i m going to spoil everyones fun here and now and tell you (if you hadnt already worked it out) that it is luke, spelled backwards. simple. why luke? again, simple - the young gentleman who penned these glorious ditties goes by the name of luke campion. a name to remember.
you may remember campions debut release - apparitions this time last year. lukes sound has matured and developed since then, and aprwax004 is his latest statement piece.

every now and then, a record comes along…this is one of those occasions. but...it is not any old record, it is a new one. specifically, the new 12inch single from sundown drive, brought to you by mind fair and rogue cat sounds. moving on from the body and soul that embodied their first trip, sd transcend you to the annals of deep clubland and melodically twist your heart strings with an early morning flutter and a tantric tension. the meandering-yet-purposeful piano finding its feet later in the proceedings this time, but rising to full effect, leaving only the dub to knock us sideways into a beautifully-simplistic dark alley of spring reverbs, synthesized prophecy and the voices in ya head telling you to give it up.

more than six years into his career after several eps and a full album, there isn’t much known about ben gibson, and he is clearly keeping it that way with intent. gibson first emerged on jeff mills’ experimental, influential 6277 sublabel but then again vanished into the ether, he only reappeared three years later on perc trax, even more surprisingly with a full-length. since then, he’s gone on to steadily more notice with perc’s imprint, sect records, and most recently m_rec ltd in spite of the continuing lack of information. exposure isn’t the most important thing for us at chronicle though, and after hearing these five tracks, we saw exactly what it is that drew mills to him from the beginning. it is a sound that we find a perfect fit for the techno futurism of our chronicle series, and here we offer a platform for gibsons more sci-fi, ethereal sounding material, exclusively on vinyl for the fifth edition of our sublabel.

crossing classic alleys with the eintakt 28 – another various artists compilation offering a warm summerblend of well grown techno/ house/ dub plants and vegetables. starting off with >>achim maerz<< and a harmonic drifter with just that tiny acid touch it needs here. then mr. >>dub taylor<< takes over with a wooden dancefloor spoon cooking up a decent mixture for the massive floor.on the b-side >>idealist<< reduces it to the max with the well known hits and drum bits and so fulfils his past future classic promise once more.fading out with >>pawas<< and his slight jazzy cold dubb (which is not so cold at all) and being aware it’s another proper piece in the eintakt puzzle

ms. smooth socal soul meets mr. nocal dirtybird swagger and they have a baby together. that baby is justin jay and at 19 years old he is already making his 3rd appearance on dirtybird. i have a feeling this is justin jays breakout record. the a-side static is at 119 bpm and will sweep you up then rip your pants off. but even when you get hit with the massive bassline, an old school anchor stays intact. waves b-side has a classic deep dirtybird feeling, with tuned 808s and a surprising melodic element showing off the sweeter side of this up and coming young gun. justin jay has more potential than anyone i have heard in a while and if he continues to play like he has been lately, he has a long dj career ahead of him as well.

what happens if you ask two up and coming and highly talented uk producers to create a track for local talk, then get a hyped house duo from manchester to remix it? you get the bitter love ep from the true rebels together with a fierce remix from deep space orchestra. its two very different takes in both tempo and energy. the original version is a battle of piano stabs with a bouncy yet filthy bassline that results in midtempo house burner with a slight techy feel. the deep space orchestra remix takes us straight to detroit, fusing classic techno sounds together with modern house.

ohm tribal tone, need we say more? first released on hubba hubba back in 92, still sounds as relevant today as it did in the clubs back then. still caned by house djs du jour from bicep to andrew weatherall to pete tong.

repress 2013 !!the second release from geography records is the debut solo ep by the very talented julius steinhoff of smallville records. steinhoff sets a beautiful atmospheric mood throughout the eps three tracks. starting of with the warm and vibrant >mischief of one and another<, then the straight forward yet subtle >out in he woods< and ending it with the mesmerizing >zealand<. >out in the woods ep< is a future classic whitin modern deep electronic music.
julius previous outings consist mainly of collaborations and split eps on such great labels as underground quality, laid and of course his own imprint smallville. on geo 002 julius gets the entire record for himself and the result is a magic 12 inch which we are happy and proud to share with all of you.

forward strategy group, one of perc traxs central acts return with their first ep since their debut album labour division was released in may of last year. since then they have gigged around europe including gigs at berlins two temples of techno, berghain and tresor and have had their album tracks remixed by uk industrial/synth fusionists factory floor and perc traxs man in athens, sawf.

killer re-edit!!! limited 100 copies, handstamped, 180gr vinyl only, no repress!!! reserve your copy if you dont wanna get crazy on discogs then....fuckthegovernment! already supported by: timo maas, chris carrier, carlos sanchez, franck roger, jef k, tripmastaz, anthony collins, sehou, de:bug, superlounge, okain, john dimas, namito, alland byallo, sven jaeger, wouter de moor, chaim, willie graff

little is known about mysterious producer tommy rawson. our first acquaintance was the aptly named shy track on red rackems smugglers inn 001 release. we tried to find out more but the trail got cold pretty quick. it was not until hearing gilles peterson playing a version of hugh masekelas dont go lose it baby on his show that word got around, tommy rawson was back. this particular anthemic track found its way to mats who then started playing it out and every time, in every club no matter where in the world the reaction was same, people completely lost it on the dance floor! we had but no choice to release the track and luckily enought tommy must have a sixth sense because at the same time mats blasted the track at the local talk office to convince tooli shouting: this is the next big release for local talk, i m telling you! another track made it into his mailbox, the soulful house jam brenda done died with no name. both tracks ended up on this 12 inch of course. mr rawson has delivered the goods here, warm, sunsplashed music all the way. a name to watch for this year and probably not mysterious for long.

with her 3-track-smasher random nature jenifa mayanja gives us an impression of what house music in 2013 should sound like! the random nature ep is a tasteful collection of warm and detroit like deep-house- meditations with definitely that little extra spice of afro-american awareness for rhythm and sound! after the release of her very successful album woman walking in the shadows – rated by the groove magazine as one of the best albums in 2011 – and a celebrated dj-tour through europe’s most famous clubs, jenifa now makes her debut at big bait records with this amazing 3-track ep

he has been in the game for 15 years now, and throughout ark has proven he is not one to spread himself thinly. leading up to 2010Æs arkuarium on thema, he had released a string of collaborations that wandered enthusiastically and whose experimentalism culminated on that record. apart from a few celebrated remixes since then, ark has been busy in the studio crafting a new batch of focused heat, mostly alongside his brother pit spector, himself a respected producer and dj known from associations with circus company and minibar. as we finish exploring a heavier sound with our well received re:vision series, the sophisticated deep house tracks on ark and pit spectors new call of the horns ep announce a new direction for the artists and a direction we seek to illuminate as we define the different shades of the spectrum at thema.

20 years ago the track *unfuture*, release on sven väths imprint eye q, marked a milestone in techno productions with its uncompromising style and sound, delivering a view on techno which was revolutionary at that time: stripped down to only a couple of sounds in general, the track had an impact on dancefloors as not often seen before in those trance-dominated times - and still has! alex grabbed the vinyl out of his vinyl-collection after years, did an edit for his own, sent it to pascal feos who produced the original back then and who really liked this edit and the idea in general, and so alex decided to start a remixproject on this pure classic track with young, but also established artists who were not afraid of taking the adventure to remix a track that actually consists of nothing more than a distorted kickdrum, a really monotone off-beat organ sound and an oldschool acidline. here we are with the first part of the repaints of this alltime-classic, coming from uk techno-heavywight and legend mark broom with two interpretation as well as berlins uprising and promising vault-series mastermind subjected. true and high class recycling again on credo to save our planet from bad music

the mole, philippe cam, master muzikbox and sucre sale present this new split ep with a part of the karat family. the mole already released a track on a past compilation, he is coming back with a nice built up piece, as good for djs than for home listening. philippe cam is one of the greatest french electronic music composer and there is nothing more to prove it that to listen to this new gem! master muzikbox strikes again with a powerful classic and updated house track, elegant. then the youngsters sucre sale show us whats the deal with the new generation, classy dance tune. enjoy!

supported and played by: dvs1, brendon moeller, jeroen search, session restore, samuli kemppi, invite, anaxander, myles sergé, mary velo, arnaud le texier, patrick gil, opuswerk, kereni, gonzalo md.... the unison e.p. start with a pure techno banger, facial features: the heavy kick drum and synth pattern hit you where it hurts. myk then goes in more minimal territory with omage and see, both tracks making use of nice background repetitive voices, heavy basslines and dubby synths that remind you of late nights in berlin. the e.p. ends up with with synda, a peak time atmospheric dub experience that will not leave you indifferent.

gosub returns to abstract forms with a six track transmission. mirror watcher is a kaleidoscopic serve of elektroid attitude. starting with the title track, a futuristic piece of synth-funk with a brilliantly sleazy vocal, immediately moving into deep aquatic territory, then building the pace back up for the encore of freaky fast paced electro. sublime. vinyl limited to 250 copies.

deadly poison is the fourth installment of st petersburg-based producer sanys on discerning downfall theory series. retaining to the a/b format and treading a heady, analogue-hued line with releases thus far on predecessors control freak / event horizon, forward thinking logic and daily situation which supported a stunning rework from chicago-based, detroit-born producer alex israel, deadly poison continues to march on in gritty, idiosyncratic fashion only this time fractioning off and multiplying into four distinct, yet symbiotic floor workouts. on the a-side hired guns kicks off with no-holds barred, full-on weighty bass weaponry before grab them back in reins things in, just a little: a dystopic soundtrack full of clanging machines rung through with the filmy dread of a waning humanity. on the b-side concern continues in plain rude as distorted vocals are twisted into evil barks and plied with itchy hats to warning chimes and a bounding bassline in this weird and wonky builder. down and dirty then concludes—as the title suggests—in deep, raw analogue terrain. having already caught the attention of people like blawan, rivet and brendon moeller, deadly poison consolidates sanys skills as a one to watch maker of provocative, sensitive and fiercely independent dance music.

betsy just stood there with her mouth wide open. those two guys where fencing each other up and down the stairway. they took 20 steps, back to back, then they turned around, smoothly from the hip, firing magazines at each other. then 10 steps and then 5, both where still standing. they beat each other to a pulp until the blood came out and then until no blood came out and still none of them hit the ground. betsy did not dare to move, even when the duelists finally went away in opposite directions she still stood there like a curtain rod. she cautiously moved her eyes to the left, cautiously meved her eyes to the right, everything seemed to be safe. then there was this flicker of light in betsys sunglasses. they came back.

i had dinner with breach in london and he told me: hey, i have a track that is really dirtybird. i would put it out but its really sounding right for you guys. i took this with a grain of salt but then i heard lets get hot and i found out he was right. it has got the swagger and the sound. it makes girls grind their asses into boys crotches on the dancefloor. perfect. signed. so i then asked him to make something even more sexual, thinking it would be ages before i got something back. 10 days later the a-side came back to me as a 2 minute clip while i was on the train to warehouse project in manchester. i liked it so much that i edited it on the train to stretch it out to 5 minute. as expected, it slayed the room and the final version breach has delivered is one of the best records of the year in my opinion. with the simple title of jack you can see for yourself when you play it. this is the real deal. love, vonstroke

daniel helmer and ben manzone started making tracks as sycorax back in early 2011. since then they have self-released 2 in demand 12 inches. in the spring of 2012 they debuted their live all hardware set at the bunker in brooklyn. their second 12 inch titled orfamay quest was a top seller of 2012 at halcyon records. mike simonetti has known ben from sycorax for over 15 years, and is probably more proud of this release than any other to date. true underground sounds.

the latest offering from san franciscos icee hot label finds the young imprint officially welcoming another artist to its gradually expanding roster. that said, contakt isnt exactly a stranger. the michigan-reared, new york-based producer is one of the founders and resident djs at brooklyns turrbotax® party, which has long been a sort of sister party to icee hot. contakt has previously released music for respected outposts like local action, grizzly, and dutty artz, but nobody else and tessera 04 find him taking an important step forward as an artist, delivering tunes that are richer and more really realized than anything from his past. particularly on nobody else, contakts flair for big-room melody remains intact, but he takes notes from classic kms, filling out the songs cresting synths with a full-bodied bassline, a hooky vocal sample and a sturdy rhythmic underpinning. tessera 04 goes deeper, channeling maurizio while delving headlong into a dense cloud of synths and maintaining a steady sense of forward momentum. on the flipside, icee hot resident ghosts on tape continues his recent hot streak, infusing nobody else with punchy drumwork and a potent rave sensibility. detroit legend robert hood then rounds out the release, transforming tessera 04 into a pulsing and purring slice of heady analog techno.

israel has proved a hotbed for electronic music of late, with talent such as guy gerber, shlomi aber, guy j, and more all making quite an impression on the global scene. an israeli producing for lithunian label might seem like an unlikely combination then, but omer grinker s esteemed debut for parallel is a release that as its tittle suggest under water .the young tel aviv native boasts all the hallmarks of his fellow countrymen then, with the tittle track a brillantly clever anthem that flirts openly with various genres while maintaining a shrewd deep house edge. fans of trippy, multi layered house music are sure to embrace this one.sonic intricacies hold the key to seen or not seen , another record that s been scrupulously produced with even more off-kilter motifs playing their part. pitched back andever so detailed, it chops and changes with the sort of deviousness typically associated with warp s back catalogue.the last of the three originals, under water, emphasises the producer s credentials with more lackadaisical piano inter-changes an underbelly of simmmmmmmmering percussion and portentous chimes all playing key roles.label owners monkey brothers then beef up the latter with a remix that s basking in steday groove and even more suggestive vibes.a thriling and seductive package that indicative of the protagonist s musical nous, makes sense is a record that serves up a fascinating journey throghout. omer grinker is a producer you shoud keep in your radar.

no mad ronin, an architecture graduate of bauhaus weimar, first met jerome sydenham in 2010 and instantly connected with the legendary us producer. since then, they pair have collaborated, with sydenham taking the german producer under his arm and ultimately releasing a collaborative 12inch on ibadan in 2012 entitled >i adventure<

the 4th and final sampler taken from swedish silver vol 2. patrick siech then steps up with the next track, kill room that also uses atmospheric percussion and stabs to build into a funky drum groove. the final track by cari lekebusch called xylopeggiator, conveys a dark, pounding 5 am rhythm that uses vocal samples and a melodic synth to create a hypnotic drum pattern

miles has been releasing material on modern love for a decade, first as one half of pendle coven, then on his own as mlz, and eventually pairing up with sean canty to record as demdike stare. in between he has also pursued more experimental terrain under the suum cuique moniker, produced jungle for the hate project and (together with andy stott) taken on the occasional release as millie & andrea for modern love sublabel daphne. he is also an admired, exhilarating dj, his sets have been known to span a broad spectrum of electronic music, from the obscure uk techno of labels like radioactive lamb and irdial, to classic chicago house, detroit techno and - most importantly - early 90s jungle and breakbeat, feeding into his love of the most uncompromising end of the italian experimental movement, musique concrète, synthwave and contemporary noise.

following his recent collaborations with ai records, electronique.it, and icon of desire, passenger finally comes back to eclipsemusic to release a new 12 vinyl record, titled chord abuse ep. the release takes off with solar flare, one of passengers most airy, housey and positive works till now, with its melodic sequence and uplifting atmosphere. on the same side of the 12 inch, surface debris de-construct the classic techno elements to build an abstract, moody, hyper-cynetic slice of futuristic techno. on side b solar flare gets then a special remix treatment by stephen brown, one of the most personal and notable european techno producers: the result is a tight, swinging rework of tiny slices of the original, turning the track into a classic techno builder..

chicago legend jamal moss makes a return to sequencias with two tracks of overdriven angularity in his most jacking incarnation, the sun god. if you know jamal, then you are aware that no other artist has informed electronic rhythm-based music quite like he has. the current crop of raw, low-fi house and techno owes a large share of its existence to his releases under various monikers: hieroglyphic being, ibm, and as one half of africans with mainframes.

slowly but surely spencer parkers work them label has been gaining a deserved reputation as a no nonsense house and techno imprint thanks to releases from the likes of pittsburgh track authority and dana ruh. now it is the turn of the s:vt who serves up one track, basement sweat, complete with a remix, which will then be followed by a separate 12 inch featuring two remixes from arttu. the original track pairs classic, piled-on-top-of-each other claps with a freewheeling melody that runs up and down the scale. the bottom end is streamlined and techno inclined, bringing with it plenty of raw warehouse vibes. the no strings attached mix loses the melody and ups the percussive ante, chopping up and slicing out patterns as that bottom end continues to burrow on.

this ep is somehow special for us because we’,ve been wanting the original track for 4 years…,. back then, this very track called ‘,san pellegrino’, by rj valeo aka isomer transition grabbed our attention. our first offer to release rj’,s music was declined because he had different plans for it at this time. but our enthusiasm never really faded out, and nearly 3 years later we simply asked him again. this time is visibly worked. the b side has been confided to british producer och, undoubtedly on fire at the moment with his excellent publications on trelik, pal sl, his own autoreply or more recently on all inn records. he delivered a powerful floor remix, designed for nocturnal peak times –, as the name ‘,och’,s 4am mix’, suggests.
already supported by brendon moeller, guy andrews, ben sims, sebo k, troy pierce, samuel l session, gary beck, konrad black, reboot, tiefschwarz, adam beyer…,

pro-tez records compiled *the knights of the sad pattern - part 2*! a graceful sequel to the ravingly reviewed first part, this is a double vinyl limited edition of 300 presses, which presents the labels extended family to include fellow house contemporaries like john tejada, anton kubikov and alex danilov alongside with central members korablove, b-voice & anrilov, polar lights, joe le bon, doyeq, among others and also newcomers tornike & nini and harry light. it is one of the those must have releases showcasing an individual, beautifully composed sound, combining feathery piano keys, now and then soulful vocals and minimalist sax parts, with deeply padded, classically-informed house music, and a touch of acid elegance and a refined subtlety.

like a web of technoidal spaghetti thrown in the face of a non-believer, invincible scum (andy blake / milo smee) lay down a pulsating analog power jam. bintus stitchs together remaining scraps from the cutting room floor, then makes several passes over his philosophers anvil to forge side b. dj support so far: jimmy edgar, objekt, distal, truss, perc, mark broom, cosmo vitelli, eric d clark, holly herndon

otp party breaks 7 is finally here! kicking off 2013 with a stellar collection of tracks that have been staples in their recent dj sets. marcos cabrals latin box on a1 duties with proto-house styled sounds and his signature dubby synth treatment. kon loops up a killer break and which twists and turns making it all his own. jacques renault on flip with some proto-house madness! and nycs woohoo brings ups the party vibes with his disco banger nightwalker. all in all the ep has party breaks living up to its name and then some. great record

another round of wonderful eclectic delights from balearica. side a features the in demand *tonys song* by tony g. originally released back in 88, this floorfilling electro-tinged house classic features an incredibly catchy piano riff, phat bassline and some spoken vocals taken from al pacinos *scarface*. a massive hit both at amnesia in ibiza as well as at manchesters hacienda and at the early acid house parties, this track still sounds super fresh. next up is the dope vocoder-laden groove of escape from new yorks *slow beat* - a brilliant balearic chugger that features high on many most-wanted lists. on the flipside, we get the much desired slo-mo disco of steve benders *the final thing* - a moog-heavy groover that hit big at both the balearic parties and on italys cosmic scene. then finally, to round off this great compilation is the extended instrumental version of bowie & methanys *this is not america* - a favourite of everyone from alfredo to theo parrish. quality stuff!

with a techno career stretching nearly a decade, finlands samuli kemppi is a natural choice for the fourth edition of themas continuing chronicle series. his intensely rhythmic, futuristic style has been making its mark across europe since 2004, but it was really four years later, when he was picked up by ostgut ton, prologue, and kosmisch, that the world found out the true impact of his sound. since then he has enjoyed his strongest support from the last of these imprints and, even more importantly, from luke slaters powerhouse mote-evolver, a go-to since its inception in 2006 for the freshest sounds techno has to offer. following the summer launch of his own deep space helsinki label, we are proud to announce kemppis chronicle debut with voyager, an ep of deep, science fiction sounds backed by intense beats.

heavily infuenced by the early works of zoltar, adsum got into electronic music at an early age. then some years ago, when he had to move to earth, things got more serious. spending his time between loops he learned their language, being able to blend in like one of them. so here we go. this release represent just a friendly hallo to our listeners.

chaos is a tough, ny-house jam with 909 trim. first 3 minutes for the mix, then ending up just north of hypnotic bell house. strictly for the floor. memphis is a broken shell of a sampled break, worked and loaded under matt maaskants emotive freestyling on a concertmate mg-1. trace is the wandering groove of an excited arpeggiator, after the drum machine has left the building.

enigmatic artists from eastern europe had a ace in their sleeve when they came out with the project of suburbs. they come up with the most mystical sound for their first ep on archipel under “plaeisii.” the strange classical texture swirl with a very lush rhythm that at first, appear to be extremely predictable but then, as you listen carefully, you get caught up on the most capturing pattern. the main song as well as amorf both are music for the soul and will be played in very special moment that will have people close their eyes to enjoy the shifting mood.

mit fade veröffentlichen yo la tengo eines der homogensten alben ihrer geschichte. durch seinen warmen sound und die dichten kompositorischen texturen erinnert das 13. werk des us-trios vor allem an die bandklassiker i can hear the heart beating as one und and then nothing turned itself inside-out . hier wie dort dominieren fein gesponnene melodien, rhythmische schattenspiele und dezent orchestrierte noise-passagen das variationsreiche klangbild. vor allem aber geht von fade eine tiefgreifende, schwärmerische erhabenheit aus, die selbst für die band aus hoboken, new jersey, außergewöhnlich ist. aufgenommen wurde das album in chicago zusammen mit john mcentire (tortoise). durch dessen unterstützung entstanden geschliffene songs, die trotz ihres facettenreichtums ein im zusammenhang geschlossenes klangbild ergeben - vom bedachtsam tänzelnden well you better über das fiebernde stupid things und die warmen verzerrungen von paddle forward bis zum groovenden schlusssong before we run mit seinen wunderbaren streicher- und bläserarrangements.

vophoniq is an electronic music producer signed on dawn records. his style is unlimited as long as it serves its ultimate goal: to share his emotions. he released a concept album called *human & computer* in 2009, then an ep called rainbow in 2011. his new album cosmogonie - released april 30, 2012 - has been ranked among the best albums of 2012 by laurent garnier and many magazines including swqw. *cosmogonie* has also received the support of rone. cosmogonie essence is a 4-track ep extract of *cosmogonie* and includes unreleased track *ouverture* exploring his theory on the creation of the universe. pressing on transparent blue vinyl.

paradise club recordings are due to serve up another eclectic ep later this month – their first selection of what they have in store for 2013 – and it’s one that furthers the label’s trend of showcasing the many different styles at their disposal from their current roster.label stalwart jabru kicks things off with ‘last days of rome’, an aptly-titled cut that begins by traipsing through ambient swells and looms, only to then brew up a truly decadent, central dancehall rhythm.

we are the ones with the courage to stand up and express our ideas. so many heroes have sold out, moved on, and turned their back on the detroit underground. if the true believers are waiting on the calvary then i guess cryovac will have to do. this is our fight whether we like it or not. we are a few like minds, not the alphas, never the favorites. we are the other guys, the ones nobody bets on, the least likely to survive a business. we know what the score will bring us, but there is an appointment and we mean to keep it. heroes must define themselves and then redefine themselves. each day that moves forward brings opportunities to tweak creations into what the now means. kieth kemp endures the elements and ailments of an ever changing electronic world. he is an original hero with a smooth technique that reflects an instinctual nderstanding of sound and soul. kieth represents a talent and spirit that does not falter no matter how strange a circumstance can get. he follows his own path to relavence. i am proud to welcome kieth to the cryovac machine.

the opener is a traditional jola rhythm, typically fast and energetic, with tuned, talking and kit drums swarming over a kind of skeletal downhome guitar, somewhere between blues and disco. the mboup brothers make a soaring, impassioned plea for an end to division and bloodshed in their casamance homeland. then a more deeply dug-in, spaced-out funk, edgily spun from a serer rhythm, underpinning mbenes reflective song about parental sacrifice. sama yaye, my mother. both with full instrumental versions.

three superb re-edits from karim, the man destined to become the new todd terje. *all the joy that you bring* is everything that is good about disco with none of the cheese. flip then for the pure soul and heavy funk of lou johnsons *the beat*. then to round off perfectly we have got a great instrumental of grand master flashs classic *the message* this is a huge release!
pressing on coloured & marbled vinyl.

is he good - or is he wicked? - with this quote from alice in wonderland, clemens started his highly acclaimed fÖn records series in 1996. 2013 neufeld is back and taking raw acid techno to the next level. wicked is a bass heavy straight banger for the big floors, driven by haunting distorted off-beat percussion and naughty 303 bassline action.us-techno legend angel alanis, true master of disaster since his early works on woody mcbrides offshots, totally destroys it with a super ruff earthquake bass monster. nobody less then gez varely aka g-man, legendary half of the techno pioneers lfo from leeds, uk, provides another remix in his very own flavor - deep, dubby and hypnotic - a guaranteed floor filler. recorded in vienna(a), indianapolis(usa) and leeds (uk.

with releases under a range of pseudonyms (orpheus, sir leon greg, nite vision) and support for his previous explorations of depth coming from the likes of john heckle, dj deep, aroy dee, chicago skyway and steffi to name but a few, once again perseus traxx unashamedly shows his nature on this release. thoughts, feelings and emotions are by far the most important influences on music, and capturing moments then translating into a musical form he once again documents the more personal elements of his life, taking you deep. perseus weaves a rich tapestry of emotions and desires using heavily weighted bass tones and skipping percussion that thread together with expansive strings and pads. these are married with more detailed melodies and modulated tones that shimmer in and out of the psyche as he uses analogue boxes and their warmth like a loom. this collection of music ranges from the deep and dreamy, to total transcendence within steady dance floor rhythms clothed in a warm yet spacious fabric of sound. deep house, sometimes with a real sense of urgency that juxtaposes with it is inherent flights of fancy.

his new release is more uptempo and 4 to the floor then his precedents ones. big tip for fans of dorian concept, flying lotus & mono/poly.

the multicultural artist arash (with persian origins) made his first contact with electronic dance music in the mid 90s. mainly influenced by the classic house sound of the 90s and the german electronic music scene around frankfurt, he found his passion to house & techno music. as a teenager he started to spin vinyl and got deeper & deeper into the world of dance music and club culture. after a few years of loving & living he started to host & play on his own parties in the region with his own touch and view of electronic dance music. this was followed by appearances in various clubs and off locations. his dj sets are made of a danceable mixture of groovy deephouse and techhouse. 2011 arash started to take his passion on the next level with shaping his own sound. since then he released tracks on record labels like kiara records (barcelona), bla bla (amsterdam), be real (amsterdam) and night drive music (berlin). arash is definitely an artist to keep a close eye and ear on!

upon the first listen, the work of fernando unfolds directly on your brain and leaves a long lasting feeling of drama. fernando pulichino is one those lucky guys who can pick up any instrument and write songs without breaking a sweat. he first caught my attention with a remake of the bauhaus classic kick in the eye released on redux in 2008. he then backed up this great start with releases and remixes for labels like international feel, under the shade, internasjonal and nang. he also very busy touring as part of the 2020 soundsystem band and he is also in silver city with julian sanza.
we decided to put together a long player to highlight the talents of our man in buenos aires. the construction of *float* reveals an astonishing wealth of musical ideas, brazen touches of new wave and icy modern disco sounds are evident throughout. low slung basses are also a theme that runs right through *float* whether it is the opening song *a place* which has a monster electronic bottom end or *from out there* which sits firmly on the punk funk dinner table, bass lines are clearly important to fernando.