the debut release elixir ep from aert prog features three original tracks and two remixes provided by talented producers andre salmon & jonny cruz.
the elixir ep embodies all the elements that defines aert prog style, a deep & soulful touch with the title track « elixir », which bring you back to the basics of mental techno, with a powerful main theme followed by rich melodic synths taking perception to another level.

rawax proudly welcomes gal perez & hadas cohen aka rrz & dasco to the family! the very talented duo from tel aviv delivers on the -memories ep- some serious house tracks which convinced us from the first moment. on top they present here chicago master and chiwax artist, mr. boo williams with his interpretation of the track -brighter-. strong debut release - more to come!

following on from 2016’s excellent “birsk” single on futureboogie, philipp lauer returns to the label with a new three track single. the “las brisas” ep kick starts with the mechanical funk of “pile”, acidic notes drip over heavy ebm drums whilst a hovering ‘resse’ style bassline dominates, the influence of early house and industrial dance are ever present here on this belter of a track from the tuff city kids and talamanca system player.
more acid pressure can be found on “clipper”, a blazing and dynamic slice of anthemic balearic dance. searing pads and lustrous melodies pour over the robust drum machine workout, that’ll have dancers reaching for the skies! real stirring stuff from lauer, which continues with closing track “tyco”. ricocheting stabs and cowbell hits bounce off a sturdy kick drum as the track flourishes with more on-point melodies and a snaking bass. dripping with emotive refrains, lauer brings his very best to the table here, and rounds off an ep that’s most definitely all killer and no filler!

the selecter, the riotous skank machine who exploded out of coventry in the game-changing, multi-cultural 2 tone explosion of 1979 release their brand new album ‘daylight’ on october 6th. now reunited around the nucleus of original members pauline black and arthur ‘gaps’ hendrickson, the selecter are firing on all righteous cylinders in 2017 and ‘daylight’ is their most urgent, politically engaged and purely uplifting music since the days of ‘too much pressure’ and ‘celebrate the bullet’.

shaun reeves & tuccillo present a new facet of their ongoing collaborative efforts, with a collection of works that took root in the woods of ibiza. shantu’s first record opens with primero, a classy ride through dreamy melodic elements and a relaxed groove with a steadily rising pace. ingenue moves things into 2nd gear with a deep and funky bassline that is soon propelled further with a variety of organic percussion elements. the long b side zissou would certainly be at home in the team zissou minimalist playlist, a mysterious and psychedelic underwater trip populated with strange echoed synths and steady precision drum machine work.

the latest installment on roam recordings features nozz aka damon jee aka jérôme da silva. most known as damon jee for his widely acclaimed remixes, jérôme has been branching out with outstanding originals under his nozz alias. in his misfits ep for roam nozz delivers two excellent new productions. the title track is a cool rock infused guitar laden stunner with class and attitude while hippy home is a dreamer of a tune perfect for greeting the sun or losing yourself in a closed eyed dance session. the misfits ep comes with two top remixes from the emperor machine and autarkic. the first remix is a tour de force performance with a sound that is unmistakably the emperor machine – intricate, dubbed out, lasers, and superb production. autarkic s version of hippy home adds an eclectic edge to the ep with a cacophony of orchestral and quirky sounds that somehow perfectly keep in line with the stripped down feel of this remix. the misfits ep brings together three artists at the top of their game and is a fine addition to the ever growing roam recordings catalog.

»legend: the best of« enthält die 20 wichtigsten songs von suzi quatro, die in den siebziger jahren zu den erfolgreichsten weiblichen rockmusikern gehörte. die us-amerikanerin hat zusammen mit dem produzenten micki most (rak studios) 10 uk-top 40 singles geschrieben, inkl. der nr. 1 singles »can the can«, »48 crash« und »devil gate drive«. alle songs wurden neu remastert.
limitierte pressung auf goldfarbenem doppelvinyl.

a complex web – the story of dive position and the shining path ... began in 1982 when peter miller (aka dr. william s ray – vocals, tapes, guitar) met andrew millar (aka maurice spectograph the nose-y pieman – program execution) in gold coast, australia. while sharing a similar taste in music, they decided to form a band, so dive position was born. equipped with a korg synthesiser and tascam 4-track recorder, they -wanted to have the sound of kraftwerk, the groove of can, and the menace of throbbing gristle-, ending up with -a cross of suicide and the residents-, as peter recalls. in a local record shop they met stig andre leonardson (aka vincent blackshadow), who joined the duo on percussion and drum machine programming. their motto was -now is then-. dive position then became the fatal charm around 1984, and the fatal charm became the shining path who eventually released their only album -basic training manual- in an edition of only 250 copies, most probably in 1986. the band then started to drift apart, and shortly after andrew sadly passed away – this compilation -now is then- comprised of previously unreleased dive position and the shining path material is dedicated to his memory.

jamie jones, reboot, jc fousdelamer remixes + original ...
the latest instalment on christian burkhardt s retrospective/future-focussed c&b sessions projects sees him returning to one of the pivotal tracks of his career: doubledub released in 2009 but still slapping with finesse almost ten years later with its low-swung bassline, latent funk and evocative vocal, its elements resonate perfectly with everything going on in house and techno right now. these remixes couldn t have landed at a better time... jamie jones rolls in with a timeless rolling gem that gradually builds into an impeccable late night jack-out laced with surprise acid tendrils. jc fousdelamer brings the feels with a much slower, cosmic trip that lingers softly with spellbinding dubbed-out magic while reboot unearths the techno beast that was always lurking beneath christian s funk. stripped back machine funk at its finest, reboot never disappoints. naturally christian has also provided the original source material for those who want to kick it 2000s-style and for those who weren t old enough to catch it the last time around. join in if you know the chorus, doobie doobie...

the cryovac machine operates independently to service the world with an original strain of techno. our people are pioneers of their own sound and seasoned veterans of its cause. this cause is the basis for our action and the motivation for our vinyl. cryovac believes the vinyl format is the truest way to take in our music, and this is why we take great care to personally craft our own plates and photograph our own art. the cryovac approach and stance make it a true oddity in a world of commodities, and we hope you realize, feel, and respect our work. andy vaz is a rebel from the city of cologne. he is a creator of techno labels that follow their own path and challenge the standard dogma. his version of the techno sound has gone from stark and funky minimalism to synth cascades and housey feels. andy vaz is the perfect choice to collaborate with andy garcia. garcia s brand crunchy soul tech mixed with vocal nonsense is the yin to vazs yang. these like minds share a name, a spirit, and a drive to keep moving forward no matter the cost.

originally released in 1982, including tracks written for crosstalk (a science fiction thriller film made in australia) and other electronic themes, it was written, performed and recorded by chris neal in his home studio, using roland system 700 and roland mc8. in 1982 there were only a few system 700s ever produced and roland was more interested in promoting their more commercial system 100m (that s why it was credited on the 1982 original cover to give them a plug). the system 700 was developed by taro kakahashi and his team in japan as a direct challenger to the moog modular system. the orbeatize remastered reissue also includes a special bonus track remixed and produced in 2017 by jolly mare.

welcome to the next vinyl record on kickmasomaass records and we are back with next edition of hardgroove planet the second one. the only one real hardgroove techno sound on this planet released on vinyl! all others are only cheese! as always we bringing you also this time four tracks from creme de la creme of hardgroove techno producers. the first one chewy martins has delivered us track called dark shadows and i think that this one is one of his best tracks he has made. excellent dark synths with hard tribal beat and heavy kicks. a dream of every hardgroove fan and one must have for every hardgroove party. second track is from well known andy bsk called machine. this very poor producer from slovakia has finally delivered us one real hardgroove track that has a potential to destroy every club. his beat and sound is so catchy that every hardgroove fan will love this track. the next track on hardgroove planet 2 is from dj gumja called noelom. this slovenian dj and producer has delivered us a track with real hardgroove heart. great tribal beat filled up with a catchy vocal. great work from him! the last track and a grand finale for our hardgroove planet 2 is a track called moon from recycle bot. all fans who is know this producer knows that he is more hardtechno or techno producer as hardgroove but his track moon has something from hardgroove sound too and thats why we have added this track to our compilation. great hard beat with tribal percussions, dark synths and heavy kicks. so thats all for now. hope you all will love this new vinyl record and if you want to show some love then spread a word to your friends about this new release. thanks for all support. enjoy!

mst032 cute heels. this 4 tracker ep comes strait from the white mountains of bogota after transmissed to the dark streets of berlin. after a mindblowing 12inch on darkentries cute heels delivers a new one for moustache records. this 12inch listen to the name bella ep a renaissance new wave techno electro banger. dark strings and live feel with enough fist pumping energy for your unisex body machine tekno party.

bionda e lupo are like little you ll have heard before, a boy/girl band like no other. synth wave is fed a line of modern alienation, delusory disco to a disdainful drum beat, house emptied and ridiculed. rhythms are stark, melodies are as mechanical as the lyrics. -zug der vogel- is sparse, vocals intertwine in an empty embrace whilst bars sparkle. -twoi glasza- is more playful. bright words shimmer against sweeping strings. the past is parodied across the ep but nowhere more so than in -die kinder aus dem park.- a former classic dug out before being peppered by machine gun percussion. the stilted rhyme of -eckstein- closes, a ballad of bittersweet images and lost hopes.

coming off the back of 2 years running strictly-vinyl-only acid house underground parties, the downfall crew all veterans of the 1980 s london acid house scene have put together their debut 12inch. straight out of wandsworth ep. four jacking analogue machine-driven tracks. all hardware. vinyl only. no digital.

repress , swedish disco aficionado drop out orchestra has been plying his trade in the world of slick edits and on-point party fodder for the best part of ten years now, and now he comes to riot gear with a sure fire club classic to share. there s no prizes for guessing the source material on -holding on-, but in this context the evergreen crossover jam gets a modern steroid injection, having never sounded more contemporary than here. yam who? sidles in for a remix that does a subtle job, simmering down some of the familiar vocals and making a slinkier cut that still hits hard. -knucklehead- brings a little more jacking drum machine action to the table, but still disco is the main order of the day, while -where is my man- takes the prize with its on point jazz funk licks and stomping beat.

pure emotion carried by cosmic soul in the guise of underground melodic techno is what justin zerbst offers us with his first release on metamorphic. justin might be considered up and coming despite having released his first record on the highly regarded australian label red ember in the 90s. since then the melbourne based producer has released only a handful but extremely sought after records on eklo, seekers, and red ember. now his music, deeply influenced by detroit and especially midwest techno finds a natural home on metamorphic. four tracks of pure analog machine soul, created in the 90 s but never released until now, capturing the raw energy and excitement of that era. robert feuchtel at fat of excellence production services cologne, bridges the divide between now and then with his unparalleled mastering skills.

london based club night and newly formed label snap crackle & pop s third releases comes in the form of a dark take on new wave influenced techno from berlin based new yorker curses. side a kicks off with a hypnotic techno stomper another view which playfully tips its hat to early electro albeit through a visor of coldwave inspired guitars. together in the dark delves into even darker territores with ice cold organs reaching for the light through the grinding ambient yet groovy undertones. on the b-side inga mauer ramps up the dancefloor tension with her machine like acid rework pulsating and crashing urgently together in the dark, whilst the golden filter turn out a low slung trip of brooding synths and haunting vocals before cascading down the rabbit hole in a swell of industrial motorik beats and percussive explosions in their take on another view

following their appearance on dimensions recordings’ debut release, the three part compilation ‘an introduction’, with the twisted ‘crosstalk’, london modular alliance step up to the plate with their first full ep for the label. the ‘hands & brains ep’ further demonstrates the skills that the london based trio are becoming renowned for. as the minds behind the fantastic london modular store in london specialising in modular equipment, often supplied to a host of well known musicians, it’s unsurprising to hear that the guys are serious gear heads, what is surprising is the quality and consistency of their growing output! across four tracks the london modular alliance team demonstrate their complete mastery of the electro form with four varied cuts. from the breaky, bubbling, modern acid of lead track, ‘hands & brains’ to the drexciyan underwater inspirations of the closing track, ‘forbidden’ and the brooding machine drone of ‘i settled for her leftovers’, it’s clear that the future of the genre belongs to london modular alliance and it’s in very safe hands… london modular alliance are taking their impressive live set up to dimensions festival this year to unleash their mastery at the croatian fortress

chico buarque construcao revisited by l_cio is a beautiful debut project part of a doc series of releases combining classic brazilian names with doc artists and producers. l_cio (laercio schwantes) the man with the transverse flute known for some of the freshest and unique tracks coming out from brazil is behind this gemstone. increasingly building a legacy of fans following his live performances and recent releases on doc records (vazio, traffic, people talk, schwantes), this man is a non-stoppable 30 hours machine gun. on this long awaited 2-track limited edition vinyl release, l_cio and gui boratto kept the roots of this classic track construcao. however they added all the proper elements of a techno dance floor knockout. by inserting malicious baselines, flutes and strings they generated aggressive melodies while keeping all characteristics of this epic song. voted as the greatest brazilian song by rolling stones magazine, construcao was originaly recorded by chico buarque in 1971 with production by roberto menescal. released during military dictatorship, chico buarque criticizes the way of life of the brazilian workers, comparing them to machines. the song is known for its interchangeable last words, used as if they were pieces of a board game, as said by buarque. generatiions apart, construcao (l_cio & k_ri version) and construcao (l_cio & borattos deconstructed mix) are the first ever authorized remixes in over 45 years. l_cio the latest dance floor brazilian soldier, a menacing builder of beats completes an epic turnnig point by editing and lapidating a classic poetry. with a b side dub version beutifully crafted by label boss gui boratto, this limited edition pearl is finally here for our joy!

great valuepack of 3 somehow underrated releases now bundled together!

sein ruf als einer der produktivsten elektronischen musiker nordamerikas eilt john tejada aus guten gründen voraus: einer wäre der stete, seit über zwei jahrzehnten andauernde strom an veröffentlichungen auf legendären underground-labels wie etwa 7th city, plug research, tigersushi, playhouse, areal, pokerflat recordings oder seiner eigenen plattform palette recordings, ein anderer die schiere qualität seines musikalischen outputs. klassische tracks wie “timebomb”, “mono on mono”, “the end of it all” oder “music for doubles” sind zahlreich in seinem hochgeschätzten portfolio vertreten, was einen künstler mit ernsthafter hingabe an die eigene zunft verrät. als mitglied der kompakt-familie seit dem 2011er album “parabolas” hat t ejada weltweit die plattentaschen ambitionierter tanzflurkuratoren mit zwei weiteren kompakt-langspielern (“the predicting machine” in 2012 und “signs under test” in 2015) und einer reihe eps wie etwa “lakewood drive” (2016) gefüllt. vom sorgfältig vermessenen schub des titeltracks ceol zum zackigen roller prelude to madness und aislings impressionistischen, melodischen grooves pflegt auch seine aktuellste 12”einen unbachahmlichen sinn für die balance zwischenden treibendem t echnoschlagwerk und house-synthies, knackiger produktion und hypnotischen texturen. beseelten verträumt

the second ep of samuel rohrer’s range of regularity album presents two more striking reinterprations. these new remixes provide an intriguing parallax view of the original tracks, using the percussive eclecticism of the parent lp as a starting point from which to journey into sonically vibrant, feature-rich territories. the production specialists on hand for this project include burnt friedman and ricardo villalobos. villalobos, has already formed a strong working relationship with rohrer’s ambiq trio, lends his talents to both of the eps. (ror remixes i - amel-ep716). nonplace label boss friedman, as well, has carved out a unique space for himself within the electronic world, logging several decades’ worth of releases that with dub-wise production sensibility, skewed humor, and riots of tone color. though each individual remix has its own character, they are all united in their ability to provide a quick cure for fatigue with the common “loop”: though not improvised, they are strung together from fleeting phrases that evolve as if they are taking on a life independent of their creators. burnt friedman’s own dramatic interpretation of “microcosmoism” pairs up his consciousness of deep bass and analog inventiveness with rohrer’s continually transforming sound objects, making for a flowing and wordless narrative that simply dares listeners to stop paying attention. feeling more like a collaboration in “real time” than a remix proper, friedman brings his characteristic ‘mad scientist’ wit to the proceedings and delivers an energetic piece that simply glows in the dark. this is complemented nicely by villalobos’ remix of “microcosmoism”. it carries the energy level of the 1st ep over to a new disk, while heavily experimenting with feelings of emotional ambiguity. at some points aggressive and at other points merely curious, this mischievous collage of attitudes feels as inspired by the questing jazz of sun ra as it is by continental techno. contemplative keyboard runs, enthusiastic spring-like percussion and malfunctioning machine chatter all coalesce to make this a most fascinating piece of multi-purpose electronic music.

for over 40 years orchestre poly rythmo de cotonou has combined traditional beninese music with soul, funk, afrobeat, rhumba and cuban rhythms to create this infectious soundà hailing from benin, west africa, orchestre poly rythmo de cotonou has been churning out incendiary afro grooves since 1966. on bosq meets poly rythmo uptown, bosq tastefully reworks 4 of orchestre poly rythmo s legendary recordings. as a die-hard fan, bosq took a subtle approach to the project. according to him orchestre poly rythmo has been a strong influence on his work and he wanted to be respectful to the original tracks. bosq focused on making the tracks dj friendly by beefing up the low end, rearranging and stretching parts out, and adding in extra percussion and a drum machine. the result is a 4-track ep of bumpy afro disco, psychedelic funk, frenzied afrobeat, and sunny soulful grooves. based in medellin, colombia, bosq has released a collection of music on ubiquity records, soul clap records, fania records, razor-n-tape, and more. since 2015, sol power sound, out of washington, dc has released deep sounds inspired by rhythms and traditions from around the globe. the label s output includes afro-latin stompers, re-edits of lost disco grooves, heady percussive tech workouts, and other sonic treats. four stone-cold classic orchestre poly rythmo de cotonou tracks re-shaped by bosq for the dancefloor today..

aquamarine puzzle marks a new step in the sound of luxus varta. six paths are etched for this journey into time, space and the machine. a spectrum of sound is allowed to roam, to wander into strange worlds of galvanised synthlines, serrating snares and soulful strings. the 12- is perfectly balanced, astral melodies countered by crisp and precise rhythms, distant harmonies tethered to absorbing bass. a renewed partnership with machinist in arms paris the black fu of detroit grand pubahs is formed for the mechanical dreamscape that is -globb.- a complex and utterly compelling encounter with the luxus varta nebula.

“songs of love sung by robots” from the moment this machine is booted bop begins buzzing with kinetic warmth. this is something characteristic of swarvy’s sound, the la-by-way-of-philly musical polymath with a vast catalog including sunsoaked live instrumentals, jazz-infused loops and lo-f gems. with bop, he is musical mad scientist, ?aunting his technical fnesse as he plunges into the realm of abstraction. swarvy makes his mark in bop even while grappling with its colder, industrial elements. with broken rhythms and jagged textures, he pieces together tunes of emotive beauty. the result is undeniably playful and delightfully odd, something like songs of love sung by robots. through its wavy ambience runs a current of aural ephemera - bits of speech samples, bossa riffs, and r&b with opaque origins. bop’s genrebending tracks will take you to ten compelling dimensions, forming an archeology of cyberspace and musical artifacts that’ll leave your cold robotic heart melting in the la sun.

the memory box parties have been celebrating the classic foundations of acid house for some time, and now they ve launched a label to push their love of squelchy 303 even further. robin ball steps up for the first release with some classic examples of how to ride the well-worn machine and keep it sounding fresh like the first rays of morning through the warehouse window. -acid stomp- needs little explanation - it teases with some subdued 303 warbles before the real meat of the track kicks in and the frequency starts freaking. acid duck is a more reduced affair, while collaboration with neil tibbetts sqolch works a few deep house elements into the mix. mvdc finish the ep off with the abrasive, grungy thrust of back in the dayz

delivery is the work of greg shin, who has previously appeared on la club resource and smashing tape records. now he appears on torn hawk s valcron video with a wonderfully diverse set of leftfield machine workouts, kicking off with the tempestuous drum twitches of brain drained. technology transplant is a polar opposite, focusing on calm drifts of ambient synth with a mournful tinge. the b2 is worth digging for, as four two nine seems to balance the two other tracks and make for the most club-ready piece on the 12inch.

corp delivers his first ep on libertine traditions with 4 bleep inspired dancefloor bombs… not to be missed…

dalmata daniel s next up is a collaboration with the bristol-born „weirdo disco guy- antoni maiovvi and also a contribution of heinrich dressel who is an unavoidable column of rome s electronic music scene. maiovvi s pleasure model project is all about youth – replaced by blade runner-esque replicas. his first release under this moniker was „kendo dynamics- on 100% silk in 2016. it aimed for presenting a persuasive world of fiber optic paranoia and technoid effacement. dd006 is the next level of the concept and the first time on vinyl. the tracks are driven by the characteristic haggard drum machine s sound on side a with a melancholic or dark synth themes what becomes a dreamy melody in the „prism riot- on side b. the remix by heinrich dressel is a turn back directly into the darkness, but it is faster and more like a film soundtrack with his own characteristics, of course. the whole ep has a strong vintage mood and sound. it can be said that update 1.1 is definitely dystopian, coming from the future of our past.

stl s dream-state modulations, arhythmic takes and that machine groove signature strikes mutantexture imaged blundar third 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.

special request returns taking no prisoners with a fierce battery of snarling, belligerent, machine-funk of the highest order across a 6 track ep. atoms are smashed, vapour clouds sent into the ether, chaos is controlled, tamed and rendered in 6 different shades of wrong… also features a deliciously spannered rework by peder mannerfelt to close out the ceremony

top tip for boards of canada fans! gorgeous isolation wrapped in electric memories. 8-track electronica for homesick time travelers. nothing left to abandon is a slow rendering of brooding introspections and imaginary spaces. memories, visions, eroded philosophies, tragedies in a few words. a childhood of livid skies, barren escarpments, homeless wastes. an absorbing contemplation of unlikely beauty and dusty melancholy that intersects with the creative territories of vangelis, boards of canada, klaus schulze, and ulrich schnauss, and the musings of joe frank and robert ashley. clocolan is south african-born composer emlyn ellis addison. a long formal training in music, his work centers on original writings and the found sounds of abandoned ideologies--generations of radicals and skeptics searching for meaning. from his childhood in south africa--a landscape of neglected hinterlands, eroded topology, unconquered vastness--emerged clocolan s homesick, lo-fidelity electronica, expansive themes lost in the background noise of human affairs.

this september will see visionquest return with alexi delano’s ‘water colors’ ep, accompanied by a remix from the persuader aka jesper dahlba&#776,,ck. chilean born, swedish raised, new york adopted and amsterdam based producer and dj alexi delano has an impressive back catalogue dating back over two decades and featuring releases on labels such as laurent garnier’s f communications, richie hawtin & john acquaviva’s plus 8, ghostly international’s spectral sound and m_nus as well as visionquest where he returns to here following his collaborative ‘the breeze’ ep alongside label co-founder shaun reeves in 2013. title-track ‘water colors’ opens the release, a smooth and gradually unfolding composition fuelled by an amalgamation deftly programmed multi-layered melodies which ebb and flow throughout the sturdy rhythmic foundation. following is the persuader’s take on ‘water colors’ which dubs things out to create a murky submerged feel in contrast, utilizing the original’s hypnotic melodies whilst subtly working in a rugged 303 line throughout. ‘communicate’ then rounds out the package with a groove-led feel, bringing a squelching acid bass, hooky vocal chop and modulating synth flutters into the limelight as the shuffled dynamic drum machine workout carries things along

unkonventioneller ausnahme-dreampop von den trailer trash tracys! wer das londoner duo noch nicht kennt, wird sie wegen ihres bandnamens womöglich leichtfertig für eine punk rock-combo halten, doch weit gefehlt. stattdessen zeichnen sich susanne aztoria und jimmy lee durch das kunstvolle vermischen von stilen wie synth-, dream- und shoegaze-pop aus. nun melden sich die beiden mit ihrem neuen album -althaea- zurück!
schwarze heavyweight lp in spined sleeve inklusive mp3-downloadkarte

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.

all pieces are conceived and recorded between the end of 2015 and 2016 between amsterdam and tuscany. the path starts with cristallo di bismuto which is a low-tempo jam marked by dusty 80s drums and deep pads that transport you straight away in an underground nocturnal urban sci-fi scenario. i wish you could shelter me has within a powerful rolling bass part and a solid drum-machine pattern, dx7 s style keys with some romantic melancholic colors. oosterpark laguna is an exotic house groove with a lush pad and a sweet saxophone solo perfect for a sunny warm day. mare aperto is a nostalgic house tune inspired by the early chicago s piano house and the italian golden era of clubbing of the end of 80s early 90s. the release includes a label s sticker inside and a stamp on the inner sleeve.

one-man electro sex machine egyptian lover has been doing the rounds of european festivals this summer, bringing his distinctive brand of hardware sleaze to a new generation of dancers. it seems fitting, then, that his latest 12- includes previously unreleased versions of live show favourites -seduced- and -belly dance- (both of which originally appeared on 2015 album 1984). the a-side boasts -remix- and -instrumental- versions of -seduced-, both of which are typically 808-heavy and include the eccentric producer s usual middle eastern inspired synthesizer melodies. on the b-side, the la veteran has slipped in an extra-long version of -belly dance-, a spacey, punchy and cowbell-laden workout in his trademark style

over the past three years melbournes albrecht la brooy have patiently cultivated their own space within australias prolific electronic music scene. deeply rooted in technos ambient influences, the duo improvise their compositions with an overarching approach that breaks away from techno s conventional presentation. recorded in one take from beginning to end, escape velocity sees albrecht la brooy take on the voyage aesthetic and principles to create a twenty five minute odyssey spanning four passages, to be played continuously across the 12inch medium. utilising both sparse, drifting ambient palettes and driving, machine-led rhythms, escape velocity is a pensively uplifting account of future travels through space and the ninth installment to the voyage catalogue. both sides of the vinyl are cut as continuous sides.

ltd repress --- after his comeback album on morphine in 2014, sote marks his return to rhythm by taking part in repitchÆs 10inch series with a banging twotracker extracted from his more than 20 years old unreleased archive. ôneuroenhancerö produced in 1995 is a heavyduty techno drilling machine, pairing an oldschoolmillslike groove with a throbbing mass of modular synths. on the other side ôin music i trustöÆs main engine is an incandescent hardcore/jungle beat, haunted by spacedout vocals in the darkness. the track was produced in 1997 with friend æsafarÆ a san francisco based dj/producer, shortly after sote&#835,,,,s initial experiments with jungle and drum n bass pre his warp ep in 2002.

production duo computa games take the most slamming synth bass, the crispest drum machine hits, and the overall classic vibes of 80’s dance-funk tunes to new aural heights. sculpted using the best modern studio techniques, the “cosmic dispatch” ep fuses funk, disco, soul and electro to various combinations, fitting the feel of the classiest nightclub or the grittiest backyard party. each individual tune on the ep pairs with a unique vocalist or collaborator, as the project features guests lovechild, b bravo, jackie rain, natalita, and e. live. there is something killer and personalized on this ep for every type of dancer, funkster, and headnodder around.

was auch das neue kammerflimmer-werk wieder auszeichnet, ist der leichte umgang mit den schweren dingen, den grenzgängen und stilistischen erprobungen. in webers kollektief spielt die musik so sicher, so schön neben den zeichen und buchstaben, dass der hörer das andere schon aufgenommen hat, bevor er überhaupt darüber nachzudenken droht.

pablo mateo makes his debut with dred records and the hype is real. pablo delivers two cuts of machine man house & techno. fazing trees is an emotional ride transposrting spirits beyond physical worlds and deploys house music’s most formidable instrument, the piano. free drama arives with urgency with melodies that glide the dance floor on an internal journey of light. john osborn remixes the title track with swirling effect chains, huge kicks and cascading pads. this release is a timeless club hit, limited units only, no repress, ever. oversized stamped artwork

nyc stalwart and international superstar jacques renault joins brooklyn cohorts for a 4 track ep of superior edit stylings! on the a side cold blooded sources a classic, focusing on a hypnotic and rhythmic pattern for a solid 6 minutes before exploding into exuberant soul, while get down is a loose and greasy funk stomper. on the flip, dream machine is disco sampled perfection, chopped and sliced with evident love. finally, that sound takes us home with its thunderous drums, slap bass, and a tasteful peppering of soulful vocals.

since releasing his last album on hypercolour in february 2016 (æyou existÆ), dmx krew has not for one moment rested on laurels, releasing two further lps on the ekster and abstract form labels, as well as eps and singles for central processing unit, shipwrec, revoke and more. continuing to remain faithful to the roots of electro, idm and the deeper shades of techno, and without compromise, dmx krew cranks out emotive and brain scrambling electronica at a mighty rate, and never disappoints. æstrange directionsÆ is album number 21 from dmx krew, and lands once more on hypercolour, the british label that continues to make heady waves in the music scene with genre shifting releases from the like of matthew herbert, luke vibert, gary gritness, the cyclist, outboxx and a sagittariun in the last 12 months alone. youÆll know what kind of ride you are in for from the first few bars of album opener æsnowy blueÆ, hypnotizing bass and spatial keys float over dusty micro breaks, produced with an infectious aesthetic that continues over the long playerÆs fifty-five minute tenure. experimental and expansive joints such as æodd chillÆ and æstrange directionsÆ sit comfortably alongside funkier techno jams such as æthin hypeÆ and æzero sumÆ, whilst the melancholic synth sensibilities of tracks like æhip hopelessÆ and æaxial mode beatÆ catches dmx krew on fine form.

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.

a mechanised par excellence of hazy basement jams roughly sketched and untitled. man and machine in pitch-perfect unison - freaky sounds, noise boxes and drum machines amped up, wired and weird.

klyne first caught everyones attention with their critically-acclaimed debut ep paralyzed on aesop, as well as their debut remix - a rework of disclosures omen feat. sam smith - before signing to because music and going on to release their first two singles, dont stop & water flow. both tracks hit the 1 spot on hype machine whilst garnering support from i-d, pigeons & planes, the fader and noisey as well as receiving airplay support from bbc r1, 1xtra, 6 music and beats1 with water flow racing to over 6m streams and counting on spotify. mellow electronic pop thats like a long-lost cousin of jai paul - the fader infectious and effortless groove-laden soulful masterstrokes - vice / noisey minimalist vibes, captivating vocals impeccable melodies - pigeons & planes more fire from the young dutch duo the boys are off to a strong start - i-d