fresh from the success of his new album, ninja tuna, mr scruff dips his line back in the sea with the funktabulous get on down. taking a little chunk of 70s soul goodness (a prince phillip mitchell song, sung by johnny adams) and turning it into scruffy sashimi, this is undoubtedly one of the dancefloor stand outs of an album guaranteed to get any crowd bumping. hold on, on the other hand, features the smooooth vox of andreya triana, but nothing can stop scruff from dropping lashings of bass squelch - plus a little extra bangingness on the alternate version hold the dub. altogether uplifting, chest vibrating and all round marvellous, this is brit soul the way it should be done.

dortmunds very own ‚diskobär, the inimitable ante perry prepares for new double cd long-player extravaganza , flashing disco sounds, with two cuts exclusively produced with close studio comrades tube & berger. these hot co-productions between the long-time buddies simply cannot fail to get the party going. the overwhelming anthemic stir of human you is evident for the very start, but its true dancefloor potential can only be understood after the full ecstatic wonder of the breakdown pours out over a large crowd. super-constructed tech-discohouse is where its at in this high intensity, high drama, big room flashing disco monster. the curiously titled walthervondervogelweide on the other hand is a more brooding beast altogether. working the underlying tension and keeping the pressure tightly locked to the floor its a dangerous late night dancefloor workout... left in the wrong hands this could seriously damage your ability to leave the dancefloor! finally fellow dortmund heavy-calibre producer peter jürgens works his remixing magic and twists human you into a housed up, long building affair that operates on a more stripped, subterranean level to begin with but bursts out above ground with carefully timed energy. warm driving beats and pads layer to reveal the identifying melody of the original.

great minimal & detroitish bouncy release from frankie vega incl remixes by jason patrick, woody mcbride & drumcell !! far from 8mm, vhs and especially beta blueline projects a bouncy sound assortment of acidhouse minimal, detroit techno and ghetto tech. chicago based frankie vegas video bounce is a projection of throbbing bass, twisted keys, explosions of reverb, delay and sharp drums that altogether make up 1 party track undeniably fun to rumble through the speakers

excellent & deep masterpiece!! one of the more interesting newcomers of 2007, we are delighted to welcome a new ep by october, his first for perspectiv. having turned heads with three singles on his own label caravan, octobers organic techno cuts and thuds, adding an inherent physicality to his productions. a side title track >say again< revolves around a female vocal loop, fuzzing and throbbing with pulsed melodic tone, punching live percussion and deep bass line. a highly unconventional mix, this composition ties together effortlessly, peaking with a deep and droning wave of analog synth and popped beats. b side >go outside< is an after hours treat. a darker, deeper and altogether more ethereal work, stuttering beats are glued together with a warm prodded synth melody. to close, resonant percussion and phased keys submerge the track into a claustrophobic climax.

the 3rd release by scott grooves on his natural midi label, this is scotts first ever ep and color vinyl release. all 4 tracks possess a different mood and distinct raw edge, which plays well on this well balanced ep.track 1 dark blu speaks for itself, simply stated and deeply enriched. the relentless melody never lets go of the groove and the groove never lets go the melody. everything in this track harmonizes together perfectly.track 2 dna definitely disturbs the peace with vintage analog synth sounds. the old school sounding vocal sample echoes thruout the track that >detroit needs analog records< take a listen and decide if that echoes true!track 3 >it doesnt all have to be techy< as the title suggest there is know >techyness< here, its all about a deeply stormin groove that is enriched with warm melodic keys and a lovely guitar, yes i said guitar that altogether creates a feelin thats organic but not boring. track 4 decimalquivers in and out with a fm gritty synth stab, complete with minimal drums or as scott calls them >drims< which is the term scott uses for minimal drums. also present is a deep pad sound that brews slowly like an eruption. co-produced by panther, a name you will hear more about in the future

second set of remixes for this genre straddling track, featuring the vocal talents of soul sensation in waiting, ben westbeech. marrying the kraakers future funk and hip hop beats with a sensational perfomance from the young bristolian made this track a sure bet as the first choice single although the band did release a couple of warm up eps to remind everyone why their debut album boogie angst was a worldwide success. here trevor loveys, mainstay of the dubsided label, originator of the fidget house sound alongside switch, sinden and jesse rose and partner of herve in the huge selling speakerjunk project, turns in a hot vocal remix that pumps the track towards a different dancefloor altogether. he also found time to serve up a tasty dub that neatly crosses the divide between bassline and techy fidget house. one for the festivals this summer no doubt!

inner thoughts is a rolling acid track with off beat snares and broken hi hats while space disco is a deep detroit esque, mid tempo slice of electronic gem. sonja moonear (karat, katapult) has added her own dimension into the release, having reworked space disco into an obscurely deep, heavily bassed broken piece of dance floor wonder. also on remix duties, lasimo (senator/germany) has taken the original from down town detroit to a parisian night club, dropping the main acid line out but manoeuvring the percussive groove and gentle pads to an altogether new kind of experience.

incl argy remix !! tokyo s rising star ryo murakami has already put his diverse, electronic sound on the map with the >rise< ep on dessous last year, and received great praise for his track >my soul<, snapped up by steve bug for the fabric mix series, which was piled high with atmosphere and dark, club energy. his next 12 includes two new tracks, the title cut being >down the sky<, cooly influenced by old school house, but also more recent european forays into night music. ryo demonstrates a heavy aptitude for stripped down futurism, with staccato, jilted beats, joined by layers of padded synth structures, looming somewhere between light and darkness. the b side, ‚coke‘ (no questions asked) welcomes another one of ryo‘s extended journeys, this time a stronger, peak time groove which never lets off, and builds around layers of spaced out, pitching fx. brain-tingling pitching synths heat things up, before laying down a super-funk hook that melts on top of the beats irresistibly. ryo then leads us head-first into a series of spac d out, jacked-up movements, characterised by risque, feminine vocal snippets. poker flat‘s young greek maestro, argy, creates a stunning hi-tech remix of ‚down the sky,‘ complete with mesmeric dub influenced chord stabs and tripped out washes of delay. once again carrying on the vibe of the original, but twisting it into an altogether different beast, argy takes ryo‘s warm synth stabs and shapes the remix into a slow paced yet pumping club tool.

electric love is the lead track from the new freshly squeezed compilation eclectrik and the first single to be taken from the forthcoming new album by londons multi instrumental, theremin teaser, dodo. the a side of the single is a left field electro pop gem featuring hooky vocals and a retro vibe described by properlychilled.com as amazing a minimal 80s aesthetic in an old school human league style with vocals that just make this track soar in an altogether disarmingly alluring way. meanwhile the b side weights in with a tripped out dubby instrumental imagine john barrys persuaders remixed by king tubby!

second release on our offshoot label, breaking away from the nyc infused future disco of the first release to give you an altogether more peak time 2 tracker. dadableep are jurgen metzler & jochen rieger, both based in frankfurt.

incl massi dl remix !! renato figoli (lo-fi stereo, gumption recordings, trapez) opens the cut restrainedly with bleepy burblings, the kick drum pattern subtly intensifies until, two-minutes in, a pulsating bass line transforms the track into a surging club-house banger. figoli keeps things interesting by incrementally adding fragmented voice snippets that slip comfortably into the groove and by exploiting tension and release with well-timed dropouts and breakdowns. on the b side, massi dl (safari electronique, frankie rec) eschews buildups altogether, opting to leap from the gate with a deep and infectious dance groove overlaid by voice fragments that resemble punctuating barks. acidy synth effects give the tune fleeting psychotropic character before the cut slams into gear with a massive groove

pinknoize are a fresh production duo from west london with this release seeing them lay down some dancefloor friendly grooves which get locked into a soulful cycle of talking synths and playful percussion. like morgan geist topped up with a big dose of glitch juice and a bit of skandi- disco flavour thrown in, radical specs will suit funk lovers with its drunken grooves and space-laden atmospheres. high grade big-wig tom clark leaves all the big noises at home and turns up with an introspective almost sarcastically playful minimal work-out on his rmx while hot talent lee mortimer turns in an altogether more cranking and snarling electro tinged house mix, stretching the squelches and bleeps of the original over a dance floor friendly banger.

rhythmetic is back with the 7th shot, this time a compilation round wich features 4 damn great tracks, tom clark with jens bond produced the opener, straight to da point tech-house tune, dark and crispy sound effects, pretty cool & clever staged samples and a keen sense of dancable basskicks and drum works…..the next one is aldo cadiz and he is presenting a grandiose peak time anthem….beamy basskicks and cool analogue lines will push the crowd to the max…actual horsepower. the first one on the flip is a tune by jobim’s cousin aka argy …oriantal styled and smooth song, recommend for early morning hours.last shot produced by diffuse……mystic and dark hypnotic - rounder, alarming sound scapes meet old-ravey sound structures…altogether and pretty good new release with four different tracks

poker flat rec proudly presents it s fifth label compilation! the 2xlp version holds the six tracks which have been exclusively produced for this album by john tejada & bilal bashir, dan berkson & james what, steve bug & clé, philippe autuori and jamie jones. altogether >poker flat volume 5< is a huge package incl state of the art songs in the field of techy & reduced house and techno from one of the coolest labels around !!

underworld strike back & who better to take the helm on remix duties than the king of the alternate groove paul woolford. he delivers two dance floor friendly, quirky, bumping electro mixes. this also contains the underworld riverun breaks-style version that sounds ultimately dirty, grubby & altogether fresh

dave taylor and jesse rose have been working together as induceve for about 6 years now. this is their second release on dubsided and as the title track >warehouse shit< has been knocking about for a minute, its good to see the vinyl is out now. a1 warehouse shit – so there s going to be comparisons with >higher state of consciousness< but what the hell, it smashes the floor every time its played. its squelchy, bumpy, and all pinned down by a simple but effective groove. b1 stay cool - proper underground mischief. bumps along nicely. as the title suggests this track stays cool, doesn t get too hectic - just a bass line, relevant hooks and automated lead synth line. b2 why burn - cool, heavier and altogether less deliberate. the deeper side of induceve with a definite chicago, sneak-type feel

an essential selection of heavyweight remixes land on this quality second disc. rhythm codes long distance mix heads up the a - an altogether bigger, fatter, badder, rollin tech stab driven floor monster. dave robertson kicks off the aa with his stripped back, bumpin acid-electro automation remix. then newcomer to the cuba camp, paul bug takes the reigns and serves up some proper whigged-out, jackin warehouse sounds.

cd in a deluxe cardboard slipcase with 16 page booklet and extended liner notes!

the greatest hits from bloodhound gang

fluxions ripple effect is the film score for a non-existing motion picture. this 9-track album is the result of experimentation and the combination of the producers two most cherished art forms: electronic music and score music. ironically the two worlds rarely seem to meet, despite the fact that score music has adopted a looser form in order to better adapt to film accompaniment, bringing it closer to electronic music which attempts to contradict form or shed it altogether. fluxion felt the need to bring these two musical forms into dialogue with each other, lending structure to electronic and deconstructing score music to create a malleable and expressive hybrid. the albums production took two years from its original conception for the subliminal story to unfold into the completed product. fluxion wanted to say as much as possible through the music, leaving the visuals as a blank canvas for the listener to create their own story. in the end, the goal is to give each member of the audience a unique audiovisual experience based on their own perception and interpretation.

* back with the heat, chicago native dj jana rush kicks off objects limitedÕs 2017 with her debut album ÔpariahÕ. jana rush received attention for her mind-bending drum acrobatics on last year s Ômpc 7635Õ ep also released by objects ltd. jana started djing aged just 13, releasing her first record on dance mania back in 1996 but having a hiatus from music between 2000 to 2013. with ÔpariahÕ she has created an album rooted in chicago s footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz and house, developing her sound on from Ômpc 7635Õ. * we kick off with Ômidline shiftÕ whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims creating a shimmering robotic effect. moving on, the frantic Ôbeat mazeÕ confuses the mind with white noise rushes and interlocking snares. changing the scene, ÔdivineÕ is sweetly soporific and charming, a beautiful, almost eerie track. the pace picks right back up with Ô??? ??Õ, whose warbling jazz clarinets cut into a juke bounce. the stripped back beats of Ôbreak itÕ give one room to breathe before the croaking bass and distorted acid of Ôno fuks givenÕ. Ôold skoolÕ is exactly what you d expect, its sample syncopated around a feverish rhythm throughout. both Ôrapid fire and Ôacid tech 2Õ are bangers, hitting you deep in that sweet spot. jana brings it back down with ÕcpuÕ s computer noises and sub bass hits. Ôchill modeÕ gives time for reflection after all that fire, but its no ambient track, theres still that chi-town vibe. we finish with Ôfrenetic snareÕ whose amen breaks will have brits thinking of jungle, but it s a different beast altogether

ten walls debut album ÒqueenÓ the long awaited debut album from the highly talented dance music producer and artist ten walls called -queen- will be available from the mid of march in a double cd package. ÒqueenÓ is an organic album consisting out of two parts. first part unravels into a story told through the fusion of strong classical influences, nu jazz, down-tempo electronica, indie & house. itÕs destined to captivate attention with the emphasis on feeling through listening. second part on the other hand is oriented towards feeling through movement and better reflects the side of ten walls known to the dancefloors. this album as one piece, just divided into two physical cdÕs. the package of the album looks like a book - a piece of art. the book includes photos, reflecting each track. Òi have pictured these musical pieces in my mind, as itÕs natural for the artist to exceed the professional competence and search for additional forms that would supplement your work, making it single piece of art.Ó - adds marijus (ten walls). the combination of arts is a very important thing to be noticed, each of them has itÕs space, place and role in the album. poetry and lyrics, photography / visual arts and music, altogether they make ÒqueenÓ more than just a music album. ten walls also made collaborations with very wide and different spectrum of musicians during the creation of his debut album ÒqueenÓ. renowned maestro petras geniu_as, good old friend vytautas sondeckis who contributed with a cello masterpiece, bass guitar domas aleksa, drummer marijus aleksa, singers jonatan bŠckelie, alx , monika liu, marijusÕ spiritual friend and teacher andrew, conductor ri?ardas _umila and nonet performers

2011 release. their first new album in more than three years, hysterical marks a major milestone in the continuing evolution of clap your hands say yeah. born out of an intensely collaborative process in which songs were constructed, dismantled, and then rebuilt anew, the album finds the band their most confident and creative, expertly expanding upon its already distinctive sound. from the chrome-plated licks of maniac and the title track to the sheets of eddying synths and emotive motorik pulsebeats of into your alien arms and ketamine and ecstasy, the band delivers up sonically provocative pop music that is simultaneously jubilant, mesmeric, and altogether infectious. hysterical reveals clap your hands say yeah to be a wholly developed band in full command of their unique artistic gifts. this long play version pressed on 180 gram vinyl also includes a download card.

you can forgive a band who set out to create something even just a little bit different and get it horrendously wrong, but its tough to have sympathy for a band who shy away from the challenge altogether. such was the case with autokratz on their first album, animal, which, apart from a passable opening track, consisted of a series of bland electronic pastiches Ð dance music that conversely made the listener want to sit and wait it out. that didnt stop the hype building around the duo, though, thanks in no small part to the fact that the album was released through in-vogue french label kitsunŽ music. the confusing positivity surrounding the lp suggesting, perhaps, that style overcomes substance once a record company has received the hipster seal of approval.this time around, however, kitsune has stepped aside, with autokratz releasing the follow-up on their own label, bad life. but has the sense of responsibility that surely comes with this step made them re-evaluate their direction? has it inspired them to inject a much-needed shot of creativity into their work? not a hope. if anything, autokratz descend even further into mediocrity on self help for beginners. once again, their best tunes are loaded towards the front of the album, starting with the lead single, -opposite of love. its far from outstanding, helped in no small part by the terribly contrived lyrics, but does possess a catchy synth melody Ð enough to earn it a place on club playlists, at least. its a similar story with -becoming the wraith, which has peter hook on hand to deliver an overtly new order-esque bassline. beyond that, however, the quality dips dramatically. tracks like -the seventh seal and -r.i.s.e. are typical of the selection on offer, underwhelmingly vapid, derivative tunes which show up a disappointing, but not totally unexpected, scarcity of guile on the part of their creators.where autokratz do excel is as producers Ð a quality evident not only in their own work, but also in their remixes for other artists. unfortunately, this only serves to exacerbate their deficiencies on the other side of the control room desk. ultimately it may mean that, having failed to address the shortcomings of their debut, autokratz will be fated to be filed under -also rans in the annals of music history. thats assuming, of course, that someone out there will actually remember them at all.