stale releases st151, st163 and st153 all bundled up for one special price!

iury lech is a transdisciplinary artist of ukrainian origin part of the few pioneers in the spanish electronic and digital audio-visual scene that began to develop during the 80s. his open and unclassifiable style made of eerie sonic atmospheres, arrhythmic structures and dense textures create hypnotic ambiance and a new way to conceive experimentalism. wrongly described as new age music at that time, musica para el fin de los cantos is a stunning and deeply emotive ambient work, that stares down at the eternal enigma, giving a glimpse of iury lech s classical music of the future. iury recorded this blissful masterpiece in his barcelona s studio in 1989. it was then published in 1990 by the unique spanish label hyades arts. its 2017 and its time to unearth this magical piece of vibrating chords to please your sensitive yet hungry ears. sit back and enjoy the meditative state.

whispered words from the ancient earth. the biosphere metaphorically battered by dusty drum machines, synth swept landscapes, industrial hooks that ring out from the barren outback. was is das? die orangen are australian-expats kris baha and dreems, and together they have crafted a genre: krautback rooted in indigenous psychedelia, resonating the vast expanses of the island of gondwanaland, turnt up by progressive cultures, and multiplied by the logic of the german mind. hear the sound of the southern sun melt genres, feel it flow downstream into a languid ocean of sound. beware the punch of the red kangaroo, a bite from the deadly taipan, the neon stare in a tree-frogs eye, and the bleached siren call of the coral reef - these wild sonic reveries ominously soundtrack the future that nature has in store.

first time reissue of the very first dub lp released in nyc, 1975! part of the genesis of the jah life label! first time reissue of kaya dub from 1975, noted as the first ever proper dub lp pressed and released in new york city. the eponymous lp is among the first set of releases on the kaya label. this imprint was the first to showcase the partnership of percy chin and hyman jah life wright as producers and cornerstones of the burgeoning nyc reggae scene of the day. though these tracks originate from jamaica thru a connection with pat jah lloyd francis and have also been released elsewhere, this is none the less a killer selection of dubs from tubby s and randys. in sound and visuals, kaya dub serves as a fantastic snapshot of the music and vibes of roots reggae in the mid 70s, among the best dub lp s of its time.

official re-issue of bermudian disco record! 1000 copies initial pressing. big tip! in 1981, bermudian band paradise recorded sizzlin hot, a flawless album of original material in the disco, boogie and aor style. producer, writer and pianist grant williams formed several bands before becoming the fourth member of paradise, alongside bassist wincy woolridge, drummer ronnie lopes and singer june ventzos whose voice commands the album. for five years, the group regularly performed in hotels before hitting the local z.b.m. studios to record their sole album. sizzlin hot is inspired by the sound of earth, wind & fire. the album delivers several blistering tracks that could have been huge club anthems if the record had been promoted outside of bermuda. since bermuda is a fairly remote island, its no wonder that paradise remains virtually unknown to this day. it is all the more reason why this album stands-out and has universal appeal though it was only ever intended as a local thing as grant williams says.

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

official re-issue of danish electronic music from 1974! vinyl lp comes with booklet and limited to 500 copies - no repress. frederiksberg records announces the first re-issue of stoned which is exclusively licensed from the artist and has been carefully restored from the original master tapes. it comes with a booklet of liner notes by thomas knak. stoned by gunner møller pedersen is a pioneering partly-electronic composition from denmark. gunner believes that its musically out of category. it was created for a slide show with focus on sculptures by the late american photographer stuart fox. gunner self-released the record in minuscule numbers in 1974. the music on stoned has an original and meditative quality which transcends time and should appeal to today’s music lovers with a taste for something different.

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

debut release on houseshoes s street corner music from the ct based producer. foisey s music got into my hands thru mutant academy. i became aware of these rva kids last year and told them to send a pack. what initially stood out was the beats from foisey, a young cat from connecticut. he kept sending packs and i put together a dope collection of his instrumentals. laid back vibes with a punch. you won t be disappointed. beats.

dj harrison is richmond va-based producer and multi-instrumentalist devonne harris. the son of a radio dj who introduced him to the world of record collecting, harris grew up with music, progressing from violin, to high school drum-line, to the jazz studies program at virginia commonwealth university. he also continued working with other instruments and developed an interest in sampling. his development as a producer at first, without a computer or sampler came first learning to replay samples on the drums, piano, bass or guitar. dj harrison finds himself inspired by local musicians in the richmond scene thats as diverse and nonexclusive as they come. among rappers, producers, punks and bluegrass bands, he falls within reach of an expansive pool of musicians to collaborate with. he lives and works in jellowstone, a house turned recording compound occupied by his band mates in butcher brown, a garage punk jazz funk group. hazymoods, dj harrison’s stones throw debut, was recorded there completely on tape, where the living room functions as a communal recording studio

one of the more unsung talents that came out of the gang starr foundation was the brooklyn-based duo group home, consisting of mcs lil dap and melachi the nutcracker. dap was first showcased on the gang starr posse cut “i’m the man,” on 1992’s daily operation, melachi appeared on “words from the nutcracker” from 1993’s hard to earn. the early group home song “so called friends” was also featured on 1993’s now-legendary gangstarr foundation sampler, which also gave the world jeru’s “come clean.” by 1995, dap and melachi had paid their dues and finally got their own full-length: livin’ proof. and it was everything that gang starr and any true school hip-hop fans could have wanted, produced almost entirely by dj premier (with two exceptions: “serious rap shit” helmed by guru himself, and “4 give my sins,” produced by jay-z mentor jaz-o (aka big jazz). beyond the album’s classic singles – “supa star,” “livin’ proof” and “suspended in time” – there are premier-overseen classics all over, including “the realness,” “inna citi life,” and “sacrifice.” in fact, many gang starr scholars agree that the beats on living proof are in the top 5 of all premier-produced albums – no small boast, but certainly hard to disprove.

dj windows xp s highway route from the strange deserts to the over-the-top underground clubs somewhere deep in your imaginative 18 karat gold vinyl players. straight debut fire on who s susan. wait, who is susan?

after the acclaimed release of nature boy s ruff disco volume one, frame of mind is back with another re-issue of a 25 year old record. gerd s very first house release called afterglow, produced under the alias of it s thinking together with two of his (highschool) friends mark and dirk-jan, was picked up by john acquaviva for release on the short lived plus 8 subsidiary called malego back in 1992. the ep features five warm and atmospheric house tracks recorded at a dark attic room somewhere in the west of holland in 1991. these days afterglow is quite a sought after record that rarely turns up cheap on discogs. we are proud to be able to offer you limited copies of this re-mastered package.

producer and dj from cantabria pablo bolívar signs the new release in his very own seven villas, in which he takes the chance to interpret --remixwise-- the tracks on the album traverse -by sensual physics which was originally released in 7v in 2016.

we are facing a very special project for pablo bolívar this time. his admiration for the veteran german producer joerg schuster -one of pablo s musical heroes- gets highly reflected in each one of the eight revisions which form this traverse (reprise) . what pablo exactly does is to respect the original escapist, dubby and ambient spirit of the original trip proposed by traverse , by means of adding a soft, deep and sophisticated club aura. he turn that the album sensual physics takes into the most characteristic bolívar style is tasteful and subtle, therefore it seems a sequel of the original one. no crashes, no harshness. here everything flows simply in a natural way, especially that ambient-deep and tech fog which just adds a punch in any case. tunes as mondragon , málaga or miracle -among others- acquire a new dimension when touched by pablo bolívar s hands: always looking to their origin with respect to the original producer and the delicacy of a revised piece of work.

nep was a loose multimedia collective formed in 1982 zagreb, ex-yugoslavia. the founder dejan krsic collaborated with various artists in a quest of re-thinking the stale concepts of art history, position of the author and the barriers between pop and elitist high culture. heavily influenced by walter benjamin and andy warhol in theory and brian eno and kraftwerk in music, krsic created nep as an umbrella term (meaning nova evropa) of diverse rule-breaking activities, covering graphic design, music, photography, video, news-media and theoretical work.

before there was a man in black, there were the sun records years, when cash began defining his peculiar and witty version of country music. born in arkansas in 1932, cash began recording as a top artist for sun records, for which he released his first full-length lp. this double lp set documents all the hits from 1955 to 1958, before cash signed to columbia records. these 35 “first steps” helped build the legend and are considered the milestones of an incredible career that ended with those passionate and soulful albums on the “american recordings” series released between 1994 and 2003, the year jr cash died on sept 12.

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

nature documentaries of the 1970s used synthesizer music to score messages about species endangerment and environmental disaster prevention. electronic instrumentation was in itself an ominous warning of the reckless advancement of technology and an effort to audition a utopian harmony between people and machines and nature.

part ii - operated under extreme psychosis, performed live in the dead of night at the studio of the hague s pirate radio tonka , these two records contain an apocalyptic selection of the very darkest moments of its maker, an anglo-french bruxellois driftwood expat washed ashore on the west holland wasteland just to get even more lost in its empty shadow chessboard grid of luscious ghost town smoke screen structures built on nothing but loose sand, to get even more entangled in its reef-like vortex of the fleetwood parkland dune estates artifice of ugly evergreen high-tech verdure of rose and thorn , oh, yes, its many, many flowers sans mercee , red and white carnation, asphodel, or fleur de lys and fleur du mal , all awaiting, lurking gentle softness of the flesh, perfumed for luring prey, yet strikingly hard-wired through the courtly appearance and the troubling foliage of the count s many hidden pleasures, his many secret palace garden hedges, his royal seal concealed behind, oh, yes, its many, many spines, all hiding midst the ticket, like cloak and dagger, that poisoned slip of tongue, or poisoned tip of blade, and all s so easy to slip away and disappear into the vine and creeper, to make one trip and fall in smear of mud or was it blood?

reissue of the highly sought after nigerian funk-rock album, moving effortlessly between reggae, jazzy afrobeat and psych rock. soundway fans first got a taste of jay-u’s infectious beats with the track ‘some more’, featured on the soundway compilation “nigeria disco funk special: the sound of the underground lagos dancefloor 1974-79”. originally released by emi nigeria in 1977, this now-rare album was written by jay-u and engineered by disco-boogie artist goddy oku. opening with the up-tempo reggae number “reggae deluxe”, the album descends into mind-blowing jazz-funk featuring several killer saxophone solos. the journey ends with a trip into psych-prog rock, with a sound not dissimilar to that coming out of the early 70s british rock scene.

the house band of bunny ‘striker’ lee was formed in the mid-1970s by some of jamaica’s most prominent and musically expressive session players. the shifting core line-up spun off from the soul syndicate and thus typically featured earl ‘chinna’ smith and tony chin on guitar and bernard ‘touter’ harvey on organ. carlton ‘santa’ was the main drummer, but carlton barrett of the wailers band and ‘benbow’ creary were sometimes featured. most crucially, on bass, aston ‘family man’ barrett shifted to fully fullwood (and occasionally, earl ‘bagga’ walker), until robbie shakespeare took over, becoming the bandleader. the band was responsible for the popular ‘flying cymbal’ style that took jamaica by storm, and you can hear it in abundance on this killer dub set from 1975, its excellent cuts of cornell campbell and johnnie clarke material mixed at king tubby’s studio - a must for all serious fans of dub.

copenhagens music for dreams comes with yet another strong release - a double album of personal favourites compiled by jan schulte. according to all maps and witness accounts, germany does not officially have any tropical forests. this is of no concern to schulte however, who has unearthed many stunning examples of tropical drum music recorded there. perhaps the number of botanical gardens and palm houses in germany confused musicians into mistaking the climate, or maybe it was just a happy blend of escapism and multi-cultural integration within musical scenes that spawned such a curious output of undefinable tribal folk jazz. most of the tracks picked by schulte were released on small labels in the late 80 s. the musicians involved were mainly traditionally schooled, born and raised in germany. at that time to be interested in foreign folk music might have seemed a gimmick to some, what with the emerging -world music boom- already snowballing into the mainstream. but these songs, while they may be based on musical traditions from foreign lands, deal much more with introspection than exploitation. schulte himself points to his -general fascination for music that describes places where the artists have never been. songs about the jungle or the rainforest made by people that know the rainforest only from television and books. somehow i think you can hear their mythical imagination and fantasy in those tracks,- he explains....

debut lp on street corner music from the ct based producer. -while preparing for my radio show about a year ago, i put a kite out to the kids that i was looking for some heat to play. this kid sent me a 20 second clip of a work in progress. it was sublime. he kept sending beats per my request. it was exciting how consistently good the shit was. blissful, downtempo escapism. his production took me somewhere else, in a time where a retreat from the increasingly stressful day to day is more than welcomed. that first track he sent, -huey-, starts off balloons, wowflower s debut lp on street corner music, just as it started the dialogue between the two of us. the street corner faithfuls will not be disappointed. this shit is fantastic.-

re-release of beverly glenn-copeland’s rural canadian new age suite for dx7 and tr707 …keyboard fantasies… with new carefully reconstructed glasswork design by alan briand beverly glenn-copeland is already known amongst collectors and music heads for two sought-after albums of folky jazz in the key of joni. but it was this album, originally self-released on cassette in 1986 that really caught our attention. the album, entirely recorded on dx-7 and tr-707, lies somewhere between digital new-age and (accidentally) early detroit techno experiments. the inimitable style of bgc here is both peaceful and meditative while simultaneously rhythmic and bass heavy. the album was recorded in the northern canadian town of huntsville where bgc was living at the time and is a beautiful fusion of personal vision, technology and place.

although not a band in a traditional sense of the word, this record was created by a rotating ensemble of players: for a brief moment, musicians from different backgrounds (in this iteration: preslav, kenny peagler, waajeed, joe defazio and phil boyd) became a band and then went their separate ways. rhodes, funk basslines, neo-soul chords and tight drum programming are the lingua franca of the 24 hour band. the title of each song represents the time of day that inspired it and collectively, they point to the goal to create records that can be enjoyed not just in a club, but throughout the day, at home, or in your car. this is the 24hr band.

matter of the heart! district 66s co-owner clark davis established with the labels 3rd ep a symbiosis of the past, present and future. the a1 and b1 reduced and functional original tracks are remixed by two of davis respected producers. in the late 90ies, alexander kowalski was one of the key artist which influenced him and still remains with his very own signature sound. nowadays state-of-the-art markus suckut reflects with his minimalism and on the point grooves the artistic present and future of davis definition of techno.

utter presents rgbpm, trevor jackson s four piece audio-visual work originally commissioned for a live performance at the optronica festival in 2007, on london s imax, the biggest screen in the uk. optronica, programmed by addictive tv/cinefeel in collaboration with the british film institute, held its second festival over five consecutive days at the imax, ica and bfi southbank in march 2007. a showcase of the most exciting talent working in visual music, optronica s 2007 event was a platform for live performances, talks, screenings and workshops from the likes of fennesz, peter greenaway and ryoichi kurokawa. jackson s piece took over six months to develop and yet was performed only once. on march 14th the premier of rgbpm opened the festival in spectacular fashion, jackson performing the music live with its accompanying hd visuals generated in real time using custom-built software created especially by weirdcore. a powerful multi-sensory experience, the event remains one of the defining moments of jackson s lengthy career. the visuals consist of abstract shapes synchronised perfectly to jackson’s soundtrack. choreographed to represent musical elements within each track, they explore the relationship between melody, colour, rhythm and form. the diverse soundtrack combines magical motorik experiments, demented acidic jams, melodic subterranean techno and dark discordant electronic soundscapes. it s a timeless selection of music that holds its own to this day. a decade on from rgbpm s lone airing, utter is proud to release all four parts together for the first time as a special 12- package, mastered and cut by helmut erler at d&m and housed in a sleeve designed by jackson himself.

the story of the great roots reggae harmony trio black uhuru is one defined by many unexpected twists and turns. in its best known form, led by michael rose and with founding member duckie simpson and the black american female vocalist, puma jones, the group would enjoy the greatest popularity of any act in the wake of bob marley’s untimely death in 1981, but the origins of the group lay in the turbulent waterhouse district during the mid-1970s. duckie first formed the group as uhuru, the swahili word for unity, with garth dennis as lead singer and don carlos to join him in harmony, after cutting an adaptation of the impressions’ “romancing to the folk song” at dynamics, “time is on our side” at randy’s for clive chin, and “slow coach” for raymond “benno” anderson, dennis drifted into the wailing souls and don carlos went solo, leading duckie to recruit rising waterhouse vocalist michael “tony” rose as lead singer, and errol nelson from the jays for harmony. their debut album, love crisis, was produced, voiced and mixed at king tubby’s studio by prince jammy and remains and outstanding example of jammy’s roots reggae production phase. the song “hard ground” vamps on a similar theme to marley’s “talking blues”: rose sings of a life of everyday hardship, with destitution and homelessness the pervading factors. on the extended dub portion and dub the instrumental cuts that follow the alternate vocal take of this enthralling 12-inch ep, you can hear the non-standard instrumentation that helps make the work so innovative, with winston wright’s harpsichord melody emphasising the hopelessness of rose’s emotive lyrics, the commanding rhythm and understated bass and guitar from robbie shakespeare and chinna smith completing the picture.

roots vocalist barry brown has an inimitable style that has long made him a favourite of reggae enthusiasts. drawing from the popular phrasing of horace andy, but morphing it into his own delivery through the kind of wordless slurring that occasionally resembles the sound of a quacking duck, brown found his way into the jamaican music scene through the many amateur west kingston talent contests of the early 1970s, along with fellow aspiring talents such as johnnie clarke, sugar minott and the african brothers, and the mighty diamonds. he also honed his vocal skills on local west kingston sound systems such as tape tone, together with other young dancehall-oriented youth such as barrington levy, sammy dread, roy taylor and tristan palmer. there are still conflicting claims as to who was the first to record brown, with production veteran bunny ‘striker’ lee and sugar minott among the contenders, but in any case, during the late 1970s and early 1980s, he produced a range of captivating work for various producers, much of which is rightly coveted today. ‘ital rock’ appeared on barry’s 1983 lp i’m still waiting, issued by rocktone international, a spin-off of sugar minott’s black roots outfit, based in queens, new york (with a further branch in toronto), the b-side has dean fraser’s previously unreleased electrifying saxophone cut, rescued from dub plate obscurity by jah fingers.

as is the case with fellow ‘enforcers’-turned-producers, henry ‘junjo’ lawes and philip ‘fatis’ burrell, george phang had been involved in the internecine street battles that had split kingston into rival politically-aligned zones during the 1970s, when the broader effects of cold war politics were played out in jamaica. following some encouragement from sly and robbie, phang changed focus, putting the politics aside to concentrate on music production, becoming one of the most important producers of the early 1980s in the process. phang took over the rhythm twins’ power house label around 1982, and with the duo forming the mainstays of his productions, the result was guaranteed audio dynamite, as this killer devotional track by barrington levy from 1983 so amply suggests—a beautiful extended slice of late roots, heading towards the emerging dancehall style.

drummer and music producer desmond mahoney is another of the unsung heroes of british reggae. born in jamaica, he moved to the uk in 1967 and began his professional career playing drums in a band called young ones from zion. he was a founding member of black slate when the group formed in 1974, played with them through their glory years and after running a sound system in north london for many years, returned to the fold when the group reformed a few years ago. his first foray in music production probably came during a brief period in toronto in 1978, working with a band called the ishan lions, but he was back in the uk in time for black slate’s breakthrough material, which brought them onto ensign in the uk, barclay in france and alligator in the usa. at the same time, he continued to arrange and produce for a number of british reggae artists operating in both the roots and lover’s rock modes, female duo nya & natty’s ‘one love stylee’ seemed to bridge the two styles quite successfully on this greatly sought-after 12-inch, first issued in 1981 on the s&g label, then based at a record shop in bow.

played on bbc radio london tony blackburns soul on sunday , bbc radio 2 trevor nelsons rhythm nation , a listed on mi-soul, the divas got soul album was #1 on the uk soul chart for 6 weeks. played globally on radio stations from la to ja and in between.

cosmic bridge welcomes yet another new talent to the roster: uk producer jordan parsons aka crypticz, who for the past few years has been distilling influences from drum & bass, dubstep, and footwork into a deeply personal sound. following eps and singles for different music, inflect audio, and doc scott’s own 31 records, crypticz delivers a personal, emotive release for cosmic bridge. forever was put together over the past year by om unit and crypticz — with the label boss inviting parsons “to take more risks and guiding him into the fog.” as a result the ep offers a distilled, more refined take on the dub aesthetic that has powered the young producer’s music to date.

im sommer 1999 aus der taufe gehoben, ist unsere total compilationserie kaum älter als das 21. jahrhundert selbst – was total 17 als letzte ausgabe vor der volljährigkeit kennzeichnet. und tatsächlich strahlt die 2017er kohorte einen verspielten Überschwang aus, mit dem sich nur wenig andere compilations nach über 15 jahren am markt messen können: labelveteranen und neuzugänge wie etwa superpitcher, weval, tobias thomas & michael mayer, chris klopfer, juergen paape, voigt & voigt, max scholpp und nu u orchestra begeistern mit einigen der eingängigsten tracks, die die serie bis dato gesehen hat.

wie andere total compilations zuvor, ist total 17 zuallererst eine perfekte gelegenheit in unser aktuelles programm einzutauchen, dank der actiongeladenen 2xcd version die gefeierte höhepunkte und persönliche favoriten von laurent garnier, the orb, kÖlsch, vermont, t.raumschmiere, patrice bÄumel, danny daze und vielen anderen vereint. die filetstücke jedoch dürften zweifelsohne die exklusiven tracks sein, die sich auf beiden editionen, 2xcd und 2xlp, befinden – acht brandneue produktionen von kompakt-kernkünstlern und ausgewählten labeldebütanten die sowohl den sammelnden kenner als auch den ambitionierten tanzflur-aktivisten mitreissen werden.

thats the way it is is the 40th album by elvis presley, originally released in november 1970. the album consists of eight tracks recorded in the studio in nashville at the marathon sessions in june 1970 that would also yield several singles and the elvis country album, and four tracks from his august 1970 show at the international hotel in las vegas. although it is not generally considered a soundtrack album, it accompanied the theatrical release of the documentary film of the same name.
pressing on 180 gram audiophile vinyl.

new york s p. leone is back with the second release on his newly launched e-missions imprint featuring work them records founder spencer parker on remix duties. born and raised in brooklyn, where he discovered the legendary storm rave parties run by frankie bones and adam x, p. leone cut his teeth djing in the lower east side of manhattan before making techno himself. before long the producer dropped his first two releases on work them records, joining a roster spanning radio slave, spencer parker, young male, anetha and physical therapy. e-missions was then launched in early 2017, acting as a platform for co-founders p. leone and caiazzo with more exciting artists soon to be announced. discipline signals is dark and robust from start to finish, with functions of discipline 1 inaugurating the package with resonating kicks, trippy elements and industrial synths. functions of discipline 2 follows a similar aesthetic but heads into a deeper direction with its cavernous atmospherics and glitch inspired effects, making way for laced with its sinister drones and tantalising melodies. spencer parker then remixes laced , concluding matters with rugged drums, energetic hi-hats and a rumbling low-end.

as bpmf started making techno again, he surveyed his techno friends asking them what it was about his music they found the most annoying. the answers? tr-606 hi-hats and portamento. he proceeded to focus on these aspects of his music and today the results are here: -abide the glide volume 4- wherein bpmf is pushing all the right buttons to get the dj thinking about the sounds their pumpin. jamie morris provides an excellent dj freindly remix of -even straighter-, taking bpmf s idea and going even straighter.

last summer dan ghenacia was digging through his own record collection when he found a rare gem, a priceless italian jewel. back in the 90s when he first picked up the ep, dan was spinning the b-side, with no vocal. back to present time, and after a few weeks of pondering, dan decided to give the vocal version a spin... the track quickly became a total bomb in fact, sending kids crazy both in the clubs and online, where nobody has been able to identify it. intrigue has surrounded the track over the past year, with a ceaseless hunt for the mysterious old gem proving fruitless...apollonia are proud to finally unveil this old school killer with an exclusive repress of body beat originally released by laser on pin up records in 1993. this early nineties organ-led masterpiece is uplifting and groovy, with heavy beats powering the track along, illuminating dance floors around the world every time dan has played it. on the a-side we have body beat , the vocal version that has been doing so much damage, while on the flip is body under , which is more of an eyes-down, moody roller

during the mid-80s and early 90s movin’ records defined the new jersey sound. a skate-shop-turned-record-store run by the so-called fairy godmother of house abigail adams, movins first output was ive got the music by boyd jarvis in 1987, followed by music from game changers blaze, kerri chandler, tony humphries and smack, straight up “jersey jams” that producers are still attempting to replicate to this day. still the movin’ records catalogue throws up gems that sound super fresh along with plenty of lightbulb moments of musical discovery. after becoming a surprise hit from the b-side of kamar’s ‘in every way’, movin’ records presents this remix single to give dancefloors a serious shake-up. kerri produces some heavyweight remixes of this single, along with regular collaborator yahya mcdougald. as with all of kerri’s early productions, this sits proud alongside his latest, more mature output thanks to his naturally instinctive style. the single features vocals from calvin reed sr., kerri chandlers actual grampa!

when octo octa sent us the demos for her first full-length record since 2013, we were floored by how many tracks were single worthy. but, there was one that stood out as something entirely on its own, a song that in many ways sounded like nothing maya had ever released. since the beginning, we always knew we wanted to do something special with adrift, the 8+ minute space-age synth-dub techno tune. when we asked maya about doing a 12inch with remixes we were blindsided to learn she has never had any of her music remixed before. with some remixers in mind, she asked two of her favorites and they said yes. so, here we are to present hny-016 octo octa adrift, remixed by avalon emerson and dorisburg.

vocalist and mult- instrumentalist family thebroomfield s might be new to you but deepfunk heads know the deal. the six broomfield siblings (vocalist, diane and her 5 brothers) released some of the best rare groove 12s and 45s in the 1980s (although this 45 was recorded in 1979) as well as recording with betty wright, kc and the sunshine band, timmy thomas, little beaver, julio iglesias, michael sterling and many, many more. championed by keb darge and others on the deepfunk scene in the early 2000s, this record has remained agonisingly elusive, despite being very popular as both sides are brilliant. so, with the help of symphonical records we got in touch with aaron and made this happen, look out for aaron s 45 dropping soon as well.

lovefingers heard the atmospherian years ago on milk beach settlers, a promo-only mix cd comprised solely of australian artists, mixed and released by seminal melbourne dj duo and good friends hey convict! (tamas jones & jason evans). tamas explained that warp factor 9 was a one-off project by john and russell kilby of esoteric post-rock bands the crystal set and bhagavad guitars respectively, and who are brothers of steve kilby (frontman of the church, a prolific australian band we’ve adored since adolescence). we had an immediate epiphany and this project was set into motion

the brabant shrobbelèr is a searing selection of classic and unreleased new beat productions by james leyland kirby aka the caretaker, aka v/vm. it was selected and sequenced by jerk van den boschalottt and mixed and chopped to mucky perfection by miles ov demdike stare, marking up a personally important 5th instalment in our 12 x 12 series, while also providing a fitting headstone to one of kirby’s most crucial and little known projects.
single-sided pressing.

cosmic relief was jimi tenor s return to his home label and original one man band setup after busy warp years. the sound is ease breathing and the compositions are as sweet as only jimi can do. ***** in most of the reviews back in 2001.

the fourth release from gardens of gods imprint sodai is the barcelona based, egyptian dj and producer raxon with his &#8203,,,detla ep&#8203,,. a trend-setter, the former-architect exhibits a cogent production style making him an fitting addition to the label. a special track for raxon, &#8203,,detla was created en route to cape town for a big festival. i thought i would need to make some changes after the show, as is often the case, but the track worked, so i left it exactly as it is in its first original arrangement&#8203,,. &#8203,,which any producer will know is rare&#8203,,. the ep kicks off with an enticing intro, growing layer by layer with a detailed arrangement of ethereal synths and minimalistic percussion. a full breakdown mid-track leaves you craving more, before the final drop in all it’s stomping glory. on the flipside, &#8203,,jungle express &#8203,,features a hastier intro and a balearic-inspired drum pattern. a siren hooks you in as it drops into a bass-ridden techno roller. raxon &#8203,,has &#8203,,received critical acclaim east of the mediterranean, boasting best dubai dj in 2013/14 by time out dubai. developing and collaborating, raxon has continued to develop his career working with imprints and artists including ellum and diynamic. catching the eye of tastemaker john digweed, raxon has featured as a special guest on his transitions radio show twice cementing his place in the techno scene.

2016 was a banner year for dirtybirds founder, claude vonstroke. he debuted his get real alias with green velvet in the winter, and followed up with another number one single in the spring with the rain break. he celebrated the 10th anniversary of whos afraid of detroit to kick off the summer, and finished in the fall by being crowned americas best dj by pioneer at a ceremony he shared with all the fans at the dirtybird campout. after a relentless touring schedule the first half of 2017, claude hit the studio with a couple ace producers, will clarke & sébastien v to collaborate on two giant singles for the works well with others ep. tiny tambourine is the product of will clarke & claude working together. its a bit of a misnomer, as tiny is the last word to describe the heavy bassline which starts to form immediately at the tracks outset. continuing to build over crisp and heavy beats and outbursts of drama before dropping back to the burly bassline, the result is monstrous. will clarke has been on a dirtybird hot streak having released 3 solo eps, 5 singles, an appearance on justin martins album, as well as a brand new collab with shiba san on the bbq compilation and a full takeover on the birdhouse radio show. on the flip side, claude teams up with one of dirtybirds freshest talents, sébastien v, for daylight dark room a light, melodic tone contrasts with a dark and funky acid resonance to create a truly unique masterpiece. the mysterious sébastien v was also featured on the dirtybird bbq compilation with his super-hot track funkulate, and there are rumors floating around that he is actually someone from the core dirtybird roster sporting a secret alias.

this is the second in a reissue series of dominick fernow’s early work as rainforest spiritual enslavement, casting spells from the green amulet crafts supernatural qualities (2011) tape onto vinyl for the first time and steadily closing the gap in your rse collection.
something like the soundtrack to one of ballard’s prophetic visions of sunken cities, this second rse incursion was initially released in an edition of 63 tapes in 2011 and found fernow dwelling in a dread-fuelled, paranoid headspace.
prssing on translucent green vinyl.

12 inch comes with a downloadvoucher to the full album!
space is the place friends! we are happy to present “space consciousness”, the first album on our little imprint composed by astro traveller adham zahran. born on a day where the sun was aligned with the eridanus supervoid, a ray of energy from deep space unraveled an ancient force inside baby adham that allowed him to share the wonders of the cosmos through some seriously funky house muzak. the 8 track joint comes to you in a binary format with a 12” continuous analog excerpt (by buying the 12“, you will get a download-code for the complete album). on top of that we asked professor chinaski, a proofed expert of the chaos theory and meteor card collector, to invert the albums intro into a slammy dancefloor banger, which the professional disc jockey won’t be able to resist. if you don’t believe us, ask your astrologist!

der legendäre dj, musiker und produzent andrew weatherall adelte die aus newcastle stammende formation warm digits mit den worten: -machine funk kraut-a-delia - it’s rather lovely!- was man darunter verstehen darf? elemente von neu!, kraftwerk, giorgio moroder, my bloody valentine und boards of canada, welche die beiden musiker andrew hodson und steve jefferis mit hilfe von geradliniger percussion, elektronischen basslines, gitarren-riffs im stil von keith levene (the clash) und viel analoger wärme zu einem -krautophonic blizzard-wave- verbinden. das brachte den jungs schon supporttouren mit goblin, modeselektor, esg, st. etienne und dem moon duo ein. für sein drittes album hat das duo seinen sound weiter geschärft: -wireless world- wartet mit einem dutzend knackiger, treibender und melodisch reicher songs auf. zum ersten mal in der bandgeschichte kam es bei den aufnahmen zu kollaborationen mit lieblingssängern und -sängerinnen wie peter brewis (field music), sarah cracknell (saint etienne), devon sproule und mia la metta (beards). das album möchten hodson und jefferis als kommentar zum aktuellen weltgeschehen verstanden wissen, das ihrer ansicht nach auf der kippe zwischen feier und untergang steht.