thule records camp is hitting it hard these days. this time its a collaboration between two pioneers within the icelandic techno scene. on the a-side, we have static, a hypnotic groove with indistinguishable voices and shimmering dub chords, and Útkall, minimalistic dub techno mantra. on the flipside we have the heavily-rhythmic sedna, where the drums and bass compliment each other in such a way that it might cause involuntary muscle movements, and at last timelaps, a delicate minimalistic voyage. ohm is best known for his releases on force inc with exos. octal industries, a veteran who has already gained a respectable reputation within the idm community under his ruxpin pseudonym, returns to his origins with this collaboration. thule records is considered by many to be a pioneer in the field of dub-influenced techno music and was a starting point for many of iceland‘s most renowned electronic musicians.

shubaka come through with their third release, a big time house affair featuring two heavyweights of the scene, dj nature and damon lamar. the a side features a magical downtempo house number from dj nature. think 90s nyc, a crisp bass line and some mysterious keys. damon lamar takes things deeper on the flip, with a slow burning house number that packs plenty of emotion and atmosphere.

adelaide duo warren raww present a 12” that ups the energy of their july ep, whilst still delivering on their own brand of melodic, synth-laden house music. this time flanked by comrades arthur miles and freddie norwood, they add to the already high volume of talent currently emanating from australia.
the a side offerings shift between the more low-end driven aspect of warren raww’s production style, with off-kilter bass lines, punchy percussion and contemplative chord progression. the b side strips things back a bit further with a track each from arthur miles and freddie norwood. gliding pads, raw percussion, broken beats and rolling drums all melt together to deliver an essential slab of house music.

from minute one, it’s obvious that “he is the voice i hear” is something extraordinary. glimmering piano sets the stage until an insistent violin gives way to a rollicking disco bass line — and then we’re off. it’s the rare work that feels truly greater than the sum of its parts, once it’s over, you’ll be counting down the minutes until you hear the whole thing again.
“he is the voice i hear” is dedicated to the voices who inspired the black madonna to become who she is: frankie knuckles, larry levan, arthur russell, walter gibbons, loleatta holloway. says stamper: “i wanted to make a record that returned to the core values of dance music. in a lot of ways, i don’t think i’m doing something new with this record. i’m doing something old.”

j:kenzo heads back to 31 records with two new tracks from his arsenal. “sykura” encaptures the vibe of ’97 / ’98 drum and bass with its soundscapes and twisted analog synths, whereas “assemble” keeps the traditional 2 step rolling style with energy throughout.

barker & baumecker take turns from techno, bass, breaks, and experimental terrain with their second album on ostgut ton.

manchester native alex coulton has nurtured a reputation for creating sub-heavy rollers thanks to 12”s for the likes of black acre, livity sound and bloc. with gamma ray burst, the next in his series of releases on london low-end specialists tempa, coulton consolidates his sound to deliver some of the most sparse, rhythmic work of his career. with the record’s title track, coulton weaves from hard-hitting kicks, through to dizzying tribal polyrhythms the whole time maintaining a minimal, space driven atmosphere that remains omnipresent throughout the track’s most intense moments. ‘ground zero’ revels in its spaciousness, allowing reverb to flood into the negative space between flashes of heavyweight techno percussion and saturated ripples of synth while the pulsating kicks that underpin ‘alpha decay’ are punctuated with bleak, discordant bells, rhythmic bass hits and hypnotic filtered percussion. showing his diverse abilities, ‘phase two’ is an exercise in measured restraint, as a cacophony of clicks and hisses come together to disorientate before forming a driving rhythm section before coulton maximises his expansive elements on the fog-tinged ‘ascent’. closing with the steady flowing, brighter-hued melodic work of ‘distant resonance’, alex coulton has created a masterful collection of experimental tech-focused electronica that bewilders, intrigues and will draw the listener in with each play.

cupol was an english post-punk band that formed during wire s 1980-1984 hiatus. the duo consisted of bruce gilbert (guitar, vocals, synthesizer) and graham lewis (bass, vocals, synthesizer). building on wire

the maghreban returns with essential new house odyssey ‘brooklyn’, named after his dead cat. his second outing on black acre, ‘brooklyn’ is a breathtaking night flight, viewed through a prism both phantasmagorical and seedily terrestrial. trance inducing caribbean percussion, possessed chants, motown bass, sci-fi synths, wayward filter sweeps, analogue free jazz - all get their moment to shine in the weird and wonderful 8-minute microcosm that is ‘brooklyn’. flip-side ‘the carpenters’ strikes a more domesticated tone, with motorik industrial dub eventually giving way to haunted sci-fi bachelor pad lounge.

moscow records close 2016 with a fantastic 3-track ep from berlin imports roustam and tolga fidan. this being their first outing together, the pair deliver a high quality, intelligent journey through minimal house and techno. the record opens with brodsky beat, a groovy, dance floor-focused track. lively percussion and tight bass communicate perfectly with the hope-filled lead to build tension throughout. the omega variant on the a2 has a much more abstract feel. broken beats and skippy percussion play back and forth with deep, spacey hooks and a peculiar synth, giving the listener a sense of mystery. finally, growing up is just a phase is a calming 14 minute trip that uses the entirety of the b side to tell a story of reassurance and calm. laid-back rhythms, guitar samples, relaxed vocals and a wandering synth line work together to form the perfect warmup track.

2016 repress - r&s welcome another newcomer to the family. with only one release behind him on hessle audio and a wicked remix for warp (the hundred in the hands) blawan finds his new tracks in demand from the likes of james blake, jackmaster, untold, ben ufo, ramadanman and pariah. the title track is already creating a bit of a stir from its inclusion in a few high profile dj sets, but all three tracks raise the game for this young producer. the whole ep is filled with an honest, infectious energy, just like his dj sets. you cant pigeonhole this as >post< anything, its pure, stripped down, club music. sometimes drums, bass and acid is all you need.

having made his label introduction with his remix of label newcomer villete’s “rillia-, darand land gets to spread out and show off his unique brand of euphoric and uplifting deep house on his debut ep for the label, ‘discover you’. the title track is classic darand land, with bright piano chords, buzzing organs and a thick chicago house bass line. siren-like pads fade in and out from the periphery, as electrifying percussion elements come into play. frank & tony take a turn and apply their signature style onto the former track, adding a chunkier kick with bright as day claps and hi-hats to propel the track through the opalescent haze draped over the melodic elements. on the flip, “marcela’s sense” is a blissed out, head down late night affair. cosmic pads swirl around glistening keys and repressed organ chords, as toms bounce among the steady hi-hat ride, lulling the listener into a state of euphoria. the ep closes out with the atmospheric, peak time detroit house cut, “souls awash-. a serpentine bass line runs the show amidst swelling pads and in-your-face kicks and percussion. as with all of his productions, the track shines in the smaller details that float in and out of focus throughout, lending the track’s weightier elements an even greater sense of gravitas.

nicetraxuk strides with confidence to its fourth release with some grade a producers on board to confirm the label s position as a trusted outpost for upfront club tackle. moodymanc is on fine form on -where s the story?- dropping an expressive set of drums in a crafty broken beat funk as submerged chords play out and an unnamed source waxes lyrical about stories in house tracks. lil mark meanwhile links up with jcub for -epic 40,- a seriously stripped down club workout that maximizes on finger clicking and moody bass in a flawless demonstration of restraint.

kapote loves the funk. and he loves blaxploitation movies. the black underground cinema from the 1970ies. kapote samples dirty talk from these movies and puts it on his bass lines. melodic basslines with a heavy 1070 funk vibe. bass lines that can create a sexual tension. kapote adds a few warm, jazzy rhodes piano chords and a lot of reverbs and filtering. and the music rolls. often more like a jam then like a constructed piece of music. in the highest points this music is pure endorphin. it s 4 to the floor - but it has a soulful analogue sound. kapote says he was listening to records from old detroit label red planet and parisian downtempo pioneers motorbass and la funk mob while making this record. and yes, the vibe is there. like these guys kapote likes to build his musical trips around snippets from old funk vinyl. adding beats with vintage drum machines and creating an eclectic trip into a universe full of jazzy bits, noisy drums and dirty samples.

last seen on robsoul jazz back in april with his wonderfully unique and creative long-player ‘green age’, our longest and dearest collaborator mr chris carrier is back to close out 2016 with a fresh selection of straight up house gems. first choice is the sweat inducing philly flava of ‘fever tree’. showering us in ’70’s glitter with its timeless vocal and low-slung bass. following and flexing its funk is ‘to the wonder’ with its filtered strings and vocal, garnished with piercing beams of sound and fx. on the flip chris opens with the warping piano, sultry sax and skittish snare work of the aptly titled ‘feel good tonight’, before dropping some warehouse chops with the weighty bass growl of ‘inside’, closing yet another essential carrier crop for your record box.

basement find, 1998 berlin drum & bass.

basement find, 1998 berlin drum & bass.

basement find, 1998 berlin drum & bass.

basement find, 1997 berlin drum & bass.

basement find, 2000 berlin drum & bass.

the second lp from grup has finally arrived, five years after his first release, which is today is totally sold out and very hard to find. 19 tracks in the pure grup ses style, a perfect blend of instrumental hip-hop and bass music, spiced by turkish-psych samples. the album s conception took three years in beyoglu, istanbul, where grup ses invited the best of the turkish beat-making scene, but also called for his european connections : gantz, fulgeance, coco bryce, nodul, biblo, elektro hafiz and many more contributed to make this release unique

after the success of their first release, emotive returns with a 3 track follow up from label forefathers silk 86. emotive 002 continues the theme of its predecessor, with an evocative blend of house, disco and some much needed soul laying the foundations for all 3 tracks.
the aptly named “vince charming” kicks off the package, drawing you in with a smooth bass hook before the vocal gets to work on embedding itself deep into your mind. on the flip side “whenever you need me” is a driving house workout, featuring cascading strings and horns straight out of disco s heyday. rounding off the package is the not so subtle “vince charming g mix” a thumping club ready rework of the a side.

video for the title track “mango bay” was played for hours over stream by one of the top dota players rtz, achieving legendary meme status over night. “rush” and “rocky bay” are wrapping up the a side carrying faster tech grooves, while still maintaining the organic component (warmth) with bass, chopped vocals and woodwind leads.
b side starts off with “calypso”, one of the earliest x-coast productions - a steady house groove made from layers of keys, trumpet stabs, rich with hats and ghost snares - perfect to get the party started. being the last track, “don’t stop” is a hidden gem of this ep - what seems to be a hawaiian steel guitar classic, quickly transforms into a floor stomper, it’s a house beat reinforced by a classic rolling break, hammond stabs and samples of sterling void & paris brightledge’s “it’s all right”.

rebus 04 1 side & rebus 05 1 side.
remastered sound.
loud hot bass are now swinging in your speakers :)
surprise!

brainbox shows the open-minded and versatile character of the belgian de:tuned label and explores the more cerebral output within the full spectrum of electronic music.
the album compilation features 25 tracks of both new and previously unreleased material, offering a widely eclectic mix of ambient, techno, idm, broken beat and drum & bass from a range of well-respected and established artists who ve pushed the musical envelope and have inspired a whole generation of music enthusiasts. the tracks have been mastered by matt colton at alchemy mastering to ensure the highest playback quality.
in addition to the music, de:tuned has worked with designer kevin foakes from openmind (aka strictly kev, dj food from ninja tune) who has translated the diverse musical theme of the album into stunning graphic artwork.
brainbox will be available as a limited edition (300 copies worldwide) numbered box set consisting of 6 heavy weight 180 gr records housed in individually printed inner sleeves. the vinyl box includes a download card and sticker.
de:tuned would like to thank all the artists for their contributions and support. stay tuned!

le chatroom, a record label established in 2016 by the english producer kouslin, searches for the missing link between underground bass music and outer national sounds. its music is defined by the blend of synthetic and organic tones, modern / classic instruments and low- end heavy percussive rhythms....the three producers that feature on ‘lcr001’ pass on their fundamentals to conjure le chatroom’s philosophy red-handed. together they do the imprint’s name justice by handing over critical bass repertoire that’ll excite many!

mit elf ausgezeichneten coverversionen von bob marley songs. hier finden sich u.a. slave driver (vom album catch a fire) in der version von bob marleys lieblingssänger dennis brown, im still waiting (im original als studio one 7-single) in der definitiven version von delroy wilson, heathen (vom album exodus) in einer superben version von cocoa tea, produziert von bobby dixon, forever loving jah (vom album uprising) in der hitversion von marcia griffiths & tony rebel, produziert von donovan germain,waiting in vain (vom album exodus) in der jamaikanischen version von leroy smart, produziert von joseph hookim für channel one,crazy baldhead (vom album rastaman vibration) in der version von luciano & beenie man mit einem sensationell tiefer gelegten bass von sly & robbie.

torchlight is a series of releases from om unit dedicated to exploring ideas that are truly perpendicular to the standard templates of dubstep, jungle, and drum & bass.

next stunning bass / dubstep monster on blacklist

sunandbass recordings returns with the four track fade away ep from arpxp, brilliantly showcasing the producer s ability to turn his hand to a wide range of different styles of drum & bass. well known and recognised for both the quality and diversity of his work, arpxp has released with iconic labels such as metalheadz, critical and of course sunandbass recordings, but now his fade away ep gives him a platform to really showcase what his work stands for, and where he is musically at the moment. with the smooth, melancholic vibes of fade away alongside mc fava, and the shoe-gazing vibes of ˜fifth step is goodbye , arpxp shows his ability to build a solid groove, with well sculpted sounds all interwoven together to form strong memorable tracks.

the second outing from btg follows, in tradition, their 2 originals and 2 remixes format. this time round toyc creates a slower paced dance floor obliterator titled ‘kicks’ sounding like a wonky laser gun trapped inside a broken 808 landing somewhere between broken techno and bass. on the remix project mooncircle and 20/20 ldn affiliated deft deconstructs and reconstructs toyc’s track into a maximalist beast fusing the current sounds of 160 bpm 170 bpm and half­time dnb with the technical precision of amon tobin. up next the booty­shaking stormer they call itoa, known for releases on bad taste and being featured in storming 160­/170bpm sets by djs and tastemakers such as om unit and sam binga. ‘snake pass’ is a classic itoa track, playful bouncing subs and flickering percussion and shards of vocal, landing somewhere between footwork and booty bass. btg co­founder etch sets the pace with his remix of snake pass, coming through with a schizophrenic beats influenced sub heavy stepper that slowly evolves into a breakbeat onslaught.
dj support: nightwave, sully, addison groove, deadboy, horse meat disco, mj cole, barely legal, shadow child, amy becker, pathaan/bbc worldwide, boy 8-bit, blackdown/rinse fm, 2 bad mice, synkro/akkord, randomer, my nu leng, craig richards, foul play/moving shadow, dj zinc, dj orgasmic/origami sound... + many more

a killer 10 inch back in stock !!
closing off the trilogy of 10 years of perc trax vinyl eps is the labels first ever 10 inch release. drawing together two of the deeper and more experimental tracks from * slowly exploding*, the ep pairs label founder perc with one of his longest influences, zhark recordings main man kareem. first up kareem brings a touch of deeper berlin-tinged techno to perc trax, built upon a rock solid kick and drenched in moody urban atmospherics, then perc closes the this vinyl series with a spiralling analogue noise exercise that builds and builds until live drums tear through the wall of bass tones...

‘sound of palladio’ is the first in a four part series of limited 12- pressed to 180g coloured vinyl, with a single piece of cover artwork commissioned from italian artist nerog spanning throughout the series. never ready records’ inaugural release sees venetian techno & bass house experimentalist munstac veer between the echoing sub bass chambers and angular staccato momentum of “the cathedral” to the more drawn out drum rolls and flutter of “the theatre”. along the way, east london’s spatial helms a mighty 132 bpm jungle break refix of “the cathedral” whipping up that trademark hectic fervor the infrasonics label boss has previously delivered on the likes of “wncl & stillcold”

apollo introduce sieren, aka matthias frick. a software engineer at ableton by day, sierens love for uk influenced bass music and field recording and experimental soundscaping has resulted in this masterly ep of atmospheric street-rave soul. this is his first release since his debut lp transients of light, released earlier this year on christian lofflers ki records. fittingly, fellow apollo cohort synkro was instrumental in the curation of the static polymorphism ep hand picking the tracks, as well as road testing them to memorable effect on berghains hallowed system no less.neglection opens the release, with billowing widescreen pads, a ghostly 2-step drum figure and pulsing subs,rebase ratchets up the intensity, with sinister bass drones punctuated by strafing perc and hissing ambiance while relicts angelic yet melancholic atmosphere pulls the listener in with heart-aching synth washes and whispered female vocals. closer how to pairs mechanistic slo-mo funk with caustic 808 kicks, muttered vox and juddering bass stabs. this is richly textured and intricately programmed post-bass music that is sure to satisfy fans of burial, dbridge, akkord with its soulful sincerity and warmth.

enigmatic berlinbased producer algorythm provides the debut release on the new vinyl imprint neptune records this november. initiating the package, stuttering percussion and echoing effects form the deep and mesmerising santos express . syncopated rhythms and thudding bass hits then make up lfo as twinkling melodies work their magic, before bird cage introduces soaring chords and tranquil notes. tying things together, thudding kicks and snappy snares drive omar s deli forward as various layers of serene synths and pads are blended together.

limited 250 copies! sheffields hopeworks has become an essential melting pot for the cultural and musical future of a city whose electronic heritage has surpassed its industrial one. as creative director & resident dj lo shea, returns to the vinyl arm of this warehouse institution with a blistering new ep expertly programmed modern sonics possessed by the spirit of 90s rave & the uks characteristic bass influence abound here. from the syncopated and undulating a way through to the straight up ravery of mark x on the a side, to the hypnotic tribalism of primitive operations were looking at a crisply crafted modern techno suite of the highest calibre. bristols hodge handles a weighty remix of b1, amping the atmospherics and rounding off an ep of precision club tools par excellence.

even if russian producer gradient logic is found here turning out the business on serbian label disco fruit, the sound on the far away ep comes on like a snappy fusion of garage-ready new york proto house and laid back west coast boogie of the highest order. it s the third vinyl release for tonbe s label, and once more marks the serious clout behind the eastern european operation and its closest artists. just try grooving to the slick bass pops on feel me without being transported to an early 80s dancefloor. there s a more organic funk to lock into on i want you slide, but as ever it s hard to tell where the sampling ends and the musicianship begins on this utterly natural sounding ep.

mitte november 2016 wird bei ninja tune romares lang-erwartetes zweites album love songs : part two erscheinen. love songs: part two entwickelt und erweitert die lässige brillanz seines debütalbums projections. es war die art von gefeiertem album, die einen weniger talentierten künstlers ins straucheln gebracht hätte. vom dj mag zum -album des jahres- gewählt, erhielt es begeisterte kritiken auf der ganzen linie. es wurde von größen wie bonobo, four tet und annie mac unterstützt und etablierte fairhurst als produzenten, den man gesehen haben muss. es scheint, als nehme er diesen druck recht gelassen hin. -love songs: part two- zeigt eine erweiterung, entwicklung und vertiefung seiner techniken. obwohl sampling von vinyl noch immer eine wichtige rolle für ihn spielt, hat fairhurst weitaus mehr musik auf dieser platte selbst eingespielt: von monophonen synthesizern über den rekorder seiner großmutter und die mandoline seines vaters, bis zum e-bass sowie einer vielzahl von gitarren und keyboards, die ebenfalls zentrale rollen einnehmen.

mitte november 2016 wird bei ninja tune romares lang-erwartetes zweites album love songs : part two erscheinen. love songs: part two entwickelt und erweitert die lässige brillanz seines debütalbums projections. es war die art von gefeiertem album, die einen weniger talentierten künstlers ins straucheln gebracht hätte. vom dj mag zum -album des jahres- gewählt, erhielt es begeisterte kritiken auf der ganzen linie. es wurde von größen wie bonobo, four tet und annie mac unterstützt und etablierte fairhurst als produzenten, den man gesehen haben muss. es scheint, als nehme er diesen druck recht gelassen hin. -love songs: part two- zeigt eine erweiterung, entwicklung und vertiefung seiner techniken. obwohl sampling von vinyl noch immer eine wichtige rolle für ihn spielt, hat fairhurst weitaus mehr musik auf dieser platte selbst eingespielt: von monophonen synthesizern über den rekorder seiner großmutter und die mandoline seines vaters, bis zum e-bass sowie einer vielzahl von gitarren und keyboards, die ebenfalls zentrale rollen einnehmen.

rawax is very honoured to welcome a true house legend to the family. mr. roy davis jr joined forces with us to present some of his greatest releases re-mastered & back on vinyl! now its time for * the wild e.p. pt.2*

12inch with deluxe clear pvc vinyl sleeve in neon print tracklist: a. preissenkung b1. preisreduzierung b2. im karton gespart short info: look out for the b2, a slab of weighty illektro on a rolling bass / sons of slough tip. other tunes are misshapen hybrids, file under dubstechno.

zefzeed was chosen to be the first artist to release at arria, certifying his multi-dimensional artistic vision. porto deporta takes over side a with a deep bass motif propelling forward – everything clicks into place, making this piece a high definition 3d madness. soy sausage continues the journey with a stylish swagger and an irresistible groove, dotted with a chamber of indecipherable voice delays, while bright synths float across the driving beat. side b is spinning koo, a track that combines functionality with musical playfulness, tumbling percussion and clouds of textures, while drawing on the kinetic energy. though his tunes are aimed squarely at clubs, they’re detailed, spacious and hypnotic too, a rare blend that make arria-001 a slick dancefloor machine.

the motorcity boys are back with loveit003 a fresh sounding 4 tracker strongly reflecting the diversity of styles found at their parties. lds kicks thing off with 909 to heaven, a jacking and balearic workout with a rootstrax, chicago style bassline keeping the floor hypnotised until the small hours of the morning. snares, kicks & rhodes is a more laid back jam. lazy warm pads and a slow winding sub bass rise and fall intermittently only to be interrupted by a lo-fi distorted bass that snaps you right out of that trance. nico brun opens the flip side with an absolute banger, hazily reminiscent of that 90’s warehouse rave. lds and nico brun close the ep with an atmospheric collaboration perfect to start or end the night with. splashy beats keep up the footwork whilst pulsating synth sounds slowly wind together and drop with a beautifully crafted sample that’s guaranteed to bring some sexyness back to the dance floor. this ep will definitely be a regular addition to your record bag to spread those warm summer party sounds. bruno farace early support: xdb (echochord / dolly): debut ep? congrats! end monologue is my favourite.

mono junk’s cult label dum records is back with a new five track various artists ep that again packs a vital punch. he appears himself along with some fellow legends of the scene. first up, morpholgy is a consistent performer who has continued to serve up quality electro since 2009 and here serves up a hot new piece. ‘vector plant’ is busy and industrial, slick and metallic as it unfolds and burrows deep into your veins. then comes the a2, irwin berg featuring freestyle man (aka finnish moodmusic boss sasse aka klas lindblad) with a track made in 1995 and never released before. this pair worked together and made a cult electro record for sähkö recordigs in 1998 and this one is just as impactful. it is frosty and frazzled, slow motion but high impact and full of distorted lines and heavy drums. next is mr velcro fastener who were the first kings of electro to come out of finland and between 1999 and 2006 were famous all over the world. their brand new cut ‘almost there’ is a deep one that is riddled with bleeping melodies and has smeared chords bringing a sci-fi feel. then it is mono junk’s turn to dive into the vaults with an unreleased track from 2005. ‘feeling or destroy’ is a physical number with crashing hits and snaking, gurgling bass that is dark and dystopian. last of all comes irwin berg with mono junk as new york city survivors. says the dum boss, “our unreleased track here was made after the new york city survivors – static light cd 2002” and it is a turbo charged track with screwed up grinding bass, icy hi hat rhythms and menace in its grooves.

silencio, a new label out of chicago, will debut its first release from new young talent cirq’on titled the other side ep. on the a-side, “screaming around”, makes its presence felt with a beefy bass line that periodically stacks and stutters throughout its progression. this track is impossible to resist. even the most hardened scenester, the type of person who never dances in an effort to look cool, will be forced to cut a rug as they acquiesce to the bombardment of this pleasing beat. peppered throughout with spooky vocals, tempestuous tones and mysterious snippets, it leads you down a path of rhythms that pushes past the point of no return. similar to the first transmissions intentionally broadcast out into our universe for the purpose of contacting intelligent life, “the messenger” delivers on the b-side with layers of haunting harmonies that unfold over simple, satisfying drums. it’s steadily driven by scintillating sounds in the form earthbased radio signals that rise and fall, as if bouncing off of orbiting space debris on their journey to the great unknown. this track is best described as a mind-exp.

having previously turned out some refined club tracks for friendly neighbourhood label banoffee pies, christian jay comes to idle hands for his debut solo 12inch. as revealed in our past support of artists such as i.a. bericochea and matt karmil, an appreciation of the finer end of the minimal house and techno spectrum weighs heavy at idle hands hq, and christian embodies everything good about the micro-genre. the stylistic approach on this single is consistent across both tracks, fusing shuffling, 2-step fuelled drum patterns with blissful atmospheric content in a most natural of ways. on 117 this manifests in a more flamboyant end result peppered with playful hi-hat tones and delicate melodic licks, while on contrail the mood is resolutely low-end focused with some choice bass touches in amongst the tightly wound funk of the beat. what makes jay s efforts stand out is their immersive finish, using dexterous doses of dub processing to create a quintessentially bristolian mood while retaining the razor-sharp edges of upfront european minimal. its a tone that speaks to limbering up at the start of the party, or shaking down deep into the morning. that said, we could listen to this all day and night.

willrijk joins the lt roster with a dust-flecked, deep aquatic release of ambient house. escapist elements with pangs of elation and dry roasted bass-lines that crackle with every throb. proper deep-diving, late night house music.

tang breaks out a little-used alias, transmitting from the concrete jungle, audio hallucinogens changes thoughts. the “habit” is a subtle rumbling bass line evolving into a fluid, acidic language, which only crickets would understand.

new years deal - the next chapter in the creme organization ecplise series comes from cosmic garden with three original tracks and one remix from orgue electronique. little is known about cosmic garden other than he is from southern italy and has had two eps out in 2016, one on hotmix and one on cosmic rhythm. he heads out the blocks here with reptilian treant , six minutes of lo-fi deep house that is roomy and atmospheric. lazy synths bring soul and a gentle chatter of claps and hits helps drive it along. rare centaur is also way below the surface but is darker and more celestial, with turbulent bass, frantic claps and angelic chords glowing like a white light at the end of a tunnel. dutch house and electro don orgue electronique then remixes reptilian treant into something that is slick and serene, with metallic lines dancing above rubbery drums as big piano chords boucle up top. it is joyous and colourful and truly majestic before final track apocalyptic moose takes us back down into a mournful house vibe that echoes chicago with its roughhewn analogue textures and lovestruck chords.