impact as a building into our lifes. form follows function.

thats the way it is is the 40th album by elvis presley, originally released in november 1970. the album consists of eight tracks recorded in the studio in nashville at the marathon sessions in june 1970 that would also yield several singles and the elvis country album, and four tracks from his august 1970 show at the international hotel in las vegas. although it is not generally considered a soundtrack album, it accompanied the theatrical release of the documentary film of the same name.
pressing on 180 gram audiophile vinyl.

verloren’ is like a late night pink dutch sky after a long day of heavy rain, a sign that a warm summer’s day is just ahead. it will make you sweat tonight. this long awaited follow up 7-, will be released in the same form as the first: a beautifully designed disco sleeve with cardboard artwork. the vinyl will feature perfect-not-perfect, melancholic yet very danceable tracks. the machines in here take you back to the 80’s, but sound very contemporary nevertheless.

we are very exited to present you a fresh and sharp ep from julien wich is a big fan of the label since the beginning.. today we got the best of his music.julien sandre makes its debut on french,classy label home invasion with a 4-tracks ep, wrapped in elegance and charm but at the same time rich of kiiller grooves and energy between hypnotics synth associated with micro-house elements that will make you dance in clubs and will make you dream in the afters party.a side is the -deeply- part of the ep where restless looks perfect to move the floor with its fat rolling groove and tripping chords, title track serendipty express perfectly julien s sound of the moment: minimal drums & refined pads for a dreamlike journey to the start till the end.b side is more micro-house oriented.just make sense remind us about tracks of gold period of minimal of early 2000 s but updated to our days with a wild, floor killer beat & smooth stabs and effects. closing track autonoe looks perfect for after moments. minimal-jazzy drums imbued with hypnotic deep elements. maybe serendipty ep represents one of best julien s work, its route appears more mature than ever.

olim in latin can be used to indicate a time in the past or in the future. it can mean ‘once upon a time’ and ‘someday in the future’. a name and a project to try to move away from trends and genres, by taking inspiration from the past but at the same time leaving it, moving forward to shape a different and more narrative sound. the first attempt to do so is recursively: an 8 track album, opening with a sentence from bunny marrett sampled from an old documentary about st paul’s and the jamaican immigration in bristol during the 80’s. inspired by those intro words, recursively is a journey born from many years moving around, packing and unpacking suitcases, leaving villages, finding cities,leaving friends and finding more, emigrating, integrating. it’s a story about an entire generation trying to find the peace somewhere, somehow, sometimes by repeating the same steps in a loop of actions which seem to be the same but ultimately never are. it’s a soundtrack of those feelings and at the same time a message of hope to continue the journey through the faith that the meaning is the infinite journey itself. an infinite loop masterfully represented in carol rollo’s illustration. a story to be continued.

the critics were unanimous in their praise of the music on this legendary dutch only philips jazz lp from 1971, recorded at vara studios hilversum and produced by joop de roo, preceding the performance of the same compositions at jazz festival loosdrecht. excellent all star band with unreal line up: 17 top musicians from different countries featuring benny bailey, herb geller, ack van rooyen, jiggs whigham, frans elsen, rob madna, cees smal, rob franken, tony coe, rick kiefer and tony inzalaco, conducted by jerry van rooyen, first reissue, remastered 2009, comes with extensive new liner notes.

recompiled i/ii ist das erste von zwei vinyl-only-releases von function, die zuvor unveröffentlichte stücke sowie bereits vergriffene musik beinhalten. recompiled ii/ii wird im oktober 2017 erscheinen.
a-ton ist ostgut tons editionslabel mit besonderem fokus auf ambient-, archiv und andere musik.

this circular item is the oaks 04 by prostitutes. musica techno para discoteca vol.1 its title. if you drop the needle on this side (a) mighty arms and a glancing kiss will play. if you flip it side (b) albion remains and churns up into stone will do the same. eleven times three revolutions per minute. recommended for dj use.
musica techno para discoteca is the new series from oaks. in it i’ll showcase the techno music that inspires me, the techno music that i love to play, the techno music that in my opinion should get a decent exposure due it’s originality and honesty. without paying attention to the market demand or industry standards.

the mexico city-based outpost lands its third release, sueÑ003 – a three track package assembled by cintas de cárdenas. continuing in the same, youthful vein as previous releases on the label, 003 follows up with more cuts from the left field all themed around cultural self-reflection.
a binding of high-spirited melodies with entrancing pads oscillate throughout a1 and a2, while the record’s flip-side provides a bleak dream of echoing organ phrases and violent drum arrangements .

we are proud to present our second release by beat pharmacy aka brendon moeller aka echologist, a singular voice in contemporary electronic, techno, and sound system musics in his various guises. beat pharmacy tunes begin life as live hardware jams where reverb, echo and delay rule the day, and rugged textures rub against digital processing. in “density,” bass, kick and heavily reverbed piano skanks anchor an instantly enveloping soundworld of deepest dubwise ambience. from around hidden corners emerge the hiss of distant pistons and valves, sentient machinery working in complex relationships. wobbles, wubs and sweeps communicate across cavernous spaces, as strange rhythmic elements sputter and spatter, tangling and massing in double-time to the point of rupture, only to resolve into crystalline moments of suspension into gorgeous, neck-snapping drops. simply mesmerizing, and heavy in the dance. “everything to gain” is spun from the same heavy metals, with a sparser feel, processed voice, and a buzzing, repeating alarm figure that sounds like a submarine warning that the dive is getting too deep, too dangerous… music that is moving, powerful, evocative and kinetic, slotting beautifully into 140 sets while defying easy categorization or description, always following vision over fashion. this is why we love beat pharmacy.

same track on both sides.

- limited to 500 copies - pressed on clear wax
with the release of the movie -saturday night fever- and the soundtrack album of the same name featuring the bee gees in 1978, discomania was sweeping across the nation. and in the midwest, nearly every n

oslo newcomer christian engh is since long no new kid on the block here. after the pretty incredible kyllingsmak on full pupp spesial his new ep for techno sublabel rif is no less a stomper. compact, dry techno with the unmistakable pull, and build factor, we already now from him. same deep as kyllingsmak but with yet more beat, bleep,quirk and boom to it. all available on full pupps techno not techno offshoot rett i fletta!

after two years of colaborations and remixes, secret cinema is finally back with a solo ep. we think it has been worth the wait. artwork in charcoal and paint by everything is visible. after two years of releasing collaborations and remixes, jeroen secret cinema verheij returns with a solo ep. the amsterdam based techno producer has never been one to copy others with many timeless classics to his name. he pushes himself to write music that sounds different while at the same time appealing to the often large crowds he plays for. after two years of searching, the peaces fell into place. with sÚance ep verheij has ushered in a new creative era for himself. sÚance ep is trippy, complex, strange and powerful. secret cinema proves once again that he is one of those artists who really knows how to bring machines to life.