last night ep, the second release by in records, where emiliano ferreyra brings a real beauty that makes you feel this argentinian taste of music. starting with the track *last night* that gives the title to the release, with sketchy and rhythmic percs that makes a good way to open the release. then you find *our walk*, in collaboration with the amazing duo proudly people, special for the first tracks of the night or maybe to enjoy the sunshine of an after party. there comes *oldie*, with his heavy riddim and joined by max j and coockies remix of it making a real deep atmospheric environment.

catalognumber 23 – what else is to say? while we are feeling the spirit of william s. burroughs blessing this very vinyl-enigma, &me went particularly mysterious ways to transcend the category - dance track - for this one. the meditation through bass had been the major discipline of some of his latest cuts, but what you will find on this a-side, one could certainly call the perfection of somnambulistic peaktime-fever. the way he is kneading the lower frequencies, how he is channeling the expansion and decay of bass must inevitably lead to some aroused moaning. good vocal-selection, for that matter! then there are those tension building synths and a staccato-frenzy in the break that might be the ultimate ecstasy-trigger of the season. * locust* on b comes in with some smoothly looped e-guitar-coolness, adding whispering hi-hats and a comparatively rich percussive architecture. but then again: rolling bass barrels like a signature and a defence breaking build up thats ensued by liberating pressure compensation in mighty breaks. two demonstrations of understated and sophisticated peaktime-emphasis, so to say. or differently put: a flawless double-a-side.

cyber dance records are back on the attack with a fresh release from the legendary perseus traxx aka nigel rogers, a 4-track ep entitled after recent scientific developments an apparent horizon . its a firmly machine-based and totally jam-packed affair reflecting diverse sounds from the uk s own rich history of electronic dance music, with elements from the classic warp -deep space sound- prominent as much as the more usual 303-jacking acid house grooves in the vein of baby ford or bam bam. lost dreams opens the record with a floaty dream-like hipnosis from the depths of space and sets the tone in magnificent style, followed up on side a with the irresistible roll of reverse the trend that takes the groove harder, further and deeperstraight off to the beyond. dark strings reminiscent of old lfo, b-12 or autechre vinyls from the early 90s propel us into side b on darkness stalks , and then we re transported onto the concluding track on the ep, distances , an epic closer that opens with beautiful reverbed claps and acid squelches before diving into an inky black void of timeless space-travelling and slow-building tension that could surely echo hauntingly around any m25 rave in the depths of a late 1980s night.

hailing from sunny los angeles, plastic love records kicks off our first release with an ep from label co-boss jimmy maheras. maheras made his debut in 2011 with his space jam ep on the crosstown rebels edit sub-label, rebellion. since then he s released remixes and singles on strainjjur, riff raff, supernature, and left d. maheras s two original tracks showcase his depth with the man from another place being squarely aimed at the big room dance floor and the second track, arecibo, bringing a little kraftwerkesque funk. we ve commissioned timothy j fairplay (crimes of the future) and cottam (aus music / ruff draft) for two very unique remixes. fairplay crunches down the original melody and throws it over the famed amen break to give tmfap a hands in air late night feel while cottam s remix brings the dreamy melody closer to acid with storming late night kick ready to knock down a wall.

there is a common thread that runs through all of brandt brauer fricks music. it is this: interesting things happen at the interface of machine and hand-made music. the berlin trios 2010 album, *you make me real*, fused techno and classical. the 2011 follow-up, *mr machine*, saw them go the whole classical-meets-club hog with a ten-piece ensemble playing dance music live. then, earlier this year, came *miami*, a darker, more song-based collection exploring the same man-machine ideas. the berlin trios instalment of the dj-kicks series does the same thing with a mix.
the double vinyl comes in gatefold sleeve and includes the dj kicks mix-cd.

mit wunderbaren songs wie -no problem- oder -i think i like u2- begeisterte jamaica, ein duo bestehend aus den franzosen antoine hilaire und florent lyonnet, bereits 2010 die fans weltweit. nun schickt sich jamaica an daran anzuknüpfen. -ventura- heißt das neue album, das abermals von peter franco produziert wurde, der zuletzt noch bei daft punk an den reglern saß und dem album den letzten musikalischen schliff gab. -ventura- ist dabei die logische fortführung seines vorgängers. geradlinige poprock-songs, die zeigen, dass die leichtigkeit des seins auch in der musik zu finden ist. die vinyl lp erscheint inklusive cd-versdion des albums.

this release sees ante perry team up with a host of names in his very own studio in dortmund. first up belgian artist maxim lany is the first to accompany him in a deeply warm number named honigmitmais , a track possessing a sullen resonating sub-bass and romantic piano stabs with male vocal coos scattered throughout. xtc1 with german artist dirty doering then shifts the mood, dominated by a low-end unmistakably perry with the addition of pitched down vocals and eerie atmospherics make for a trippier track altogether.

>> oh it was gorgeousness and gorgeosity made flesh. the trombones crunched redgold under my bed, and behind my gulliver the trumpets three-wise silverflamed, and there by the door the timps rolling through my guts and out again crunched like candy thunder. oh, it was wonder of wonders. and then, a bird of like rarest spun heavenmetal, or like silvery wine flowing in a spaceship, gravity all nonsense now, came the violin solo above all the other strings, and those strings were like a cage of silk round my bed. then flute and oboe bored, like worms of like platinum, into the thick thick toffee gold and silver. i was in such bliss, my brothers.<

alland byallo and kenneth scott met in san francisco around nine years ago. since then they have collaborated on countless projects and events, leading up to scotts official partnership in the bad animal label. scott delivers his debut on ba in fine form, offering three original tracks that are perfect examples of his unique take on house music.

german melodic techno producer oovation aka peter bonaventura has had a brilliant year. techno legend tesla s remix of his collaboration with hakan ludvigson hit the charts hard last spring, and since then peter has had great success with releases on clubstream, univak, inlab recordings

young jessie is one of the unheralded greats of the r&b, rock & roll and soul eras. beginning his career as a young teenager in la vocal group the flairs (with schoolmate richard berry, later of louie louie infamy), he then signed on with modern records and cut several high quality r&b sides through the mid-1950s

after being stuck on dusty old reels since 1978 here comes an alternative cut of *saturday nights the night*, and then boom, its flipped with the killer mid-tempo cut of *i cant turn you loose*.

poolside miami offers a definitive collection of sun drenched beats & blissed out grooves, the ultimate accompaniment to long hot days by the pool. featuring 4 full-length tracks including zimmers sensational remix of moullinexs highly acclaimed to be clear, then delving into a deeper vibe with hot toddys killer rework of rhythm plate feat. frank h. carter iiis not like that.

nelistening back, ‘interlude’ will feel like the perfect opening to ‘skylax’. a jazzy encore crawls in, morphing into a skippy hip-hop instrumental with jason’s signature flourishes all over it. aptly named as it is, this is the breathing space between whatever came before in your day, and the eleven deep house gems that are to follow. speaking of, ‘the love’ will have you gripped from the first bar. it glides the listener in, then subtly drops that signature, tightly-tuned bassline of jason’s and continues onto soulful vocals from there. ‘old dayz’ touches on a bit of a nostalgic note. the spoken vox cuts harken back to 90s hip-hop joints, playing over a looped latin sample-led beat. from there, ‘rawkicks 2’ shows jason’s rough and ready sampling style in action. a seemingly simple track, but one which has that special something which guarantees to keep people on the floor moving for its duration. ‘cut b’ contrasts this nicely, being a much cleaner production with tight drum programming and synth work. that said, it still has the classic jg atmosphere we love. closing out the first half of the album, ‘definition’ slows the pace ever so slightly, with its eternal pad structure that builds up the track’s momentum into something very mellow and deep.bringing in the second half of ‘skylax’, ‘john blue’ takes things back a notch further. a deeper tune, yet one that shows off an uncharacteristically punchy bass hit from jason. ‘last night’ is a track more reminiscent of jason’s first lost cuts ep on wax classic, sounding as if it had been freshly taken off an old tape with its sample-led beat and background hiss. the last four tracks of the album see a return to the ‘mastercuts’ and ‘lovedits’ series which fans will recognize from the ‘lost cuts’ records, with ‘lovedits 7’ and ‘mastercut 5’ respectively. the former is a laid back female vocal edit with the entire suite of signature jg touches while the latter is a garage house hit more crafted for the club. ‘bb’ brings the album to a close, twisting a disco/funksample over a pallet of drums and effects for the near six-minute duration of the track.all in all, this is the perfect follow up to jason’s debut album ‘313.4.ever’, with tracks for both the club and home listening. if you happened to miss the first album back in 2012, don’t forget that now you have the chance to grab it in a special double pack with ‘skylax’ on cd!so, needless to say, this timeless record is a must purchase for all collectors and djs out there

amazing techno and nothing for weak nerves. monya starts her own label corresponding positions with a belter of an ep. nothing less then two originals produced by herself plus remixes by perc and bas mooy. while the title track >steine im weg< is constantly raving forward with some distorted yet energetic basslines the second original >verweht< is more about the atmosphere and depth of sounds. perc and bas mooy both reworked the second track and definitely added a lot of raw power to this piece of vinyl. its an authentic and varied 4 tracker which will for sure find ist way to plenty of record cases and triggers our curiosity for what correspondign positions will come up with in the future. mastering by dubit, soluxion lab berlin.

tiagos interzona 13 label has two sold out and superb eps to its name already and we are very happy to present their third. tiagos unique reputation as a dj is matched by the distinctive quality of his productions primeira visao sounds like a track that might emerge in the mix on a vintage chicago cassette, iberican jazz-funk top lines and raw, snapping drum machines beneath. segunda visao could quite easily be a vintage black cock or noid release, a wonderfully psychedelic disco rewire, that goes way beyond the world of ten a penny edits finally cruzar facas takes a tougher path to dancefloor emancipation, marrying a fierce, pitched down techno groove to some seriously heady soundscape and tonal effects another beauty then from this outstanding, diverse and incomparable imprint.

nice price deal !!! free usa is the first full-length album by protect-u, the washington, dc-based duo of aaron leitko and future times records co-founder mike petillo. the record was written, recorded, and mixed throughout 2013 at protect-us home studio and mastered by matt colton at alchemy mastering. the tracks on free usa were jammed into being and then laser-cut into exact shapes. on their two future times eps - double rainbow and world music - leitko and petillo poured layers of ambient drift onto nearly-steady house foundations, creating long and propulsive zone-outs.

acid night keeps on quatting the 303 new generation. and goes to mr from rehkold and tomeen. in italy. for 4 4-tracker opening on an psychedelic hard tribe 170 bpm grower. then begins a 150 bpm hard techno acid hanging-on track. b-side opens with a break acid digger, carrying a 70s synth ambiance in the backward. finally, the last tune returns back to the 170 bpm wiith a cool story of acid waves searching the digging possible way

doc scott was on the decks. it was at tribal gathering (i think), 1996, standing in front of a wall of speakers to one side of the stage, enjoying myself, like you do, when this sound started growing inside my brain. my head was then ripped clean off my shoulders! words are still hard to find! it was the first time i ever heard shadow boxing and its the only thing i still remember from that night. om units 2014 remix is paired with the 1996 original.
dj support from: fabio, mark pritchard, friction, surgeon, toddla t, laurent garnier, pinch, zinc, baliey, rob both, billy nasty, krust & john b.

rothmans are back with there first release of 2014 - coyote - the socrates ep. this time the guys are paying hommage to one of the more contriversial stars of the late 70 s/ early 80s the absolutely legendry dr socrates! this 6th release by the the retro, football mad, perm loving lot sees them take a step away from the various artists format into the world of ep s. and what a stomper they have in the form of the is it balearic...? boys coyote. featuring on last years claudio gentile release the boys are back on rothmans and in fine form with a mixture of psychadelic disco and funky balearic beats that would make dr socrates himself stand up and shake that afro all over the dancefloor. and joining them on the team sheet are a pair of knock out players in the form of mark e & ste spandex. mark e putting his silky skills, and attacking mark on passing memories, and then ste spandex bringing it up the rear and joining him in attack with a live vhs remix of act like you know. the rothmans label seems to be taking shape now and looks like it could be also putting together a dream team of releases

chris mcwaynes productions tie in his hip hop & jazz themes then pushed to the outer realms much like his friend afrikan sciences. includes the title track, and the gorgeous winding islands of dust. afrikan sciences chimes in with a remix for islands of dust.

i did the this beat is talking to you (club mix) at my parents house in my old kinderzimmer. i forgot to take my blood pressure pills back then so maybe thats the reason it sounds like that.

weve complied two blackman and maurice joshua productions for the fourth house of trax 12inch. its a bit of a dirty one... to say the least. althought more polictically incorrect then a dutch politician, these humourous trax will set fire to the speakers for the right reasons too. the little known blackman had a 1993 release with >beat that bitch with a bat<, a song which later got popularized by johnny dangerous. the original 12inch got pressed up in small quantities and is available for the first time in 17 years. on the flip theres both the vocal and instrumental version of maurice joshuas (with hot hula hands) >i got a big dick<, which originally came out in 1988, as the a-side of his more known >this is acid<. both tracks are pretty rare these days and will still go down a storm on the dancefloor.

2 long tracks of drum heavy house from gen ludd (feat. the dudes behind dam mantle/golden teacher/tropics of capricorn/lovers rights etc). if you copped their recent mister saturday night 12- then yer most certainly gonna dig this

over the course of four eps for numbers and creation of his own label ‘total fantasy’, deadboy has charted his own path far beyond the deep black space of mediocrity with previous records ‘if u want me’, ‘here’ & ‘blaquewerk’. on ‘return’ deadboy journeys further into uncharted territories, taking his music to the darkest recesses of disco and extraterrestrial synth-werk. the opening track ‘return’ finds the london-based producer taking cues from the likes of tangerine dream and klaus schulze with a gentle ambient opener that unwraps to reveal a beautiful and moving track. ‘des niles’ is a shimmering disco track built around an 80s boogie bassline, plus those killer deadboy vocal chop-ups that take us even deeper into the producers nighttime world. samples are worked to within an inch of their life on the floor-ready ‘yhvh’, whilst punchy bass and synth stabs take care of the rest. things then move swiftly on to ‘life code’, with the deadboy once again notching the tempo down and letting the track’s wistful oriental melodies ride out into the dark.

special backorders - both dj spider & brendon moeller have been sculpting their craft over the years and show no signs of ever slowing down. each artist presents an original track and then a remix from each other. this split vinyl ep is the first of several to be released on spiders sublevel sounds label.

the 2nd soulfood release is presented by the greek housekid kindimmer. deep rhythms, soulful chords and full of sexiness. the british james dexter is on remix duty on this one and delivers a more uplifting remake on the original title track.

n a rainy late september day in the mid eighties, 7 year old phillip lauer didnt know what to expect from that little new born g, who was referred to as his brother jacob. on the other hand, baby jacob wasn t very sure of what to make of this - back then still sporty - youngster either, who behaved like his boss. to make a short story long it took them almost 30 years to finally find out - behind the helm of the infamous pyramide 2 studio when conducting this fine piece of home made dance music: the brudis ep

kiwanuka, a 25 year-old uk native of ugandan heritage, was raised in north london where he split his time between session work and local gigs. along the way, having found footing as a solo artist, he was signed to communion records, then polydor, and has since performed throughout europe and north america too touring in direct support of adele. he made his way through nashville this past summer with just enough pause and aplomb to commit these morsels to tape. the a-side *you ve got nothing to lose* is an original composition, featuring the buzzards dominic davis on upright bass and cory younts on piano, joined also by fellow balladeer lillie mae rische on fiddle. their contributions transform his work into a stone-cold groove with almost orchestral underpinnings, making it a fitting extension of their previous blue series. the single also features a chilling rendition of townes van zandts infamous *waitin round to die* on the b-side, the perfect compliment to the timbre and mood of the a-side.

first they had a feather fight. then they did whats known in the industry as the gettup and proceeded to tear a hole into 2013. now san fran / bristols finest dynamic duo return with two more beastly jams.

early in 2013, los angeles-based live act pharaohs dropped their debut on esp institute, island time, along with tornado wallaces esp debut thinking allowed the idea being a simultaneous release followed by the artists remixing each other. well, here we have the 4th corner of the puzzle, a perfect set of jams for the tail end of summer. on side a, pharaohs themselves revisit ahumbo, inviting the neighborhood boys over for fatty then proceeding to bang the drum, while the flip side gives us the tornado wallace take on if it ever feels right, a beast of a track that nibbles but never really bites, a classy tension-builder, perfect for transitioning into.

the third album of depeche mode construction time again (1983) was the first one to include talented band member and arranger alan wilder to the mix. the album was recorded in john foxx s the garden studio in london and mixed in the famous hansa tonstudio in berlin, the latter being famous for its delivery of classic albums by artists like david bowie, iggy pop, nick cave and u2. experimenting with brand new instruments like the synclavier that allowed sampling to be manipulated musically, construction time again was a groundbreaking record that included industrial influences. these influences would come to full fruition on subsequent albums some great reward movlp940 and black celebration movlp947. songs like *pipeline*, *love in itself*, *shame* and *everything counts* turned out to become classic depeche material.
exclusively remastered, pressed on audiophile 180 gram vinyl and housed in gatefold sleeve.

more driving techno cuts from the selected edits project. the a-side sees italian techno mainstay giorgio gigli team up with edit select, while the flip side offers two massive remixes of asperity from the very first edit select release: first, a stone cold killer from cassegrain, then edit select himself joins forces with markus suckut to revisit the track.

although delivering a mysterious & scantily clad 12 inch is hardly a novel concept these days, we must confess to being more than a little excited when we heard this one! it is undercover time again, and we’re sworn to secrecy, of course… what we do know, however is that this mighty release is an absolute dancefloor sureshot! made up of two long, pitched down and utterly mesmerising workouts kicking off with itaque putant, a mid-tempo, tripped out disco number that marries elements of techno, late 80s balearia and more than a nod towards classic red zone dubs. super low subs and bags of melodic atmosphere conspire to provide a perfect dancing under the stars moment. on the flip timento is a lysergic, tribalistic epic, stitching together a series of ethnic ingredients and overlaying some seriously transcendent modern synth candy. building into the soundtrack for a full blown shamanic vision! a serious platter then, and when the music is this good, who needs more?

we dont know, whether this guy is sleeping at all. he just released a new ep under his rar moniker. he seems to be nonstop assembling and fiddling on some delay pedals and what not. let alone all the touring. and then he comes up with a km022, that setsdirectives and also lives up to them, as if it was nothing.

vinyl only - limited edition 180 gram pressing! >reforming digital waves by simple & elegant music patterns< - a straightforward mission statement for a new imprint, and one whose understated, direct manner shows the music-centered focus of wavereform as we reveal our first release. the >new sky< ep is the production debut of a mysterious new russian talent known as ivanov, and about whom little is known past his reclusive buddhist existence and his background in guitar, which is clearly evident on the title track. underlain by rising and falling atmospheric washes and understated percussion, >new sky< is propelled by a funky, jazzy and clearly organic keyboard solo that closely approximates his familiar stringed instrument in texture, tone, and musical development. next up is minimal legend soulphiction, who masterfully beefs up the original with a fat, growling bassline and more aggressive, hard hitting drums and claps that take the dreamy mood of ivanovs track and transform it into something more cosmic and psychedelic while retaining its musicality. on the flip, a new tune entitled >deep< gets revisited by lucidflow label heads klartraum, who have recently shifted their digital imprint to vinyl. here they bring things towards the dubbier end of the spectrum with a slow-building track that goes from hazy beginnings to an ominous, dramatic breakdown and then into a harder grooving second half. taken together, these three tracks are an auspicious beginning for a new name and label, and in fulfilling the stated goals offer great promise of things to come.

after 20 years of experience, gary martin couldnt resist a 12 inch that is also the 50th release for teknotika: a label from detroit that didnt exactly stick with the game when it switched to the mp3 format. *basking in blackness* is a composition of textured broken beat then classic four on the floor old school soul. *synthotika* is what would happen if a synthasizer could take over an orchestra. a track inspired by detroit peers no doubt. *every bit as beautiful* goes sensative deep house piano, a lil latin percussion and soaring eno-esque synths to top it off. the title is a bit sarcastic, let us face it, there is no life after techno!
pressing on grey marbled vinyl.

hot natured release two remix 12 inches of tracks from their acclaimed album *different sides of the sun*. part one kicks off with a remix of *benediction* from the rapidly emerging uk house producer lxury. anticipation is building after annie mac premiered the lxury remix of *benediction* on radio one. lxury is the producer behind *we do* and *j.a.w.s.*, which were both released on disclosures method records. also on the a side is edu imbernons superb remix of emerald city. he darkens the tone of the original and drives it head long onto the dance floor! on the flip and eats everything ups the acid count and squelches alternate state into a state of dancefloor pandemonium. whilst hrdvsion spins it out, cutting the vocal up to excellent effect, and then jacking the groove.

decius - come to me villa. if you cant smell ladyboy sweat while listening to this track then im sorry, you have forgotten how to feel. decius - gay futures. dirty, raw, drug - fuelled house music, for men and women

fold returns following a pair of impressive 2013 releases for electric minds and george fitzgeralds manmakemusic, with the london producer bringing his house/techno/uk bass hybrid sound to his second electric minds ep, the grasshopper lies heavy. a1, gully rattles along at a brisk 135 bpm, a raw yet versatile dj tool imbued with a sense of impending dance&#64258,,,,,,,oor mischief. the a2 dun kno then drops the pace down while pursuing a subtler, more melodic arc. on the &#64258,,,,,,,ip, b1 roy batty carries with it its namesakes sense of menace as its escalating synth stabs drive the track onwards. ep closer harlyns dub strips things down for the deepest track of the 12 inch, with folds love for dubbier elements of techno brought to the fore.

2013 was a good year for mr natalizia. breaking out of his musical (comfort) zone and touring schedule as one half of kompakt records stars walls, a deeper side to his music oeuvre was shown on the excellent not waving debut, umwelt, before then going on to compile the killer *mutazione* compilation of italian new wave 1980-1988 for strut records. spanning 9 tracks, *human capabilities* takes the sound of umwelt and the subsequent super limited cassette only reinterpretations of redacted and mixes harder percussive tracks alongside explorations of melody through ambient pieces that close each side.

if you have ever wondered what it would have sounded like if can grew up going to see ron hardy at the music box and then recorded an album together with francis bebey in the congo, the debut record from black deer may be just for you.
the work of prolific brooklynite william burnett, whose aliases include willie burns, grackle, speculator, galaxy toobin (with eliot lipp), pg&s (with jorge velez) and smackulator (with legowelt) is psychedelic in the truest sense of the world. sprawled across six tracks, burnett fuses various outsider loner genres unto one definitive vision quest all his own, that of the black deer.
limited edition of 400 copies with hand assembled black foiled museum board on silkscreened covers. features fold-out poster and stamped labels by artist marion guillet.

bruno patchworks hovart is definitely a name to remember if youre interested in todays groove music scene. after playing as a bassist and guitarist for various bands, he started producing in the mid-nineties and has kept on mixing todays technologies with the raw spirits of house, electronic, disco, funk, soul & jazz musics golden years since then.

forgotten corner, khidja & cassini division first met on the desert planet of tatooine whilst attending a cosmic music festival at the galaxy renowned mos eisley cantina!…in a hash laden corner they bonded like wookies, jammed with the max rebo band & then roamed the desert plains of tatooine with the nomadic tusken raiders! no one knows exactly what happened but music ideas were exchanged & tracks were made ... here are two of them - rescued from tape, covered in cosmic cous cous purposely gathered by cassini from the rings of jupiter & smeared in hummus from the swamps of dagobah!

the central executives what can we say ? not much as it turns out - the generally very forthcoming golf channel crew are remaining tight-lipped about the architects of this, frankly mind-blowing debut long-player from this new nyc collective. a walk in the dark is exactly that, a situationist song-sheet & sonic chaperone to guide us through the back street escapism these troubled times demand. from gently over-driven punk funkin mascara stained hymns, to house that has been thoroughly smudged to the edges of its live music incorporating limits. sitting very comfortably, in a moment of stewed elevation alongside sound signature style machine jams, bare bones vocal led improvisations, discordant arthur russell moments & the distorted reflections of roots house that run to the very core of the big apple. a drop-jaw debut then, that wears its influences proudly, but takes them somewhere entirely new.

great new four track ep featuring some super cool disco rarities hailing from the islands of the caribbean. worth the price of this 12 inch alone is the fantastic and über-rare *naussaus discos* by mucho plus, an awesome remake of the beginning of the end classic and a floorfiller so in-demand it features in discogs top ten of most expensive records ever sold. this is followed by a great funky steel drum cover of the roy ayers classic *cant you see me* by trinidadian artist boogsie taken from his hard-to-find 1979 lp. next up is *sweetie* by manhattan charlies roots which is a barbadian disco take on bunny macs afro classic *let me love you* and then rounding things up nicely is the super hot *hands up* by casual t, a soulful disco boogie jam originally out on a mega rare jamaican 7 inch. superb!

heavily inspired by early rave and detroit electro, paul blackford’s first release on breakin’ records was described as a pioneering uk take on the detroit techno bass sound. since then, he’s released tracks on labels such as wide, deadlock records and twilight 76. in 2009 he set up militant science as an output for his own and other artists material, with support from djs such as dave clarke, dj stingray, dj godfather, edmx, keith tenniswood, and many more. blackfords latest release on cpu turns up the bass and tempo, think kraftwerk vs detroit in effect.

we have been a fan of motor city drum ensemble since the brooding and eerie >escape to nowhere< in 2007 - a track that sounded like someone had listened to > french kiss< on acid and then tried to recreate what they heard. so when we started re-issuing romanthonys classics with fresh remixes, mcdes danilo plessow was always someone we wanted to on the project. it has taken 2 years to organise this mix and now it is finally here it doesnt disappoint. taking on > trust<, most people would head straight for the vocal but plessow instead eschews that idea for a warm, low slung dub mix reminiscent of muzique tropique and early glasgow underground releases by studio blue. as a more dj-friendly alternative he also delivered a completely instrumental dub mix.

roots for bloom bring in four new faces for the seventh release. we see label boss jamie trench deliver an edit and remix of daniel curpen - daddy was a thug, and david moran teams up with albert vogt for their track cut loose and then collabs with mark crumbs for tha bassment. the a side sees jamie bring a rolling dub edit to daniels original and then takes things a little darker for the a2 remix. david morans cut loose shows off the vocal talents of albert vogt which grooves along seductively, then tha bassment as expected brings things a little harder and more for those after hour spots.