pioneer dj, guy cuevas made his name by being one of the first residents in the famous parisian club le palace, shortly after it opened in 1978. attracting some of the biggest names in the entertainment business like prince, madonna, kenzo, serge gainsbourg, the location was a must-go for any one wanting to party over the paris adopted cuban expat’s amazing selection.
released in 1983, guy cuevas’ 12” single “obsession” is probably one of the best french disco-boogie records, enriched by jean-paul goude’s artwork for the cover.
the a-side’s nassau mix by françois k is a sensual and airy journey, while the b-side’s london mix offers a more realistic approach that will please the more classic-listening disco enthusiasts.
to this day this is a limited repress to 1000.

next up for les yeux orange is a collaboration between earth trax, also known for his productions as the phantom & one half of ptaki, and newborn jr. individually or together, the polish winning duo is on hell of a hotstreak lately with some remarkable works for rhythm section, echovolt or phonica and connoisseur mixes for thump or stamp the wax. they debut on lyo with a diverse selection of four dreamy, melodic and emotional tracks both suitable for the club or for a domestic listening.

two of the best tracks off the brasileira lp get an updated dancefloor treatment by selvagem, carrot green and joakim. those who experienced listening to the original maria rita version of cantico brasileiro nº3 (kamaiura) on the dancefloor know it s such a thrilling experience that could only be better if the song was a bit longer. at the same time, it didnt make much sense to mess with the original. having these thoughts on their minds, the selvagem boys augusto olivani and millos kaiser (the minds behind selva discos) had an insight while discussing the reissue of the brasileira material with singer maria rita stumpf: why not hit the studio and remake the track? also, why not ask someone like joakim, known for his exquisite taste and brilliant production skills, to remix lamento africano/rictus? it would be the perfect package.

following their much acclaimed surprise debut, vermonts sophomore longplayer presented another set that rewards deep listening (allmusic) and a mix of simplicity and richness whose result is a feeling of spaciousness and a thrilling sense of weightlessness (xlr8r). stripping away even more percussion than on its predecessor, ii saw marcus worgull and danilo plessow zooming in on ambience, texture and sonic cohesiveness, allowing each electronic voice to come into focus (pitchfork). now, ii remixes puts the beat back into the mix, thanks to iconic artists dixon, i:cube and wassermann who each develop their own irresistible groove out of the immersive source material. as one of the albums most highlighted cuts, dschuna gets the royal treatment by innervisions head and internationally revered selector dixon who proves his strong command of the dance floor with a hypnotic ride that surrounds the soaring sounds of the original with tribal esque vocals. the instrumental version drops the chants, but retains the enchantment, all elegant rhythm and gorgeous strings. versatiles i:cube, legendary producer and dj in its own right, brings a distinctly parisian touch to the spectral skorbut, whose sci-fi-imbued widescreen aura gets reimagined as laser-gun-wielding space funk machine. meanwhile, wolfgang voigt aka wassermann condenses paradigma’s roaming synths into pulsating trance swells on his stomping krautramatrik mix.

monkey safari betreiben in ihrer heimatstadt halle mit dem -charles bronson- einen über die stadtgrenzen hinaus bekannten club sowie ihr eigenes label hommage, das regelmässig vordere plätze der beatport-tech-house-charts belegt. mit dj-gigs auf festivals wie time warp oder awakenings und mit releases auf label wie kompakt, minus oder bedrock, darunter remixes für marc houle, kölsch, wolf+lamb, guy gerber, josh wink und moby(!), haben sich monkey safari im laufe der zeit ein internationales renommé erarbeitet. -odyssey-, der titel ihres neuen albums, beschreibt treffend den prozess seiner entstehung, das, anfõnglich als listening-werk geplant, sich im verlauf zu authentischer clubmusik für eine vielzahl von unterschiedlichen dancefloors entwickelte und das unverkennbare genie der beiden versierten dj/produzenten belegt.

on the spectrum does, new york avant-rock musicians che chen and robbie lee create three earthy and slow moving pieces, informed as much by various global folk traditions as they are by 20th century composition and improvisation.their ‘anything goes approach to improvising leads to a sonic document that sounds raw, intense and freshly exciting. a wild and shambolic brew sounding like nothing else.

following on from the ability ii pressure re-release, major problems and compassion cuts present another in-house favourite from their vaults: the sublime garage/rnb earworm dont tell me (how love should feel) by 2-bmw. a tony humphries/zanzibar favourite, the sole release on life of luxury in 1990 was new jersey producer larry p rauson’s first cut, and never saw a full release. it’s presented with three remarkable dubs from the mysterious man in bed, two of which in turn are flipped by compassion crew and, completing the circle, by larry himself. full colour cover with matt finish. restored and mastered by thomas p heckmann at trope. cut by andreas kauffelt at schnittstelle. artwork by mel keane. larry on dont tell me: tony played the song at zanzibar (on a) saturday night. that sunday morning my phone was blowing up... that weekend gave me the moment of my career. i was an engineer at the local cable company. listening to tony humphries on the radio, not expecting it, tony humphries played my record on his show... i did not last much longer at that job.

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.

do yourself a favour and dance across the floor when listening to the new jacob korn-record, aptly titled son of gx. the music is heavily based on the good old yamaha electone organ. the home organ for the world s gentlemen was modified by jacob himself and is now an integral part of his studio. as you ll hear it on the ep, it injects a decent dose of fun into jacob s vision of house music. at least, you will instantly notice that when listening to singlefinger chord, a track that conquers the floor with its disco elements. rumours say that jacob s cat toddled on his poor man s yamaha cs80 when producing cats on organs. if that s true, the cat provided an irresistible hook to an already slamming, italo-inspired track. son of gx is every bit as compelling as the first two tracks with its synth trumpet glory while the slighty darker fun blocks sustains us with heavy percussion works straight out of the yamaha electone organ. on top, you ll get a remix for singlefinger chord by new york s jacques renault (let s play house) as digital bonus.

a truly essential package for the die-hard disco aficionado or for those who are exploring this most important movement in dance music for the first time. curated with the full input and backing of salsoul records and carefully selected to reflect the truly timeless nature of the music contained within. for listening, for dancing, for turning on a party! remastered by optimum mastering. artwork & design by million dollar disco.

originally released in october 2016 - maajo marked the inauguration of a new imprint: queen nanny. spread across 4 sides of vinyl, the lp was a meandering journey that saw a newly formed finnish five-piece expand and develop a canon set by herman prime’s ep under the same title that was released via seagull in 2015.
following it’s warm reception, queen nanny returns with an all-star remix package that sees luke vibert, call super and dengue dengue dengue all interpret selections from the original album. altogether a tougher and more contorted collection of music - the remixes effectively pull maajo out of it’s habitual home-listening environment and drop it directly on the dancefloor to stunning effect.

all the beats, tracks, and harmonies that vega records release have a story behind them, “union dance (louie vega remix) - dj clock featuring madame-x’s” begins where most great things do as far as we are concerned.... under a mirror ball in a dark club! one night, (well really early morning to be honest) while louie vega was vibbing in the booth, listening to timmy regisford work it out for a packed nyc dance floor a wild beat caught his ear. as louie looked over and saw the crowd confirm exactly what he felt he turned to timmy with a smile and said “that beat is hot, let me get that”, and from that moment union dance’s story began with louie vega.

limited to 300 copies
for their second release, 12th isle proudly fling blubber tottum into the waxen sonic abyss for your full listening pleasure. the inaugural lp drubbed from the glaswegian machines of cru servers is perhaps best framed as what it would sound like if early life took its first steps out of the primordial gloop, dragged itself ashore, decided to make dance music and discovered they had a knack for it. it dangles precariously in the fault lines between discordantly melodic rhythm tracks, steadily paced chaos and swamp-soaked bass oddities. laden with eerily familiar samples yet always in a world of its own.

this is volume 1 out of 2 of hip hop gone wrong from john daly s west 2 west project. following up last years well received the smoke clears, john daly returns to the label under another alias west 2 west which was debuted on jheri tracks vol 1. equally as atmospheric as the ethereal smoke clears, this project is the result of his ongoing hip hop obsession. mpc workouts inspired by current listening, the result isnt quite hip hop, but sits nicely in the all city beat discography. there s an after hours headphone feel to the set spanning twenty four tracks split evenly over two 12 inches volume 1

shore is a vibraphonist and composer based in brooklyn. eamon harkin and justin carter from mister saturday night met him through nyc music institution, nublu, where he worked with the legendary jazz maestro butch morris and sex mob and tom waits drummer kenny wollesen. at the very first planetarium listening session, where eamon and justin blend records into live performances for people sprawled on the floor of a loft for six hours, one of justin s friends leaned over to him and asked, -what is this record? it s amazing.- it wasn t a record. it was shore, playing a hundred times in the corner of the room.

musically and emotionally, superpitchers third full-length studio album, the golden ravedays is a one sound autobiography that exhibits the skill, feeling and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally. and full-length it is: the golden ravedays is an epic album of 24 tracks that was released in january 2017 and is stretching over 12 respective chapter albums during a one-year period. the 9th link of the golden ravedays chain will be released on hippie dance in september 2017. where number 8 of the series took us to outer space, number 9 introduces two tracks that are an under-water celebration of all that is good and all that is sad. side a features hiding. imagine galloping sea horses pulling a christmas chariot filled with dreams-come-true past enchanting mermaids, smiling sharks, waving tortoises and nonplused eels, leaving a gifted blanket of mystical sound in their wake. hiding stretches and breaks into many layers of listening love without enforcing one particular sound. side b features flying. the piece is occupied by a subaquatic melody colored by whale sounds and the echoes of immersed guitar strings. flying is not about complex development or diversity but the weightless drifting of sounds that create a wonderfully hazy cloud to lose oneself in and fly, deliciously with the dolphins. rest assure, the ending is be speckled with whimsical chimes showers, paving the way for the softest of landings

it s an honour for ce to welcome the electro super group of of keith tenniswood aka radioactive man, phil klein aka bass junkie, simon brown aka the dexorcist and matt whitehead to the label for ce022. keith, phil and si are electro pioneers of the uk sound who have inspired the label long before it s inception in 2007. matt whitehead has been with ce from the start featuring as signal type with sync 24 on ce001 and appearing on several of the early releases. welcome to the -resonance committee- the resonance committee are a core of 4 like minded producers committed to keeping the electronic groove alive via vintage analogue technology. -created and mutated for those who know, who feel the flow of electricity in their veins, their brains. we remain unchained!- meetings are held twice a year in a london studio where live jam sessions are recorded and edited for your listening pleasure. expect to see more members join this ever fluctuating collective for future releases. rc 2017

legendary philadelphia group first choice are undoubtedly disco legends. over the decades they have blessed turntables and eardrums with a slew of classic club records, look at any list of dj s choices or benchmark dance records and you ll see - doctor love , love & happiness , armed & extremely dangerous , double cross , love thang and many, many more! now, that s impressive. a truly legendary group, first choice came from humble beginnings during their student years in their native philly. off the back of some promising local appearances and some radio play they ended up working under the watchful eye of impresario norman harris who was managing soul legends the delfonics. the rest, as they say, is disco history! featured on this incredible compilation is some of first choice s classic mixes and cuts, touched by the old school masters, mixed by the heroes of disco - tee scott, shep pettibone, larry levan, tom moulton etc. truly an essential collection featuring all the classics listed above, and more, in their full 12- mix glory, untouched, respectfully remastered and compiled here with love and care. a truly essential package for the die-hard disco aficionado or for those who are exploring this most important movement in dance music for the first time. curated with the full input and backing of salsoul records and carefully selected to reflect the truly timeless nature of the music contained within. for listening, for dancing, for turning on a party! remastered by optimum mastering. artwork & design by million dollar disco.

dasha is back on sonic groove for her first outing on the label in six years. in this time elapsed dasha has released just two dance singles both some years ago. her last musical outing in 2015, is the stunning masterpiece experimental listening album entitled -sleepstep- on raster noton. now finally after a quite long hiatus from releasing dance music. dasha returns with -ain t no god nor king-, a four song extended play release . this deep minded, beat driven journey starts off with -katusha- a hard minimalistic, mesmerizing affair with strong delay effects on the kick drum forging a subconscious state of time and space as it echoes it way through mountainous canyons far away from civilization. next up is -dystopian drive-, a percussive song which brings an atmosphere of doom and gloom full on, with a gritty & stringent ebm bassline and tripped out layered acidic effects riding the thick bass waves. -black swan- takes it a few steps further into even darker dismal territories, a nearly nine minute journey which is a fitting sound track for surveilling a haunting post nuclear apocalypse scene from up above. -acid melancholy- is a 303 tweaked ambient sound sculpture with a metronomic pendulum rhythmic perc swinging back and forth which signals that time has run its course and the end is near.

emotional rescue turns its attention to spanish artist luis delgado, who made a name for himself fusing traditional folk music from across the globe with experimental electronic practice. his first album vathek stands as one of his masterworks, originally released in 1986 and featuring a range of different electro-acoustic approaches that draw you in with their strange, dynamic textures. there s a whiff of jon hassell s treated trumpet about -la puerta de ebano- while -el sacrificio de catoul- deals in a dense weave of chimes and percussion. diverse, engrossing listening from the outer reaches.

mothball record continue to branch out from their italo-disco roots while staying true to a high quality of unique and obscure music. this latest release is a collection of 90s rave and hardcore inspired tracks with an unmistakable euphoric/melancholic dutch flavor from mysterious producer ruud jansen. no less than six strong and diverse tracks provide options for all occasions, from home listening to techno parade.

joe brings us house/acid/techno riffs with live recorded vocals and gear. joe is a warehouse sound-man veteran of almost 20 years in and around los angeles. after curating, playing and servicing many techno/house/disco/acid events, joe would like to share some notes & texture with everyone. thank you for listening

300 copies: hand&#8208,,,stamped metallic silver ink on black labels / black sleeves / screen printed white jackets. after a not&#8208,,so&#8208,,unusual quiet period, we re back with our first proper full&#8208,,length lp. plasmas by prefix moniker is an experimental electronic release that sets the stage for future great circles releases oriented more toward home listening than the dancefloor. prefix moniker is comprised of great circles mainstay jason carr (_moonraker) and johnny deblase (bassist in zevious, sabbath assembly & desertion trio). the duo has a musical relationship that dates back almost 20 years. the remote composition of plasmas began in 2013 with carr residing in berkeley, ca at the time, and deblase in queens, ny. each piece consists of arrangements of csound instruments (deblase) with layered synthesizer (carr). the curious product of this collaboration suggested to carr and deblase the fourth state of matter, plasma. all of the track titles were then contributed by jason s physicist brother, dr. jerry carr. page1image18192 pre&#8208,,release response to plasmas from musicians and label friends has been overwhelmingly positive and enthusiastic, page1image19360 including karen gwyer s inclusion of two tracks (inductively coupled and helicons) on her recent fact mix (fact mix 610).

the must have status of joey negros -remixed with love series has been firmly cemented with both dj and home listening disco lovers since the release of the first two volumes. since the last release jn has been working hard on sourcing more disco multitrack tapes and producing new remixes while the zr team have been equally dedicated to clearing and licensing these new versions. the enduringly popular mtume/lucas produced phyllis hyman soul classic you know how to love me gets a new makeover that reworks the original elements into a more dramatic version with many peaks and troughs, stretching it out to over 10 minutes. even for those love the original this new mix gives a favourite song a fresh new perspective and reason to be played again. motown sounds philly style instrumental bad mouthin was an underground hit on dance floors in new york, london and chicago from the late 70s onwards. it was also famously sampled in bob sinclar s no 1 gym tonic. the original is a pretty dense, everything in all the way through style production, whereas the jn mix opens things up in a bit with more room for the individual parts to be heard. the end result is an extremely energetic bassline driven disco cut that works super well on the dancefloor.

moscow based multi-talent impish has been steadily honing his skills working through labels such as program, c.i.a. and his own fast rising occulti music imprint. it’s that last label that saw him release the critically acclaimed “silence” lp back in 2016. fast forward to the autumn of 2017 and a new album project the “hush” lp is set for release through all quality physical electronic music outlets around the world. being the perfectionist that he is, impish continues to impress working on crystal clear music productions where impeccable drum work is combined with organic touches and progressions.
the second “hush” lp sampler features three cuts of the album. first up the well respected irish drum & bass producer zero t takes up remix duties for “solid”, turning the stripped back original stepper into a wavey hard hitter with the remixer’s sound plastered all over. continuing with “let me” featuring uk based vocalist kate wild things heat up quickly where soaring bass sounds complimented by soulful vocals and tech-like stabs make for an intense drum & bass experience. last but not least we find the original mix for “solid” featuring fellow moscow based vocalist julia marks. it’s an easy listening, thoughtful piece of drum & bass with driving beats for the dance floor but harmonies for the mind and soul.

the trickfinger project was recorded 10 years ago with no intention of being released at the time, made purely for discovery and learning experience. in my opinion, making music with no intention of releasing it is the best thing a musician can do for his own development in this day and age. the trickfinger lp was made in that mindset, and it was the beginning of a new musical life for me. when i hear it, it sounds like i am opening up doorways to new worlds, and i never have had that feeling listening to music i made for the purpose of releasing it and selling it.

flesh world is a dream punk group formed in the summer of 2012 in san francisco. the quartet includes scott moore (guitar, synths) jess scott (vocals, guitar) andrew luttrell (bass, backing vocals) sam lefebvre (drums). jess and scott met while loitering around the panhandle district, listening to records, gossiping, and playing live shows around town with their bands (scott plays in hardcore group limp wrist and jess played in the indie pop band brilliant colors).

this is a must have record and supplies are extremely limited. long out of print and extremely sought after, david porter’s “i’m afraid the masquerade is over” gets a proper re-issue on 45, but with a special twist. first released in 1972, this groundbreaking masterpiece was mostly overlooked by the masses of that generation. however, twenty plus years later, hip hop producers would revive newfound interests in this cut (and porter’s other works) after sampling bits & pieces of it for some of the most defning songs of the mid 90’s and early 2000’s (who shot ya, duel of the iron mic, it’s over, etc). for this special edition, the original multi-track session was resurrected from the archives, re-polished and re-edited into a brand new mix for your listening pleasure. familiar fans will go emoji crazy once they get a taste of the exclusive new version that boasts new breaks, alternate takes and a louder, fuller instrumental presence among other goodies, creating fresh opportunities for beats and lives mixes. pushing the 9 minute mark, parts 1 & 2 are presented between 2 sides, presenting the all of music in it’s entire glory. original pressings of “i’m afraid the masquerade is over” are not easy to come by. own this collector’s item while you can. “must have” vinyl for dj’s, producers and anyone else on the hunt

london head aroop roy takes on brazilian rhythms for the 4th time on gamm and its quite possibly the best one yet. the working formula, simple but yet very well crafted to work both in clubs and for home listening. first off we get -flecha de foga- that uses a rare nazare pereira samba track as the foundation but with loads of added chords, beats and production details. on the flip todo mundo tem amor marries a driving analogue bassline to an amped up version of another sul americano classic - blazing !

prepare to be immersed in a shimmering musical universe with this brand new ep by alci. blending wistful vocals with the energetic tempo of captivating repetitive rhythms the irresistible combination of up tempo pace and meditative loops will lift you up and take you away into the dark matter that makes up the cosmic space around us. the vocals then bring us right back to earth assisted by punchy kicks, keeping you (partly) grounded in reality. as a result, * humanized pattern * comes forth as an ep loaded with dreamy, bewitching atmospherics as well as dance floor friendly sounds.

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

as a longtime chicago and detroit house-head who spent hours listening to sets online, justin ramsey packed up his bags and jumped ship to berlin to get involved in its thriving music scene. the result - spacey pads, warm vocal samples, and driving drums which make up the backbone for each cut. don’t just keep me is a deep and trippy ep, dressed up with bouncing bass lines and breaks to dance to.

the man, the myth, the legend that is danny soopasoul bennett has returned to spread the good word of funk once again. pushin weight is the storming new instrumental track from our man soopasoul and as usual it doesn t disappoint. rambunctious sax lines and soaking wet wah wah chords ride over the tight drums and grooving congas. there s more breaks than a fat man running a marathon with this floor filler and more exciting still, it s coming out on 7- vinyl for your listening pleasure. the aptly titled b-side and perfect foil to this funky monster is his classic track â&#128,&#147, the fan favourite: brand nu which has had a cheeky little 7- rework to make it, wellâ&#128,¦brand new.

-amarcord- the debut vinyl from oobe italian new-new wave producer yari malaspina. oobe stands for out of body experience. and that is the exact feeling you get when listening to these productions. electric guitar, house music and nostalgic experimentatio

limitierte 10- des britischen elektronikers martin jenkins (aka pye corner audio) mit sechs brandneuen und exklusiven tracks in seinem typischen sci-fi-electronica-stil. zwischen dancefloor-kompatibilität, 1980 er axel f-reminiszenzen und listening-tunes. rot-transparentes vinyl.

“we hope you enjoy listening to our music as much as we enjoy performing it for you!” that’s how tommy mccook used to greet to the audience by at every performance of the skatalites that he hosted. since reforming after an almost 20 year hiatus in 1983, and beginning regular touring as a unit in 1989, they have not stopped thrilling audiences in every corner of the globe. even after 48 years, and various lineup changes as members leave one stage for another, the band continues to perform and record new music in the inimitable jamaican style, like only they can.

luckyme records are proud to present our first release with acclaimed young producer suicideyear. six fresh tracks recorded in his new home of new orleans that showcase his continued development at the forefront of futurist hip hop production. each track glistens and evolves in its own way from the warmth of ‘summer hate’ through to the more club oriented ‘mosh mosh’ and ‘spent days watching horses die’, everything remains within his unique outsider viewpoint on the city. in his own words “meant for listening to on the i-55 to new orleans from hammond”.
the vinyl release includes a download code.

nadia struiwigh is an electronic music dj & producer from rotterdam, netherlands. sitting somewhere between biosphere and boards of canada, struiwigh s refined downtempo electronica takes you on a journey full of synthesized soundscapes that flirt with ambient techno. awash with melody and warm electronics, lenticular is an expertly crafted piece from an artist who has found her sound and is now effortlessly outputting inspiring compositions. reminiscent of warp s artificial intelligence series, this is electronic listening music for quiet nights and club drowsy dawns.

pleasure zone welcomes japanese duo tsukasa kato and ataru nishizaki aka spangleman to the label family! after listening to their great demos we ve decided to release two records with them, so watch out for plz006.1ltd & plz006.2ltd. more to come!

diese schallplatte schafft neue möglichkeiten, plattenspieler zu überprüfen und einzustellen. die meisten tests (außer frequenzgang) können auch ohne mess- instrumente, also nur mit dem gehör durchgeführt werden und eignen sich daher besonders für den ambitionierten musikhörer, der wissen will, wie gut seine anlage unter realistischen bedingungen mit anspruchsvollen signalen zurecht kommt und ob bedarf für reparaturen oder verbesserungen besteht.

this record createsnew possibilities of inspecting and adjusting record players. most tests (except for frequency response) can also be carried out without measuring instruments, just by listening, and are therefor particularly well-suited for the ambitious music listener who wants to know how well his system deals with demanding signals under realistic conditions, and wether there is a need for repairs or improvements.

tape / cassette incl dl code, ltd to 100!
hippie priest returns to argot to release his second album, see it through. having made great strides at dialing in his production and strengthening his songwriting since the release of gaia variants in 2016, the young champaign-based producer focuses his sophomore longplayer around a narrative approach. see it through is a day in the life of a lioness, says hippie priest, beginning with the soft ambience of waking up in the morning, leading up to an intense hunt in the middle, and into evening revelry and eventual slumber. the albums 11 tracks cover a large stretch of sonic ground to tell this story. its glowing opener, umbrella keeper gives way to widescreen stompers thorn and quicksand that clear the way for more contemplative moments like crystal or cherry blossom. one cant help but imagine a dramatic hunt while listening to are you okay? or carnivorous displays on desire. even tender scenes are possible with closers tanuki and tired lioness, gorgeous movements in which hippie priests melodic profficiencies shine brightest. second album from the up-and-coming young producer from central illinois.

copenhagen based music for dreams release the debut album of mackrory and collier.
nick mackrory & harry collier’s musical partnership dates all the way back to the 90’s, when they were both deeply invested in the musical boom in the uk that followed acid house, the rave scene, and the ibiza experience. nick went from drumsticks to turntables to studio wizardry, while harry honed in on his golden voice - which led him to a stint as a singer for faithless. they found their way back to each other in 2014 and have since developed a sound together that is fresh but not too polished. with touches of 60’s chanson coupled with sundazed electronics, their songs linger on like the feeling of a long day spent outdoors in summer.
this album collects their previously released singles for music for dreams along with exclusive new material and a number of remixes, edits and alternate versions that together form a mesmerizing listening experience.

formed from plastics and particulars by richard chartier, 2015: >i am lonely, yet i feel wonderful< pinkcourtesyphone is a continuing project by los angeles-based sound artist richard chartier. he is considered one of the key figures in the current of reductionist sound art which has been termed both microsound and neo-modernist. chartier s minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself.

vinyl only - limited 100 numbered copies pressing on marbled vinyl
first issue of the new flash forward unreleased series with a great team up : oneiric and man-d.a. ! emanuele luzzi, the man behind onirico (-stolen moments-) and oneiric (-blue envelope-), comes back with one exclusive unreleased track, composed at the time of -a tone colour of onirico- (1992). due to the hypnotic strings sample and emotional minimoog solo, -aurora- hits the target at first listening, reminding happy sounds from that period. ultimately, another great release from flash forward! man-d.a. - calling 313 : this track was conceived in 1992, during a very prolific period when he was remixing songs by juan atkins, underground resistance, blake baxter for the legendary umm label and the detroit influence is evident ! remastered for flash forward! past and furure classic !

vinyl only - limited 400 copies pressing first issue of the new flash forward unreleased series with a great team up : oneiric and man-d.a. ! emanuele luzzi, the man behind onirico (-stolen moments-) and oneiric (-blue envelope-), comes back with one exclusive unreleased track, composed at the time of -a tone colour of onirico- (1992). due to the hypnotic strings sample and emotional minimoog solo, -aurora- hits the target at first listening, reminding happy sounds from that period. ultimately, another great release from flash forward! man-d.a. - calling 313 : this track was conceived in 1992, during a very prolific period when he was remixing songs by juan atkins, underground resistance, blake baxter for the legendary umm label and the detroit influence is evident ! remastered for flash forward! past and furure classic !

the broken glass is a work conceived and produced between austria and spain and represents the eleventh reference of the catalogue of stoerung label. in this collaboration field recordings and synthesis processed by asferico create cyclical and hypnotic structures, which mia zabelka furnishes with her violin and voice. the lp version consists of two versions of the piece, the first more minimalist and conceptual and the second more rhythmical and synthesizer based. through a display of distorted and isolated sounds, we are driven in the first version into an deep listening, as if sounds where placed under a microscope or we were contemplating them through a telescope. this approach lets us perceive the bare physicality of sounds in a way which enables us to grasp subtleties and aspects of sound which we are not used to. the second version continues where the first version left us, but in this piece, we are eventually flooded by hypnotic loops, white noise and synthesis and the experience has a different flavor. now what we have acquired through the first version, the enhancement of our listening and appreciation of subtleties of sounds, is inserted into a rhythmical structure which acts as a strong current, pulling us inside an ocean full of astonishing sounds.

here it is! some brand-new wax for your listening pleasure! the days are becoming longer, summer is just around the corner, and our latest release appears to perfectly embody the spirit of something new, something fresh, and something exciting. indeed, we’ve combined all this into a single 12” featuring the likes of satl & electrosoul system, and invadhertz. the release is all about good mood and chilled vibes, and virtually anything you can tag with the liquid label (if you really need to). but categories aside, our new twelve incher comes with a superb collab between satl & electrosoul system on one side, and with a solid track by the upcoming collective of invadhertz on the flipside. the former, entitled “satless”, is a warm, vocal-infused gentle roller that seems to be best enjoyed in the sunny days to come, while the latter, named “lily”, offers a nice combination of a bit rougher percussion section and booming bassline enriched with even more of vocal inserts. all in all, the whole single is a tasty treat for all those into the lighter side of drum & bass.

part 1/3! several shades of the same color is patricias first album for spectral sound, produced in conjunction with his own label active cultures.

this grouping of audio recordings is for aural use only. any emotional content perceived herein is borne of its listener, and is in no way intended by its author. any sounds resembling speech are not intended to convey meaning. several shades of the same color is patricia s first album for spectral sound — produced in conjunction with his own label active cultures. tips for listeners: consider the moment in which you exist, pay attention to how these sounds evoke physiological (rather than cognitive) responses. listeners may find themselves deriving immense physical pleasure from exposure to these sounds. inability to achieve such pleasure is likely attributable to over-analysis of the aforementioned audio content — or to improper amplification. each of shades three lps features suites of tracks that, considered alone, comprise their own distinct, unique worlds. disc one opens with -i know the face, but not the name,- an unabashedly plaintive trip through classic electro rhythms, flip it over for -the words are only sounds,- a haunting affair for synthesizer and voice. disc two s -the electric eye is upon me- swirls endlessly, while -shiba inu dub- is cut for the floor and coy as its namesake. disc three s jackin -feel your body- will cause you to do just that, -german friendship- sounds like d.a.f. on dissociatives. any emotional associations incurred while listening come at the listener s discretion. furthermore, the identity of the author and/or their passions regarding the recordings herein shall bear no weight on the listener s experience. this body of work is not intended to generate ideas, rather, its goal is to produce physical sensations in the listener.

after nearly a 17 month layoff the corner returns with 2 killer releases starting off with phil moffas frequency of noise. this features phil at his best showings with his deep driving polyrhythmic percussive beatings while coming at you with melodic textures this release is a well rounded ep for djing and listening pleasure. pressed onto 180 grams vinyl and limited run.