detroit producer norm talley shares his debut album, * norm-a-lise* on fxhe records. from a prolific dance floor career comes this debut full length album.
featuring 14 original tracks with influences of disco, house, and beyond taking his signature infectious style deeper. the album includes a track written by fxhe label boss omar s aka alex smith featuring l ‘renee.
having started his career when disco was king, talley’s real life influences over his 25+ year career have included the originations of house through various iterations. his reference points as one of the original members of the west 6 mile detroit crew and his dedication to his analog only studio position him as one of the more dynamic detroit artists who’s finally taking the time to release a complete project for his long awaiting fans.

new yorker anthony parasole provides three powerful, dancefloor productions for the third release onjoseph capriatis new label redimension. the exceptional opener ‘velocity wastes no time setting the theme of the record with its supremely-tight drum programming, jerky bassline and synth notes that spiral into space. ‘bang has similarly skipping percussion and a looped melody which reveals itself for a moment midway through the track before the pulse beats on. a killer, minimalist combination of drums, bass and the sample that the track takes its name from. finally, the restrained, warehouse feel and human touch to the rhythm of ‘hot zone again finds the berghain resident exploring the sweet spot between house and techno. his sonic voice between the two genres is founded on his wider influences, and the result carries a subtle funk, muscular beats and hint of nyc swagger. tried and tested by joseph capriati and sure to stay long in the bags of djs, parasoles fine productions have the hallmarks of an artist who knows exactly how to move a dancefloor himself. at once you both expect the unexpected and find that every progression or pad sweep arrives exactly when it was meant to.

“i’ve said it before, but dancehall and its influence on uk music has been a massive inspiration for me, going way back to hearing chris goldfinger on radio 1 playing music that was like nothing else i’d heard before. i love that fundamental rhythmic pattern, and i love how within the same world you can have some tunes that are built around the sweetest melodies and harmonies, and others that are built around super-tuff minimal drums and crazy squeeks and bleeps.
when it came time to build another ep for critical, i decided to link up with my good friend and long-time collaborator rider shafique, who has a much deeper knowledge of this music than me, and together create something that references both old and new dancehall, while still being playable in the kinds of sets i ve become known for. there’s no halftime and no chopped-up jungle breaks here - we wanted to make something really focussed and even disciplined - and hopefully we’ve succeeded.
big shouts to the vocal collaborators - super hyped to work with stush on a tune, irah came through with the righteous fire, and tiffanie malvo absolutely bodied her beat - but ultimate biggups have to go to rider. this wasn’t a project where i made the beats and rider voiced them - for pretty much every tune, we worked and reworked the riddims together. we’re both stoked on the results, and it seems like people in the dance feel the same way.” - sam binga

“veil of flames” is the second solo ep by label head kastil in 2017 after the successful “the sadistic abbess” earlier this year.
threading through the corn fields, wearing nothing but a cotton scarf, her body is like an abstract painting. he who beholds her with unpure sentiments, sees not what she is made of.
her fierce complexion radiates briefly before she speeds up her motions. out of breath she arrives at the altar of affection. she won’t sacrifice her decency for a chance to be with god.

esteban adame and dj dex as el coyote returns with two smoking dancefloor tracks. dream dealer takes the los hermanos inspired hi tech latin soul template into edgier territory with a thumping kick drum and deep driving bassline. the e2e4 inspired chords and esteban s wicked solo half way through the track assure dream dealer will be a highlight in any club set. the flip side la frontera leans more to the moodier techno spectrum. the track slowly builds to a melodic hook, a percussive break and a requisite hands in the air moment.

clergy returns for its 9th instalment with a club ready ep of serious weapons from label mainstay, and one half of works unit, reflec. the four track release opens with acid response , in which reflec has combined a tough rhythm section with a growling 303 to create a high energy roller guaranteed to keep the dance floor moving. continuing on this trend of heavy hitting rollers, osmosis is a drum track through and through, which incorporates dark and sweeping atmospherics into the groove true to reflec’s form.
the b side sees host to canyon, a peak time clergy anthem with heavy, driving drums complimented with a spacey and emotional pad on the breakdown. clergy 009 is rounded off by a broken edit of canyon which exchanges the driving kicks for a fragmented rhythmic style, a nod to the uk roots of reflec’s musical style.

echocords colour sub-label continues this november with sephs teleport ep, featuring three originals from the argentinian producer. buenos aires born producer sebastian gelante aka seph has been kicking up a storm in the techno world since the turn of the millennium releasing material on labels such as dumb unit, harry klein, items & things, his own aula magna imprint and now he joins the echocord roster on sub-label echocord colour following recent releases from luke hess and stephen brown. across the teleport ep seph delivers his signature smooth, dubbed out and intricate style and&#8232,,,,the title-track takes the lead with billowing pads, bumpy off kilter rhythms and choppy stab sequences galore before delta strips back the vibe to raw drums and murky synth textures while ethereal pads ebb and flow through the composition. motion rounds out the package on the flip side, taking a straighter approach rhythmically this time round to allow the snaking dub stabs, rumbling low-end tones and evolving hats to take the lead throughout.

this is gajek. this is 17. come in, feel free. don’t worry if you see a flute in the sink. matti gajek’s followup to his 2014 debut album restless shapes opens the floodgates to signals from a future best navigated by ear. moving through polyphonic pulses, layers of grooves and sounds, zooming in and out of ever evolving patterns of concentration and decomposition, the ten tracks of gajeks 17 are electrifyingly futuristic clubmusic true to the almost five decades old motto of berlins zodiak free arts lab: total freie musik - totally free music. paying tribute to electronic pioneers like hans-joachim roedelius and florian fricke while staying clear of historical mystification gajek revisits the abstract clarity and improvisational audacity of 1970s electronics from a perspective this is not 71. today motoric rhythms emerge and elapse from postdigital aural scapes, intense and sublime, linking the thermodynamic to the ephemeral. beyond the echoes of past utopias 17 discovers present signs for possible tomorrows.

j.c. aka jose cabrera and kastil collaborate and come with the exciting results. a fresh blend of fierce techno, ambience, industrial, noise and found sounds recordings. a full length captivating album that pushes and pulls you through an edgy and engaging world of sound.

for kontra-musik white label s 10th release we give you none other than nuel. the italian producer is closely connected to the aquaplano label run by donato dozzy a natural source of collaboration as they speak the same language, not least in the musical sense. nuel has perfected this dreamlike and seductive speech and it was irresistible for kontra-musik. on the surface nuel s tracks might seem abstract and mathematical, but there s really an abundance of movement and groove in his music. mechanical yet sensual, there s subtle erotic current running through the whole release: it s like a marvin gaye record for robots that just want to get it on.

time for something a little different from public release.
eye o is the convergence of a few bay area stalwarts—kevin woodruff, formerly of tussle, and jason schwartz - and “deux o & debut” is their first studio-recorded public offering. the five-track, fifty-minute- long lp is a weaving journey through a pastiche of styles that’re all nephews, cousins, brothers, sisters of one another. kraut-rooted motorik drums reconfigure into more complicated math-y patterns, razor-sharp dance-punk guitars stretch out and dissolve into dubby post-rock atmospherics, synth loops you’d more commonly find in house tracks get grafted onto fuzzy psychedelic breakdowns, hard rock licks lock into chunky industrial grooves.
less for dancefloor destruction and more for trippy weekenders, the instrumental record manages to both be a focused, cerebral, conceptual hunk of fat to chew on and a spaced-out, intuitive ride through the cosmos. for use during those off-kilter small hours of the night just as much as it is vision quests and introspective weekends. it’s rare that an outpouring of so much can feel so simple and sublime.

home recorded above a lawyers office and next door to a brothel, the retrospective is lead by the earth shattering digi stepper rock steady. originally intended for an abandoned dub album, rock steady and fantasy dub were saved from the cutting room floor by australian cd-only compilations on creative vibes and vital collective clan analogue, while green river was never released. now demanding wider appreciation, the dubs finally find union with green man’s new york hip hop/dancehall style, lifted from his second solo album the blue hour vol. 3: deep blue. humbly excelling in all electronic forms, rantzen helped guide techno-rave duo itch-e & scratch-e through the 90s with paul mac. winning the inaugural best dance release category at the 1995 aria awards, mac thanked all of sydneys ecstasy dealers, without whom this award would not be possible, while rantzen stayed at home. the two would also operate incognito as boo boo & mace and screensaver, often collaborating on looney dubs with sheriff lindo - the master of seismic shocks down under. rantzens earliest work stretches back to pelican daughters, an ensemble who proliferated industrial-leaning ambient and tape loop experiments

with previous form on colors and love fever, remi mazet returns on relatively new label social joy with a deep and refined trip through house music as played by a true musician. there’s a dusky, cinematic quality to the whole ep, from the captivating intro to the sweet rhodes soul of -safran- and on to the broken wheeze of -jazz e-. -shrine- has a more forthright club-ready veneer, while -jammin- brings furthermore machine-oriented grooves, but at all times the devil is in the details, and this record is most devilish indeed. one for all those craving a little more subtlety and flair in their house music.

ptwiggs brings the surrealist violence for brand spanking sydney imprint deep seeded. taking an erratic hairpin turn after dsr001s off-piste techno, purge comes off like a tragicomic thriller, swerving between saccharine sensitivity and brutal ultra-violence in the blink of an eye. shit is rough in ptwiggs towers, dishing out relentless tyson jabs to the head on day of wrath with holly herndons inverted poltergeist drifting about between the blows, while lara dies seems to execute your favourite video game character a trillion times per second just for laffs. but it s not all blood and guts rendered in vivid hd. coil-axis twinning of demonic and angelic energies course through yyyy and drift below the surface of the more berserk pieces. not for the faint of heart but life s probs beaten the feeling out of you at this point anyway.

3 texts about that record from daft punk, the pilotwings & jorge socarrás (friend and musical partner of patrick cowley) have been written. (see below) andrei orlov pushes alive sounds from modern electronica spectrum through avantgarde, krautrock or ambient. it is totally new even if you would quote tangerine dream or john carpenter to assimilate ... it includes a track reinterpretation by le chocolat noir. based in moscow (russia), andrei orlov pushes alive sounds from modern electronica spectrum through avantgarde, krautrock or ambient. it is totally new even if you would quote tangerine dream or john carpenter to assimilate ... this space world full of lights crossing the city late at night, boarding with them all kind of styles ... cosmic disco,psychedelic pop, synth music. linking past to modernity is something conscient in andrei s sound, permitting him to play live at local places involved into technological process where conferences also take place, at the 2016 synthposium festival for example.

this album is the result of a long personal journey and is conceived as a series of small tales.on stage or on cd, the dreamlike world of renart will take you away. between solitary experimentation and acclaimed electronic performances, he keeps surprising us.renart weaves melodic and melancholic atmospheres through tales which give free rein to our interior wanderings. at the crossroads of repetitive musics, 70s psychedelic rock and modern techno, renart creates powerful nagging rhythms and sharpens his future tracks in his misty castle of malpertuis.

vinyl only!
echoes_ is welcoming the young and talented akatana for their second release. the berlin-based french artist his taking us on a tripping 14min long journey of extended pad textures and strings with just the right amount of grooving basslines.
on the b-side we hear hubble decomposing and re-arranging the original track in a way only he could do it. changing it into a dramatic adventure through acoustic drums and percussions.

as a contrasting follow-up to our first single from rooteo & mahura’s metta album, the second single on made in green records keeps the format intact with entirely different results. deadbeat’s remix on part one was both respectful and subtly transformative, on part two, new york’s upcoming max mcferren, whose busy 2015 included eps on ultimate hits, allergy season, and 1080p, brings us a startling reinterpretation of album closer harmal very much in keeping with the vein of raw, aggressive house coming from brooklyn since that scene’s resurgence. the original version of harmal finishes the album in fine style, blending tablas, celestial electronics, and short melodica phrases that gradually swell with layers of vocal samples and orchestal pads before reaching a climax and slowly dying away in gradually receding layers of ambient electronics. mcferren’s remix leads off with only a bare framework of techno percussion. the entry of a sampled section of melody from the original signals a rapid transition to more abrasive territory, with sheets of metallic noise slashing through the high end, short vocal syllables stuttering, and an insistent bass pulse building up and breaking down with at least one element constantly in motion.

pathway traxx strikes again with this vinyl only underground bomb featuring 2 of the hottest stars in the underground scene, jack wickham and michael james. this 4 track ep delivers punchy underground sounds all designed for the dancefloor. label boss niko maxen serves up both original tracks spanning rolling romanian tech, through to pumping house inspired minimal. jack wickhams rework of the original falls right into his signature sound that has seen his tracks become the staple diet of artists such as raresh and rhadoo. michael james steps up to remix duties on the track cobra and gives us a perfect example of why he is being chased down by some of the biggest underground labels around. this ep is nothing short of an all round banger!

glass ist der versuch einer stilistischen manifestation. ein unbewusstes konzeptalbum als zusammenfassung der letzten zwei jahre. dramaturgisch und auditiv mutiger als zuvor. die kombination aus persönlichen eigenschaften, neigungen und prozessen in form von individuellem sounddesign, autarker materialbeschaffung und sanft souliger stimme. i see my life through milky glass. (aparde - glass) trübes glas, steht für eine undurchsichtige, zerbrechliche barriere, für einen diffusen blick auf das leben. dabei geht es um zwang, obsession, maßlosigkeit, bewusstsein, entfaltung, befreiung, ausgleich, innere konflikte, bewältigung und den umgang mit diesen themen, die maßgebend für die entstehung von glass waren. das debut-album von aparde.

rotterdam based duo arkvs release “oppression” ep through the prruk black series. the result is an exciting package of futuristic techno sounds and searing drums. the duo has managed to find a perfectly executed trip throughout the different sides of arkvs. while the general tone is darkish throughout, there are some uplifting atmospheres and hints of hope to be found in this package. while the title track is a thumping piece of dancefloor techno, the cinematic voyage “our deepest fear” is a stand-out production of adventurous electronics. on the b-side we find “chose to defy”, which is a tough work of dark techno and the somewhat more mellow “nonviolence” on which an intrusive bassline is combined with some beautiful synth sounds.

no cover, b-ware! vinyl only!
echoes_ is welcoming the young and talented akatana for their second release. the berlin-based french artist his taking us on a tripping 14min long journey of extended pad textures and strings with just the right amount of grooving basslines.
on the b-side we hear hubble decomposing and re-arranging the original track in a way only he could do it. changing it into a dramatic adventure through acoustic drums and percussions.

love adventure is the debut modern funk ep from austin, tx native and abc founder danny spence. the album is a vision of beach boogie through an exotic lens, a warm combination of modern funk, hip-hop, and jungle sounds. appealing to fans of modern funk and electronic beats alike, this album will help close the season out right and set the vibe for many summers to come. 500 copies pressed!

aketi ray are an all-acoustic dub-jazz group, playing original compositions grounded in the instrumental music of post-independence jamaica -ska, rocksteady, reggae, rockers, dub -but drawing inspiration and influence from ethiopian and us jazz, west african percussion traditions, all with the mind set of uk steppas. an outernational sound: kingston to chicago to addis ababa to dakar to london.
the sound of -from ever since- draws on the vibes and heritage of pre-electr(on)ic music, but gives that traditional sound new power through the use of dub techniques of reverb, delay and eq manipulation.

having cemented a cult status in his hometown of glasgow through various anthems on dixon avenue basement jams, big miz returns to delivers some off kilter chi-house gems for dublin’s newly minted pear label.

without new jersey native kerri ‘kaoz’ chandler, house—specifically deep house—would sound very different. ever since his teens he has been making and playing music with a unique sense of soul, jazz and deepness. from majors like atlantic, king street sounds and nervous via his own madhouse, his releases are never short of genre-defining classics that have spawned a thousand copycats. affectionately referred to as the stevie wonder of house, kerri’s dj sets take him all over the world and often find him playing live keys next to his informed selections. he’s meticulous about sound, too, which means that no-ones kicks hit quite like kerri’s. his instantly classic and timeless dj-kicks mix, though, takes him out of the club and through a world of influences and inspiration.
the double vinyl is housed in a gatefold sleeve with download code included.

zen in space makes a prominent debut for moonshoe records with yellow jazz ep . the record captivates the feeling of a jam session when the vibe is on point. soaked in instrumentation, the record feels spacious. strong percussive grooves guide the listener through a range of moods that each compliment each other effectively. throughout the ep a combination of spoken word and soulful vocal hooks give a add a tasteful human element.
fourth&bak features a spoken-word that whispers atop of juicy guitar licks and a wobbly sub-bass line, but it s an aching, soulful vocal melody that ties the jam together.
sahara groove is a moody chord progression layed out over a driving 4x4 groove complimented by a dancing, airy flute solo.
to top off the record is a remix from sydney native, setwun - an imaginative and effective reinterpretation that adds a perfect glaise to an already commendable release.

moscow based multi-talent impish presents the hush lp, his latest album project that will be released through all quality physical electronic music outlets around the world october 20. working through labels such as program, c.i.a. and his own fast rising occulti music imprint impish is quickly establishing a name for himself in the global drum & bass scene. in a world that consumes more and more music in a superficial way impish manages to take a halt on the hush lp with timeless songwriting, arrangement and production inspired by live music and drum work. from effortlessly rolling tracks such as can’t feel and shadows towards more introspective vibes on changing colours and the lp’s title track a common thread runs clearly throughout the album: the aim for perfection, true craftmanship and a drive to combine to high-quality beats and breaks with musical elements. to aid the budding artist in spreading his ethos uk based female vocalist kate wild and irish drum & bass producer zero t feature on the album for vocal appearances and remix work.

danse club followers will know lauhaus has been with the label since their early days when he joined the imprint with his remix of kalisha - “i got something here”. he now comes through with “smoke screen”, a 3 track vinyl only ep and his 5th ep for danse club. it’s all house and techno.

1800haightstreet finally break a years hiatus in the caves of vancouver to come roaring back onto lobster theremin with a bumper album of long-awaited otherworldly techno experiments.
with that classic, depth-charged warehouse sound blending the heavier side of detroit techno with a shot of basic channel atmospherics and a rickety stepped uk edge, this is a real time-stamp set into stone. a spectral rotation through the deeper sides of 4/4 with each slice coated in a dazzling array of synth programming, heavily effected interstellar rhythms and processing that goes from scorched & crusted to clean and undulating as each side is flipped.
a refined and considered document spanning the many elements of techno that sees thumping deepness (vanisher, super intelligent, psychic) collide with crunchy, straight-down-the-line stompers (the ram, endless, razor, diagonal iris), blistering heaviness (flood, intuitionist) and galaxian dub techno (past life memory).
overall, a truly inspiring body of modern techno from one of the finest and most standout new artists in canadian electronic music.

satori returns to crosstown rebels with his atmospheric album maktub. here is a four track vinyl sampler from the album, including a live unreleased vinyl only version of ‘while i miss you’.
music flows through the veins of satori. no ordinary artist, he is creating deeply spiritual music through a range of instruments and production techniques. maktub, his debut album on the illustrious crosstown rebels pulls the listener into an exotic world, blurring the lines between electronic and meditative music.
at the core of maktub is satori’s desire to touch people with his music, and his vocals shine through from start to finish, as he guides the listener on an arabian nights inspired journey.
after the success of ‘imanis’ dress’ and ‘umama’ singles, satori’s album is a work of sonic beauty. this four track sampler features four diverse cuts from the album that will each beguil, inspire and enthrall.

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

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

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

giant records 10th release is from new york born adam collins and limited to 150 hand stamped and numbered copies. adam is widely known for his work as one half of production duo omni am, along with marky star and counts derrick carter and evil eddie richards and a whole host of others, amongst their fans. adam’s release for giant is titled - day2day and has all the trademark’s of adam’s wonky, left of field, slightly off kilter grooves - day2day builds and snakes itself into a bottom bass heavy house jam - chicago style keys mould the snare and hats into an infectious work out - with an alien like hook that keeps it all slightly wobbly. the next cut is from the super talented carl finlow under carl’s random factor guise, a beauty in its own right ! super tight drums and a punchy random factor bassline take’s this mix on a journey through many shades of electronica - as the track swells nicely with warm atmospheric pads and sprinkles of emotive keys, with an electro style hook that keep’s it all swinging in carl’s trademark sound. the next mix is from la based producer mieka du franx. mieka’s mix strips the original down to the bare essentials and gives it a tuff minimal feel. the last mix is from echo of glory, which see’s echo take the track on a acid tinged work out - adding dubbed out vocals and super subbed out bass.

feared, loved, hated and respected mancunian boogie crew full beam! dig deep into the cooler to bring you 8 big bombs for your bags. all hitters no shitters. a double lp of rare boogie grenades to blow up your dance floor featuring dubbed out club hits, midnight moochers, soul drenched drippers & balls out boogie. a banger for every point of the party - this is some specialist gear right off the hydrofoil. the fb! crew don t know what any of their tunes are called and who they are by because they can never be bothered to read the labels or sleeves (reading = very, very boring) therefore no track-list provided. take a leap of faith - you will not complain. the record comes with the number for the full beam! gee-line through which more information can be obtained (call at own risk). strictly for radio and dj use only. red laser corp.

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

french producer okain has long been entrenched in the minimal house movement, from time spent on four:twenty and tsuba through to memoria, no fit state and now shoring up on dogmatik. babylon is a sharply focused workout with playful organ trills darting in and out of the mix, while radio therapy gets into a light-headed, bubbly state of mind thanks to some shimmering synth work. permeable drops a little dubby magic on the track and r4r5r6 finishes the ep off with a more muscular groover for when you need to keep the energy up on the dancefloor.

braindance records, giving the morning calm a second chance.
after spending years venturing between ocean and land, i.m.j.u.s has found solitude back in his hometown, seoul. upon returning he has dedicated himself to delivering the paganist delusion e.p. five recordings of melting rythmics derived from hypnotic minimal to pace driving tracks. i.m.j.u.s break codes up and this output shows his unique and unconventional sound interpretation. with inspiration peculiarly drawn from industrial sounds through his experiences, we are left with a convergence of experimental and uniquely imaginative techno.

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

takef heads the second release of young toulouse-based collective shawarma records, with a club-smashing tape. strong beats throb through a melt of acid lines and trance-inspired fxs, this one is a deathfloor killing machine.

rodhad’s debut album ‘anxious’ sees the artist step away from the dancefloor and further develop the narrative qualities of his beautiful soundscapes. it was the natural next step to present the sound he began cultivating with his recent eps “kinder der ringwelt” and “söhne der erde” as a full length lp. the experience the album is trying to convey is being thrown into a world that is ready to crush you.they have you with your back to the wall, and you are ready to give way to despair. will you be able fight back? how is it even possible? rodhad is the spearhead of a new generation of techno producers and djs. with his bass heavy grooves and dubby atmospheric soundscapes he is a sonic guide, knowing exactly where he wants to take the crowd, leading through the inexhaustible sounds of techno music in all its beauty and gloom. he fully immerses himself into the music, yet never loses himself. growing up in berlin’s rougher outskirts, as a teenager he was able to grasp the final flashings of berlin’s mythical nightlife of the 1990s at legendary places casino and ostgut. in the late 2000s the dystopian crew began their own series of parties and then the label with two seminal releases by rodhad, “1984” and “blindness”.

aaaron joins forces with newcomers deckert and singer valentine to unveil the new title track for connected. the three combine all the talents of each individual to create something really special. while aaaron provides a sub heavy african inspired groove pattern and combines it with deckert’s intense harmonies, valentine finishes off the track with her touching voice performance and lyrics that are both melancholic and deep. wether you listen to it on your odyssey through the night or while watching the sun rise again: if you had to choose a hymn for your last night on this planet, ‘l.d.o.e.’ might be your future pick. floyd soaks up everything that was happy, bright and ancestral and pushes it straight into the void twisting it into a hypnotic techno chant where leftovers leave nothing but ashes behind. perfect for a rough peaktime approach or the early morning hours when the storm is hitting the coast. this track is a predator and will haunt you in your dreams through an endless jungle of insanity.

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

after releasing his debut album paradise earlier this year to much critical acclaim, b. bravo has swung back around for yet another trip to this island of cosmic delights, tapping into some of our favorite producers & extended fam for a special 12inch to accompany the digital of paradise remixed. the a-side kicks off with fool s gold producer sammy bananas turning the squelchy funk of freak it into a filtered french & italo inspired funky house monster, perfect for peak time on the dancefloor, while los angeles xl middleton deliver s a low slung g-funk & boogie inspired take on the album single i m for real. on the flip, uk producer smbd (better known as simbad) turns lay it on the line a classic 80s synth beast thats been tried & tested around european festivals all summer, while grandfeather (aka anton borin) comes through with a spacey & deep downtempo funk reversioning of cant keep my hands off you. los angeles-based adam mori aka b. bravo adds a touch of love to every soulful groove he gets his hands on. his signature sound, connecting outer space g-funk, r&b, and dance music has made him a name in the electronic music scene as well a key player in the worldwide modern funk movement, being hailed by the likes of xlr8r, fact magazine, gilles peterson and many more.

it is wise to take time and effort to organize the experiment properly to ensure that the right type of data, and enough of it, is available to answer the questions of interest as clearly and efficiently as possible. an experiment deliberately imposes a treatment on a group of objects or subjects in the interest of observing the response. a control group is used as a baseline measure. the control group is identical to all other items or subjects that you are examining with the exception that it does not receive the treatment or the experimental manipulation that the treatment group receives. an experiment that yields clear and systematic differences among the results of the test takers is biased. treatment vs control by deepak sharma uses extended tracks, story-telling techno to elicit a unique response through direct brute force and indirect dramatic soundscapes.

following some ear-catching manoeuvres across releases like last year s self-released only and lagata , which gained her early fans like bjork and dev hynes (who she supported in the usa), tommy marks klein s deepest plunge yet into the “deep, dark ocean” of her musical imagination on her hyperdub debut. on tommy her vocals play with fifties-esque melodies before switching to familiar tones akin to brandy and rodney jerkins, her live voice and live piano playing filtered through hyper-glitchy and looped production with a loose, internal logic, cutting from angular atonality to pockets of skewered harmony. tommy also steps things up in conceptual terms. its eight tracks are broken down into acts that are rooted in themes of vulnerability, sisterhood and death, threading the chaotic sonics with modern operatic undertones and a shakespearean sense of tragedy. there s a lot of bluster about originality in contemporary uk music and what rises from the noise here is a creative voice who, by her very nature, plays with the construct of what pop is

ziúr is one of the most exciting producers to come out of the fringes of berlin club music in the last few years. a new generation is breaking out of the techno mould and creating in a spirit of freedom and experimentation, taking seemingly incompatible influences and balancing them into a new and exciting sound. ziúr is also the founder and resident dj of boo-hoo, a night championing diverse lineups, reflecting its creative audience, bringing through the cream of the experimental dance underground. planet mu are proud to release ziúr’s debut album “u feel anything?” in collaboration with objects limited, a label run by lara rix-martin which releases music by women and non-binary people.

this vibration is cast into new dimensions. liberating eros, it circles the globe, backwards and forwards, flowing to and through us. it is said the artist has a gift— suited for the erotic life of property.
on eros in arabia, richard horowitz channels this vibration and bends bandit sounds by pairing the ancient ney cane flute with the prophet-5 synthesizer. interspersed with other instruments and ideas, like echo delayed moroccan drumming and self-made magic, these elements deal in duality like the ever-shifting characteristics of the composer: the hollywood horowitz who scores films like the sheltering sky and any given sunday, and the morocco horowitz who founded the gnaoua festival in mogador, attended by 500.000 people every year.
the vinyl release includes a download code.