californiabased producer damon bell could not find a more suitable home for his new 12inch than croatian label burek. its his first one since blues for the libyan lp released in 2015. for deepblak, and it sounds as if the time off was well spent. two words that perfectly describe this record are rich and colourful, and the description is equally applicable to all three cuts. stand by me is a synthheavy piece built around the interplay between tracks rougher sounds and big lush pads. on the flipside, life is slightly faster and more direct, with a wonderful guitar part that circles around the main theme throughout the most of the track. similarly mannered, but slightly more intense transatlantic journey? we been here! is the last piece and features an infectious groove with lead synth piercing through layers of delicate arpeggios playing in the background. all in all, it feels good to have damon in the team. we hope youll enjoy this record

the ichinen project was born from the strong music connection between roberto bosco and kiny - both producer, performers and founders of last drop records imprint - and from the need to share their personal music concept. finally, this year they returns on their label with the first official track under new ichinen monicker.

played by ali renault
the third instalment of braiden s off out label arrives via chunyin, a new dancefloor orientated project by hong kong born, sydney based artist, singer and producer rainbow chan. early support from benji b, eclair fifi, bill kouligas, joy orbison amongst others. the lead track of this release, -fei-, was the genesis of this project, created as she started to explore the world of murky dancefloor music. the track delivers a raw, punky attitude with a nod to minimal wave, littered with warped organic sounds and samples of hong kong new wave cinema. following this is -emporium-, a relentless jacking dancefloor number, syncopated groove laden drums married with airy atmospherics. -shi- closes this ep with a unique and brooding techno inspired track that rolls yet feels as though it s perpetually falling apart at the seams. vinyl comes with screenprinted and chinese seal hand-stamped artwork designed by braiden, illustrated by chuny

lp 180 g vinyl remastered by göttsching, long deleted vinyl reissue. remastered by manuel göttsching and released on his own label mg art. inventions for electric guitar is manuel göttschings first solo album, recorded: july-august 1974. the album was written and performed entirely by göttsching on electric guitar, hence the title. manuel played his guitar and used a 4 track teac a3340, revox a77 for echoes, wahwah pedal, volume pedal, schaller rotosound and hawaiian steel bar.

disparate producers with complimentary sounds, evil needle and sivey met in an online beat community 6 years ago and to this day have never met in real life. nonetheless, they present their first official ep, ‘constructive interference’, to the world. ‘constructive interference’ was created over the span of 3 years and embodies the unique soundscapes of each producer. evil needle, based in strasbourg france just on the border of germany pulls inspiration from traditional hip hop, neo-soul and trap music while seamlessly weaving in open synths and chunky chord progressions. manchester, uk-based sivey incorporates soulful beat-oriented music with what he calls “emotional highs and lows that are still musically stimulating” adding a beautifully uptempo sensibility.

the formula was simple: marry bubblegum and soul to the absolute sincerity of an enthusiastic child, cross your fingers and pray for airplay. but while the youthful sums of that formula may have grown up and walked away from their illusions of stardom, their permanent records remain. by 1973, michael, tito, jermaine, marlon and jackie were as hip as kids could get—household names, with lunchboxes, coloring books, a saturday morning cartoon, and an alpha-bits cereal commercial pushing the j5 brand onto any kid with television reception. their impressive run of four consecutive #1 singles playing on both pop and r&b stations cemented their appeal to both whites and blacks, prompting mgm to launch the osmonds as the safer (read: white) alternative. and parents? well michael had that wrapped up with his impossible-not-to-love mini-james brown thing. even their song selection straddled both sides, with “zip a dee do dah” and “abc” for kids, and contemporary standards “standing in the shadows of love” and “my cherie amour” for the older crowd. this extreme marketing and merchandising juggernaut created the kid soul explosion. a decade removed from our acclaimed home schooled compilation comes a fresh batch of talent show titans. with enterprising parents, neighbors, and teachers turning play dates into recording dates, groups like magical connection, little man and the inquires, and five ounces of soul emulated the jacksons, who’d made grade-school stardom appear easy as abc. afterschool special: the 123s of kid soul contains 19 tiny tunes ranging from bilingual d.a.r.e. anthem, to james brown bio, to young love and life beyond the playground.

antinote squeeze out the mind lotion: eight sun-drenched excursions, tip!! mind lotion crafts a very modern guide to sun-drenched soundscapes in the form of altitude attitudes, a musical travel-log, consisting of eight pieces, written over two years, which are recollections of experiences, moments in time from trips – either real or romanticized – to exotic destinations.

one of house musics true originators, todd terry was first discovered by pioneering new york house imprint fourth floor records. now the label has collected four of his earliest and most essential productions on to one 12inch vinyl. the a-side houses a pair of tracks created under his black riot alias in 1988, both featuring his trademark raw, jacking drums. the unmistakable rave stabs on a day in the life were to reappear on countless hardcore records, testament to the tracks influence, whilst the cut-and-paste sample patchwork of warlock defines the house sound of that era. meanwhile, the b-side features two tracks as masters at work, a moniker that todd would later pass on to his friends little louie vega and kenny dope gonzalez. both alright alright and dum dum cry, originally released in 1987, exhibit terrys musical roots, combining hip-hop breakbeats, powerful electro-funk and playful freestyle melodies in his inimitable style.

chicago basement trax returns with an homage to the king of the raw himself ron hardy. those that experienced ron hardy first hand will tell you there was a vibe like no other. a minimal space with strobe lights and a bangin system. if you put your hands on an eq or isolator as a dj thank ron as being an innovator of this creative style of frequency manipulation. not only did ron drop the bass, he dropped whole songs to expose the beautiful crispy hi hats, vocals and then romanced you with the piano before slapping your whole body with the beat. this ep does its job to take you there, just close your eyes and blast off!

vanessa paradis (1992) is the self-titled third album and english debut by popular french singer vanessa paradis. lenny kravitz, who was paradis partner at the time, produced and co-wrote the album. it spawned several successful singles, including one of her most recognisable songs -be my baby- and the hit single -sunday mondays-.

2lp+download ! in my room proudly presents fixion, the fourth full-length offering from anders trentemoller. with fixion, anders has crafted a logical successor to 2013s lost - a record that in many ways managed to truly capture the visceral live experience of trentemoeller as a full-band. in much the same manner that lost built on from the somber cinematic classic that was into the great wide yonder, fixion has embraced the danish artists trademark melancholy and matured it into something uniquely atmospheric and darkly romantic.

limited deluxe collectors edition 2lp,180g, gatefold with spot varnish+mp3 download+download bonus track rework! in my room proudly presents fixion, the fourth full-length offering from anders trentemoeller. with fixion, anders has crafted a logical successor to 2013s lost - a record that in many ways managed to truly capture the visceral live experience of trentemoeller as a full-band. in much the same manner that lost built on from the somber cinematic classic that was into the great wide yonder, fixion has embraced the danish artists trademark melancholy and matured it into something uniquely atmospheric and darkly romantic

recovering from the gray decay of the winter here in berlin, we are more than ready to push forward farther into the future. in order to do so the powers at chronicle have aligned a new musical offering to test the palate of those who know, and those who care. we are pleased to present six tracks from the prolific arnaud le texier, who has made waves for years with his children of tomorrow imprint and renowned taste. from cosmic interludes to heavy hitting transcendence, arnaud manages to showcase all sides of his production skills as they translate into a compelling and emotive narrative. among them stands a tribute to one who was lost along the way that we simply do not want to forget. only rarely in this life do we stand witness to gures that make a true impression, an imprint that continues to leave a mark long after the original has passed. max_m was one of these gures, and it is through his music and immensely dignified curatorial prowess that his legacy will live on. arnaud’s poignant tribute stands as a personal note amongst an ep full of forceful techno suitable for deep space exploration

after the success of aboutface s debut ep on amirali s dark matters imprint in october of 2015, aboutface performed his project vaga the river wye as a metaphorical representation of the journey of humanity, live at freerotation (2016), the performance was also broadcast on nts radio on 16/7/16. following this mesmerising and exploratory project, the young london based composer and dj returns with a new release. in the tepid shine we breathe is due out on the 19th of september.

electri city was created in 1980 in bundt’s own studio. using a ppg synthesizer and a teac four-track tape recorder, he anticipated the home recording trend. he worked on the mixes with a revox tape machine, cutting and splicing by hand. whereas he had enlisted guest musicians on the predecessor neon, this time around he did everything himself, except for two tracks which featured keyboarder steve robison (reiner geyer) who had played with bundt in the krautrock band nine days’ wonder.

for the first time in more than a year, because music is running a limited repress of selah sue‘s sold out ep alone. released in late 2014, it paved the way for her second album reason (more than 185.000 copies worldwide since its release in march 2015). shifting to a more pop-oriented sound under the supervision of producers robin hannibal (rhye, kendrick lamar) and ludwig goransson (childish gambino, haim), this ep features her flagship collaboration with american rapper childish gambino together and an exclusive acoustic version of the track wont go for more. a throwback to the exciting times when everybody was impatient to hear selahs new creations after her best-selling debut album.

paradise garage anthem “let’s do it” by convertion with remixes by krystal klear to be released on original sam records label. 12” vinyl released on september 9, 2016 let’s do it by convertion was originally released in 1981 on sam records, and featured production by greg carmichael and vocals by leroy burgess. upon release this song immediately went into heavy rotation for larry levan at the paradise garage and for frankie crocker, then the number one rated disco jockey on new york city’s number 1 ranked radio station wbls. over the years it has become a staple of classic disco playlists worldwide. now remixed as a peak hour tune for today’s dancefloor, this 12” release includes two mixes produced by dec lennon p/k/a/ krystal klear. a dublin native and red bull music academy alumni, klear has made a steady rise to become one of the freshest new faces in music that both has the chops to destroy underground dance floors with his deep crate of records or spin out polished productions in the studio with legends like nile rodgers. klear’s musical accolades can be conveyed through his singles “tried for your love” that was championed by bbc r1 dj benji b for 13 weeks in a row, and “addiction” which has helped solidify main stage at top tier events such as sonar, fabric, space ibiza, and the famed panorama bar.

debut ep for producer romain poncet (aka traumer) as marion poncet. this release was made to be a wonderful journey in the land of hippos.

it is very difficult to present david duriez without writing an encyclopedic tome as its influence on the house music in france was decisive. since its inception in 1992, david released over a hundred records under his name, tens under various pseudonyms, mainly on vinyls on the most renowned labels like 2020vision, ovum, systematic, pokerflat, f communication, under the counter, stickman, crosstown rebels, the end, etc .. (the list is long, see discogs.com to be convinced) and as many remixes for some of the greatest artists (think moby, dj sneak, gemini, dj hell, llorca, telex, random factor, johnny fiasco, paul johnson, jori hulkkonen, ralph lawson, random factor, kenny hawkes or mr.c). founder of the label brique rouge and a whole galaxy of other labels, he participated in the creation of internationally recognized labels such as robsoul with phil weeks, freak n chic with dan ghenacia (from apollonia) or rz muzik. at a time when david had federated online the cream of the house producers via a forum (far and long before social networks), ivan smagghe had nicknamed him -the producer of the producers.- , a true house music activist, but most of all david duriez is a devastating dancefloor dj, he did several tours around the world and played in some of the biggest clubs in the world between 1995 and 2010. truly one of the most important players in the french electro scene, david is back on tracks after a few years hyatus. but don t call it a comeback because he has never really gone awol, he has been watching the scene and now he s back in the studio. you can expect a (very) long serie of releases for 2016, you have been warned!

spanish duo reykjavik 606 have another story to tell – this time one they’re sharing on the brand new music terrae label. in a three-headed, musical tale, their ‘stop looking for happiness in the same place you lost it’ ep brings out all of their talent. blending cinematic house, mesmerizing melodies and groovy downtempo bits with their taste of eclectic, reykjavik 606 show exactly why one of their previous albums was nominated for ‘album of the year’ by dj mag and clubbingspain. on music terrae, their talent is showcased with the sounds of ‘nowhere in particular’, ‘no name for a place’ and ‘lonely boy’, three unparalleled productions to spark your senses and capture the imagination. these guys are right at home on music terrae.

desolat label boss loco dice is back with what is sure to be a massive autumn package: he has remixed the seminal dance track ‘go’ by the legendary moby, twice, and has made it all his own in the process. moby needs little introduction: the american dance producer and live performer’s albums are classics of the genre that are celebrated far and wide. they have been used on thousands of adverts, have given rise to hit singles all over the world and have made him one of the most celebrated electronic music stars of our time. his ‘go’ track was what started it all for him back in the 90’s, and was a bona fide club classic of the day. it still resonates today and always gets crowds going. now it has been remixed twice by loco dice, who has added his own stamp to it in distinctive fashion. his first excellent version is eight minutes of chunky and tribal drums, with rubber kicks, clipped horn stabs and big hits all building the pressure. those most famous vocal cries really finish it off in style, and ensure that dance floors will go wild whenever it is dropped, as do wonky synths and big piano chords at the breakdown. the second version is more emotive, with big sweeping strings smeared in the background to help make it all the more dramatic, teary eyed and impactful on the floor. this one is for the peak time in any set and is sure to make the most memorable moment of any night. both remixes here pack a real punch, and whilst remaining true to the original, they both sound just like you would expect from modern dance heavyweight loco dice.

finish techno pioneer and dum records boss kimmo rapatti aka mono junk and melody boy 2000 is back with another fine ep of some of his greatest tracks. all three have been released before now, but never all together on the same ep. a1 sound stealer was released in 2007 under the melody boy 200 alias and since then has been hugely sought after, often fetching high prices on discogs. it is a high impact techno track with racing drums and chattery percussion that will take any floor by storm. a2 all alone, again as melody boy 2000, has only been released on cd before now, as part of a label compilation back in 2002. this one is deep and rubbery, spaced out and elastic and is full of moodiness and melody. both b-side tracks were written as mono junk and both were written in 1992. first up, apache acid came on vinyl own music man and is a face melting, hundred miler per hour banger with manic 303s buried within. finally, ‘beyond the darkness’ was a key early techno track to come from finland and has previously been released on dum010. says the artist of the track, “an ensoniq asr-10 arrived on the market and studio engineer perttu bought it right away, but i never liked to use sounds that someone else had made. we sampled the track’s bassline, strings and others from my jx-3p separately and mixed it all together.” the result is an atmospheric track with swirling pads, icy synths and form drums that will make people march, no doubt.

popping up for the first time on figure spc y, it was the remarkable synth-work of ubx127 that instantly struck a chord with the labels demand for substantial techno. now the stockholm artist proves himself loyal and hits back twofold with a pair of eps that further highlight his mastery of both vivid modulation and effective sequencing. leading into this batch of new tunes are the crafty and beautifully fleshed-out synth-arpeggios of opener han, which ubx127 complements gracefully by adding tender touches of melody. a2 cut create and destroy displays a new side to the producer that verges on the manic, building upon a swirling theme that soon flies into a lunatic frenzy. soothing then are the spacious sounds of barabrus, a crisp piece of floating breakbeats and shoving sub-bass. living up to its name, swells starts as a bold synth-led groove and slowly grows into a romping beast that rebels against glistening sonic whiplashes. even in its own right constant permutation part 1 stands as a cohesive and compelling record that will add to any collection. but with its equally strong successor already waiting in the wings, it is ubx127 himself who will make a lasting impression.

the revised brotherhood recorded their one and only 45rpm single tragedy b/w those things in 1971. the band was founded by organist john hurd who was taught music many days a week by roger troutman. the band released a full length album shortly after the 45 but it did not take long and they split up. thanks to john hurd all of you get the chance to enjoy these songs on 45rpm single, more than 40 years after its initial release.

few would challenge the claim that the 1960s and 70s have been the most fertile two decades in the history of popular music ever - a period which, regardless of genre, laid the foundations for everything that has followed. what is more, this period was so fertile that the speed with which tastes changed left a colossal amount of incredible music to gather dust - perhaps most famously a profusion of funk, soul and jazz. it was a musical legacy that lay mouldering until the rise of sampling in late 80s hip-hop precipitated a mad scramble for lost crates and suddenly, the music that became known as rare groove - for obvious reasons (it was rare and very groovy) - experienced a phoenix-like rebirth. a quarter of a century on and a million funk, soul, jazz-funk and rare groove compilations, re-presses and re-releases later, you d think that cupboard was bare and yet, even now, there are gems to be found. pt is re-releasing the rarest of cuts that often were originally only limited runs or private pressings and new compilation down & wired is just such a collection. always soulful, this features everything from mod groovers and northern stompers, to funky bumps and latin heaters. yet while the quality of all cuts is immediately apparent, only one of the eleven has ever been previously been compiled because when pt do rare, they dont mess around. in fact, if these tracks were steaks they d still be walking around eating grass.

im jahr 2013 veröffentlichte sinan49 in eigenregie das mixtape -4zuder9-, welches einen kleinen hype erzeugte. einige labels sowie künstler, unter anderem nate57, wurden darauf aufmerksam. rattos locos lud sinan49 ein als support mit nate57 auf die -land in sicht- tour zu gehen, und 2016 ging sinan49 erneut mit nate57 auf -gauna tour-. durch einen freund bahnte sich parallel der kontakt zu brisk fingaz und gee futuristic an. in zusammenarbeit mit den beiden produzenten entstand das album -mitte des blocks-. das album ist ein an den 90er jahre east coast sound orientiertes, düsteres und dreckig produziertes album, welches einheitlich und ohne ausreißer einen roten faden durch die produktionen zieht, die von brisk fingaz & gee futuristic stammen. die texte sind ehrlich, gespickt mit nachdenklichen, realistischen themen, die ihn umgeben und zuständen, in denen sinan lebt: keine Übertreibungen oder phantasiethemen, einfach gerade wirklichkeit.

tominori hosoya landings on minuendo with love stories ep, this work contains beautiful deep tracks and intros with personal sign and vision of nipon artist, he was know for work to another labels like deepart sounds, soire, th pressin, mixx and more. check!

massive 11-piece latin american afrobeat combo nelda piña y la boa have been exploring the vast rhythms of west african music and its many branches within their home base country of colombia for the last 3 years. influenced by the contrasting sounds and traditions of colombia s disparate atlantic & pacific coast cultures, they bring a unique twist to the familiar afrobeat lineup that is accentuated by their cantadora nelda piña, a singer from the bolivar region who was born in the 1940s. once again, colombia and its deep reservoir of modern and traditional musicians prove the awesome alchemy of melding the sounds and aesthetics of old and young generations.

2016 repress , informa experiments is a new series from informa records, the aim is to use new methods and ideas to spark creativity and push forward the ever evolving sound of electronic music. irexp001 is a special collaborative project by deepbass, ness, jeroen search and nx1. the idea was to work together on a 4 way collaboration, each artist put a selection of sounds into a folder then from that folder of sounds each artist would create an individual piece of music.

since its inception in 2011 the fuse label has grown to be one of the leading voices in the dance music underground, originally kicking off with co-founder enzo siragusas the sagamore ep, subsequent releases were kept strictly in-house with productions from the roster of resident djs that feature at their london based daytime raves (seb zito, rich nxt etc). in 2013 offshoot label infuse was initiated as a way of harnessing production talent from around the globe. ep one features tracks from enzo siragusa, dan farserelli, ferro & makcim and fabe. seb zito, romanian talent iuly.b, ben rau and joseph williams feature on ep two whilst rich nxt, rossko (making his production debut), archie hamilton and sam bellis round things off with the ep 3... strictly vinyl only!

jago was the studio project of michele violante created in milan, italy in 1983. the line-up also included luciana cirrillo aka kynsha, who wrote lyrics and sang back up vocals. the name jago comes from iago, the main antagonist in shakespeare s

patrick keel is a multi-instrumentalist, composer, producer, and performer. the pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. patrick was heavily influenced by the radio of the early and mid 1960

get on down is a heavyweight slice of storming jamaican disco-reggae heat from the legendary studios of miami s tk disco empire. king sporty s version may not have been as well known as connie cases electro laden later 1982 version (also produced by sporty) but the perfect marriage of disco stylings and sports jamaican roots meant the original 1979 version was a cult classic in underground deep disco circles. over 35 years since get on down was released the keepers of the tk disco vaults have given permission for some of their classics and lesser known gems to be respectfully tweaked by contemporary producers and dj s who fully understand the lineage of the label and the music contained within. stepping up and get his hands dirty is none other than london dwelling, wolf music man medlar. a regular face behind the turntables all over the world medlar has lovingly freaked king sportys anthem for the modern dance-floor, extending the right parts in just the oh so right way, dubbing out parts that needed just a smidgen of echo here and there and generally making the track irresistible to dj s with its lovely long beat led intro. these are extremely tasteful edits, done with respect and reverence over 2 parts old school style. look out for those low flying dubbed out vox and lazer beams too, powerful stuff! this is only one of many underground disco classics that the mighty miami based tk disco label brought to the world, reimagined for 2016s dance-floor, officially sanctioned in conjunction with henry stone music / tk disco. file under - classic / essential!

derzeit existiert ein hype um den in manchester geborenen und in london ansässigen dj/produzenten sam shepherd. als dj legt er besten house, techno, soul und disco auf, als produzent elektronischer musik mit klassischer ausbildung beherrscht er die wunderbare kunst, eine äusserst organische fusion aus jazz, klassik, electronica, soul und brasilianischer musik zu kreieren, die er mit einem 11- bis 16-köpfigen ensemble auch so beeindruckend live vorführt, dass einem der atem stockt. zu seinen fans zählen four tet, theo parrish und kode 9. nach seinen aussagen kulminiert in seinem debütalbum *elaenia* alles, was er bislang musikalisch geleistet hat. jedes dj-set, das er spielte, jedes talent, das er produzierte, und jede komposition, die er bislang schrie, sind vorboten dieses werkes.

one per customer ... the wonderful black ops sub label from the sleazybeats people wraps up, which has been a monumentally successful series by anyone s standards, with an ep from the notorious sample bandits, the popular peoples front over a decade after launching a distinctive series whose ambitions amounted to no less than condensing thirty years of black club music into a beautifully packaged, portable collage of sonic sample goodness, the sb crew tracked them down & appealed to their anarchic, nihilistic nature by offering them the final release on the label. the ppf project itself came to a close at release no. 10, so the synchronicity was strong for no other reason than a desire to celebrate dancefloor abandon and strive to soundtrack the purest forms of hedonism, ambiguous sexuality and a transcendent celebration of outsider culture, not to mention a green light to shamelessly exploit, steal and otherwise pilfer their source material, they said yes. after trying, with no small amount of success to transcend the basic edit through the ppf series, the band have again worked their collage approach into three truly magical cuts as always, this is a limited, vinyl only release. it will not be repressed and will not be released digitally. not now, not ever

repress, this year we have reached our long term goal as a label which was to expand our releases into the wax department. we feel like we ve done a good job bringing upcoming and original local talent to the surface so far and it is only fitting that our first vinyl release is done by the icelandic duo david & hjalti. the duo has been busy with the production since their arrival from manchester and have played a number of great live sets underlining their skills as producers. we feel that this release is the high standard we set ourselves before going vinyl and that this is just a small first step in a fruitful beginning for the producers david & hjalti.

stockholm ltd welcomes nihad tule to the label, pairing the sweden-based producer with label boss par grindvik for a split ep titled >landmarks<. each component of this five track release, although written separately, fits together like a story which was meant to be.

nice price deal !!! anunnaki cartel is up next with another release from label co-owner chris mitchell. this is his follow up to the din gir dialectic ep that was released last year. remnants is a more introspective outing with a sobering feel. these are heady selections for a darker floor, and will satisfy those dj s who want to inject this into their sets.

skalen ep consists of sleek, functional but no-nonsense techno variations from snitch. leading with >skalen< - a deadly, serrated tool fashioned to carve up the hardest of dance floors and takes you through the tunnel without a torch.>kromag< displays a bit more of the swing that this producer does so well adding darker atmosphere to a killer effective techno banger. the ep rounds up with a terrific laiva remix of kromag. laiva was discovered in the eastern town of kuhmo and made an appearance on wavereform before with a killer t16 record. he makes it all about dub-scuffed kicks here and pulsating bleeps throughout his version of ruthlessly straightforward, point-blank attack for the 48-hour-party people.

avesom (name inspired by the dog of justin bennett, the sound technician that mixed the album) are creations produced during long reharsals sessions that have taken place mostly during sunsets and late nights. there torakiki inmersed themselves in a trip where the music achievable with their own finger was tested, rejecting in advance any programming. the overall sound of the album follow the path of the previous ep, halfway between the new wave and ambient. the band aims references from aphex twin, liars, jamie xx and on the other side, classical sounds from the italian song. in the album participate the voice of ilaria ippolito (# #pap ) and of gulia olivari (o.a.u.). the video of luxard was shot by giovanni aloi in a park in hong kong.
torakiki filled the pieces of avesom with a strong dynamic identity, combining the creative impulses of the three minds and their respective backgrounds. this is a process that questions the logic through a frenetic impulse that provokes constant changes, even though the final result are attainable and catchy songs.

sensation/clear was phantasys momentous fiftieth release, and the first studio transmission from daniel avery since his acclaimed lp, drone logic. now, both tracks are remixed in distinctive fashion by two fellow outliers on the fringes of psychedelic, experimental techno. acclaimed producer and eaux records mastermind rrose commits a typically ambitious and sonically experimental redux to sensation. while retaining much of the originals hypnotic, almost celestial groove, its atmospherics are transformed into something altogether more alien and overwhelming, culminating in an epic yet utterly earned conclusion of visceral noise. abdulla rashim meanwhile guides the sound of clear into deeper territory still, engineering an initially unassuming remix that ultimately reveals layer upon layer of painstaking detail. polyrhythmic bass lines interlock expertly from the beginning, gradually unfolding while never relenting.

creative partnership audiofly are the next to release on crosstown rebels with the show stopping in the (last) moment featuring the angelic voice of georgia lewis. the release comes complete with a steadfast remix from germanys robag wruhme. in the (last) moment sets the foundation with broken chuggy beats as intricate layers and grumbling pads unfold beneath the beautiful sounds of georgias voice. audiofly explain that,sometimes its nice to not have to write the usual peak time bomb, with this one we followed our hearts and the vibe of young vocalist georgia lewis and what emerged was a sunrise moment. with 13 years behind them anthony middleton and luca saporito aka audiofly have established a creative empire, which includes two record labels and their flying circus global party brand, which celebrated its 10th anniversary earlier this year with a world tour. working harder than ever, a second artist album is in the works following on from 2011 long-player follow my liebe. industry veteran robag wruhme has more recently had releases on the likes of kompakt and pampa records. here he makes an imprint on crosstown rebels with this epic remix that fuses elated synths and industrial elements over solid rolling percussion.

at 12:22 hrs on july 19th 2016, the manned spacecraft 10.000 suns sent a distress signal from the inner edge of earth s atmosphere. communication with the shuttle was lost shortly afterwards. fragments of the ship have been recovered on the west coast of scotland, but pilot bryan kessler of cologne is currently missing in action. black box recordings have been retrieved and will be archived to regulation standard vinyl and digital audio encapsulations.

rome native marco piovesan is a dj’s producer. his driving style, pristine sound quality and nuanced tones makes his techno of the variety that draws bodies to the dance floor, and keeps them there. 2013 was his breakout year which saw releases land on gynoid audio, m_rec ltd.. that same year piovesan launched his own enterprise, h.omevvork recordings, as a haven for richly emotive techno music imbued in ‘90s spirit. to date it’s three ep’s have been remixed by luminaries such as giorgio gigli, daub and m_rec ltd’s sadly departed chief max_m. piovesan joined the key roster soon after as part of a split ep with another (then) up-and-comer, hector oaks. his two works, “black paranoid 7” and “black paranoid 10”, were clean, steely dj fodder underscored with a dark energy that made both of them potent club weapons. now piovesan returns with four cuts of surging, remorseless marching material design to tear up strobe-lit basements and big room halls alike. for djs who take no prisoners, who enjoy calling on the old techno ghosts too.

e.o.s. is the acronym of evod, oisel and syntaxism. the collaboration is born togheter with a new catalogue of evod music, called evod excursions. luna nuova is the first of the 8 releases planned on trasparent 7inch vinyls. the collaboration project was born to blend the main sonorities of each artist, with no borders of experimentation. all the sounds were created and processed with analog machines, live recorded. the final result is a track splitted in x and y on the wax, a full side and an ambient side, respectively.

a few years ago i saw a documentary about the audio trickery employed in ww2. i was totally flabbergasted and soon absorbed anything i could find on the subject. artists and scientists alike cooked up incredible situations to fool the german army. inflatable tanks and trucks stacked with speakers projecting recordings of an imaginary reality were used to deceive and deviate the opponent. this odd scenario influenced me profoundly and drove me towards composing music that related these feelings. the project only collected dust inside my head until radio bongo heard of it and encouraged me to finish. sveinbjörn bjarki jónsson aka sonic deception

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two of australia’s most promising prospects have collaborated on a stand alone release. modern day renaissance beat maker ta-ku and brisbane-based vocalist wafia will release the (m)edian - ep worldwide on future classic. having previously work together on wafia’s own standout single ‘heartburn’, the plan for a collaborative release was hatched when ta-ku produced a cover of estelle’s ‘american boy’, aptly titled ‘american girl’ with wafia on featuring vocals, for a sold out moma ps1 live show in october 2015. the result is a 5 track release that unites the strengths of each artist - a unique, creative and classy exploration of admiration, paternity, compromise and egalitarianism.

shan s third outing for running back is an ode to a time when * house* was characterized by old grooves and nu ones alike. here you get a well-rounded treatment for the times before, during and after the rave. break beats included. featured in gerd jansons fabric 89 mix.

a compelling musical trip of drifting repetition in rhythm and melody. the album was recorded entirely in his studio in the wedding district of berlin, on the shore of the panke river, his new favourite part of a city.