following 3 maxis on hilltop imprint and the label construct re-form, the producer fareed formerly of the society of silence duo (versatile, concrete music) returns on the new label, maze, dedicated to experimental breaks and cinematic soundscapes. this first ep, with irregular rhythms and metallic sounds, loses us in the meanders of a jungle and transports us into a world borrowed from mysticism.

the very first vinyl edition - first time on vinyl - 25 years after its release! lp+cd edition with heavyweight 180gr black vinyl in sleeve with 3mm spine. printed inner-sleeve. cd included

black vinyl pressing of the new jerry paper album.

(vinyl-only) the leap is the new project of dutch producers tripeo & doka who are now taking the logical next step in their musical journey and present an ep that touches on genres all across the electronic board. the leap is about more than just music, which will reflect in the track titles. current developments in the world take center stage and inspiration is taken out of politics, literature, media, (green) activism and much more.

balance records is happy to release -paul cut- while no stranger to the french scene paul is one of the up and coming dj/producers out of paris. this release finds it roots in jazz (chicago /paris?). a1 starts with some heavy beats, which later combined with the other elements can bring the madness to any dance floor. side , a2 brings another kind of madness which shakes you from inside like heated particles with its jazzy vibes. b2 heats you in a subtly way, when you expecting it the least with background sounds inspired from jazz. and once they suck you in you start to be driven by them, like being stuck in the waves. b1 will draw anyone inner energy with its piano. it s a great track to lead to the end of the night or even closing. for the love birds and the loners on the dance floor. b2 heats you in a subtly way when you expecting it the least with background sounds borrowed from jazz. and once they suck you in you start to be driven by them, like being stuck in the waves.

a young french artist based out of paris from corsica, it is from behind her drumkit that charlotte debuts in music. with her first ep, she plunges us in her music s universe. her first track, 777, eponym of the vinyl, along with largo, reflects her melancholiac side combined with an acoustic breakbeat rhythm borrowed from her 90 s influenced. the other tracks, mela & saint marc, show her love for a brutal dancefloor with acid wave inspirations.

here appear is an invocation, a salutation, and a celebration — of past and perfect lives, forgotten and remembered, exchanged and borrowed. eve essex’s solo debut is a multi-instrumental fea(s)t combining synthesizer, drum machine, alto saxophone, piccolo, electric organ/harpsichord, harmonica, slide whistle, bells, guitar pedals, and voice— composed, arranged, and performed by essex herself. what began as an improv set at berlin’s harlekin bar, developed over the past two years into a complete body of work evoking multiple time periods, genres, characters, and sonic landscapes.

the highly-anticipated debut album from blocks & escher is here. since first appearing on metalheadz in 2014 the duo has been hidden away mastering their craft and honing their skills, culminating in a long player entitled something blue. now ready to be unleashed, something blue is an album that ventures into various corners of drum & bass and jungle, never failing to surprise or evoke emotion. its a culmination of blocks & eschers dedication to the music, with the finished article coming in at nothing short of exceptional. we couldnt be happier to release something blue this march.

privately pressed to lp in 1978 under the name j. jasmine and made especially for the ann arbor film festival, with artistic collaboration from the festival’s founder and once group artist, george manupelli, my new music is the debut album by jacqueline humbert and david rosenboom. featuring a cast of mills college personalities like david behrman and sam ashley on backup vocal duties, this song cycle is at every turn boundary-pushing and gender-busting, yet still hilarious, sweet, and genuine, all delivered in a post-genre, art-song, cabaret musical style that happens to boast some serious avant-garde chops, courtesy of rosenboom. if it weren’t so spot on, you’d swear it was a guilty pleasure. as j. jasmine writes, my new music is a collection of personal stories and private desires, exposed, articulated, performed and dedicated to the hope that one person’s fantasies can contribute to another person’s freedom. get lost in j. jasmine’s world for a little long while, and be free.

the pieces were created as structured improvisations using a monophonic synth (primarily) along with a yamaha dx7 (borrowed from a friend) and possibly a guitar. recording was made on an older otari mx5050 1/2 8 track. mixing was done on a tascam m-50 console and a revox a77 1/4 machine. i recall the project happened in two bursts: i did half of it in september 85, then i finished up and edited the album together in december 85. i dont really recall making copies for anyone. i think i played it for a dozen people and that was it. just forgot about it. i remember jeff ament from pearl jam (green river back then) came by while i had it playing on my home stereo. he asked what it was and said he liked it. surprised me a little. with regard to overall aesthetic: i like the sound of machinery, but i enjoy the fragility of human error and human instinct. i like to put things into motion then climb aboard and drive. i can’t play an instrument (in the classical sense) for the life of me, so i’ve always just played things that are mostly choice rather than a convolution of style and technique. i guess you call that the brian eno school of rock.

dating back to the fledgling early days of the label tales from the second moon by apogee was the first of many peacefrog releases by dan curtin. as with dan’s other early releases tales from the second moon ‘s angular dancefloor groove borrowed from the original motor city blueprint with a melodic sensibility that was drenched in the kind of yearning melancholy that suggested either pain of a heartbroken lover or the brittle dislocation of someone who longed to be transported to a distant galaxy. the acid, strings and complex rhythms contained on this ep originally released in 1993 were soon to become dan’s trademark sound. limited stock available. so be quick!

i try to perform as honestly as possible — the soundbite borrowed from late dancer dudley williams for this record s second track could have been uttered by the mole himself. it s this candor that has allowed us to bear witness to a very marked and very audible transition from his days as a producer in montreal to becoming a part of the berlin scene. and what we have here is one result of that very explicit sonic metamorphosis. de la planet is our dyslexic subject s third studio album, one that stays true to his ethos of weird above all in the best possible sense. and yet it feels like something distinctly new. tapping his enormous reservoir of vinyl and sampling the odd film have acted as complement to the jaw-dropping arsenal of synthesizers at de la plante s disposal—a battery of machines he s been quietly improving his skills on during the past few years. or not so quietly, perhaps. the man himself would probably say -i m coming out of the woodshed-, and go off on a tangent about sonny rollins and his saint of a wife. but that s a story for another sheet.

wyclef jeans neues album ist sein mittlerweile zehntes studioalbum und das dritte album der »carnival«-reihe – »carnival iii: the fall and rise of a refugee«. »carnival iii« kommt im rahmen des 20-jährigen jubiläums von wyclefs debütalbum »the carnival«, welches 1997 erschien sowie 10 jahre nach der fortsetzung »carnival vol. ii: memoirs of an immigrant«, veröffentlicht im dezember 2007. jeans erste erfolge feierte er als ein drittel des legendären hip-hop-trios the fugees neben pras michael und lauryn hill. als mittlerweile selbst gestandene musikalische legende hat wyclef mit weltweiten superstars kollaboriert: mary j. blige, carlos santana, akon, missy elliott, alexandre pires, shakira und viele mehr haben mit ihm recordet. zu seinen größten hits hierzulande gehören die fugees-songs »ready or not«, »killing me softly« und »fu-gee-la« sowie seine solo-hits »gone till november«, »perfect gentleman«, »911«, »hips don t lie« mit shakira oder »party to damascus«.

coeo are toy tonics lead artists and they dont joke! technically perfect on a level that most producers start to get jealous. musically filled up with so much knowledge about the history of disco and house that its no wonder that big names like kenny dope, borrowed identity and tensnake are huge fans. and their styleà? its a pure hedonistic discoish attitude that combines the funk driven eclecticism of today, the curiosity of young music cats who always want to be ahead and a sense of quality in music that we miss in so many of todays house music productions. in fact its 2017 and a lot is changing in the house scene. the old melancholic deep house now is quite dead - while most deep house charts are filled up with sample based funk house. coeo are regularly on the top of the several deep house charts, and there is a reason: their tracks have that kind of new, nasty, sexualised vibe that gets more inspired from the late 1990ies french touch house or early masters at work production. from jazz djs and dj sets of wildstyle djs like harvey or the idjut boys. its not any more about the old schematic ketamine deep house that always sounds the same (and makes your feet fall asleep.) listen to flesh world! its black music basically. its booty sound. disco for sure. this track gets you riding on a trip. play it one time and youll play it every time. and: check the percussion jam remix by toy tonics head kapote.

frigio records is going back in time for its latest release, some 38 years into the past. back then a young newcastle man was experimenting with early electronic instruments and synths. mick clarke is his name and nearly forty years later he is still at it. two tracks have been borrowed from clarke s seminal games lp, each given a bit of modern boot polish from minimalrome s heinrich dressel and frigio father juanpablo.

-walls of the night- is a blissed out work of ambient prog rock abstraction. think rumbling horror score and soaring guitar strings. heinrich dressel offers a giallo dipped remix. the building bars of the original are maintained, beats added for ballast and darkened organ keys for a remake etched with murderous intent. the flip is introduced by the dreamy -time is now.- slender synthlines intertwine with gentle strings in a cerebral work. juanpablo tweaks the 1979 material. syrupy acid lines swim in meandering currents, a thick beat keeping time in murky waters of modulations and undulations.

deep sea frequency set out in their pursuit of presenting chopped and screwed multi-dimensional dance floor and non dance floor frequencies to the world. first record by or:la, is a hypnotic dance floor excursion, steeped in borrowed japanese sound, polyrhythmic percussion and deeper than deep grooves.

after numoment last imprints by borrowed identity, dj steef, arno e. mathieu, sebastien bardy and for its 15st release, the label presents torrebros -sitting on the brink of eternity- a classic techno experience. torrebros reviving the old 90 s detroit atmospheric moods with 2 original tracks and 2 remixes. numoment is also happy to welcome the well known karim sahraoui (transmat / mirakles music) for a remix on -subtil- and fred berthet on -la nébuleuse du coeur-.

imyrmind s debut album uniwersum luxus surfaces at record stores worldwide on february 27th, 2017 courtesy of berlin-based money $ex records. idiosyncrasies of both imyrmind himself, and indeed the label as a whole, seep through the fabric of the album, a patchwork of tasteful re-appropriation and sophisticated originality.covering a broad landscape of raw, gutsy minimalism, mesmeric synthwork and trademark ultra-loose beat-making, imyrmind has crafted a record that embodies his rapacious ear and well-groomed production style. in a maturation of techniques explored across earlier releases, borrowed organic textures meet frazzled analogue electronics and clunky, lagging beat iterations in a collection of tracks ranging from the quivering to the aggressive. uniwersum luxus is a bright convergence of influence and innovation, all reverberating within the echo chamber of the money $ex world, self-aware, playful, and at times even ironic.

on this record we find kit geary & israel vines (here as kgiv) exploring the subtleties of slow change within a techno track with the outstanding heady mockingbird and through the rocker from fragments. the b side features an unsung hero of american techno borrowed language veteran jeff pietro with the sonic masterpiece of his hypnotic mockingbird remix.

nice price deal !!! second part of the borrowed series here. track a uses the sunkids rescue me vocals which was a big hit in the 90s on the am:pm label. flip for another funky piece of hip house!!

we talked a ton about lph co-owner and -founder jacques renault s debut lp, zentrum, so let s keep things brief and cut to the chase for off zentrum, the first remix ep to be spun off from that record. four remixes, all by lph family members, all burners. first ones by borrowed identity, second one s by nicholas, third ons by massimiliano pagliara, fourth ones by max mcferren. how multicultural! that s two continents and four countries represented! hot dog!

on a fishing trip two years ago, the two main guys behind africaine 808: d leyers and nomad - went to a tackle shop to buy some creepy crawlies (saltwater worms), not knowing that they were about to make a life changing discovery. in front of the shop a blind man was jammming on a little electronic organ, stomping his feet, singing, growling and basically making a scene. the boys were quite impressed with the fella, who introduced himself as blind double d . they offered to bring him home and record him. he turned the offer down, but offered instead that they could record him on the spot in front of the tackle shop - if they bought him a bottle of good bourbon. he explained that he would never set foot into a studio again in his life: he was sick of music production and the music industry in general, and that he just wanted this bottle of bourbon and to be left alone. the boys got him the bottle, and recorded blind d.d. on the spot with a tape recorder they borrowed from the tackle shop. unfortunately, the tape was stored in one of the tackle boxes over the trip, and some of the creepy crawlies crawled into the tape and stank it all up. this added some extra funk to the recording. with dirk and nomad s usual studio trickery and production skills, they created the two versions of this very very funky, creepy, stanky track. we hope you ll enjoy it as much as we do.

we finished 2015 with a six-track jumbo ep from borrowed identity and thought we d repeat the same trick for 2016, though this time with originals from okayama-based producer keita sano. eye begins with keep an eye out, pt.2, a propulsive song that sounds like a lost contender for the knight rider theme. own signal keeps things dark, but with a spartan bleakness. the side finishes with smoker, another manic cut that ll give you chills. the flip finds keita exploring brighter sounds without losing that industrial, jagged edge. trmk is essentially a beat track that ll ignite any dance floor and fix is a herky-jerky ditty that ll get you stomping around the club like a possessed reveler. the 12inches cherry on top is think twice, a funky ass-shaker that centers around a crackly sample of crowd noise, a chopped-up disco vocal, and bouncy bass. a fiery finale for this hedonistic party.

as an export of one of the fastest rising electronic hotbeds in the uk, established belfast dj and producer jordan is developing his eponymous night into a brand new label for 2016.

following on from their hard hitting previous release quarantine , east london s phil passera & chieka ononye deliver their 4th release as payfone on new york s golf channel recordings. a side catholic central emerges from a dark street corner to bloom into a moody synth and bass heavy rhythm, before colliding with a disco riff that could have easily been borrowed from the master tapes of late 1970 s atlanta outfit brick. featuring the vocal style of argentinian pia gonzalez antar, who in confession recalls the dark dynamic of a relationship with a previous lover many years her senior. the room shaking b side comes courtesy of d marc cantu s haze mix that delivers a pounding late night electronic soul voyage. cantu has been releasing genre defying records since the late 2000 s, and performs as one third of jakbeat super group x2 alongside traxx & jtc.  golf channel every time !

following hefty releases for karlovak and bass culture in 2015, ben sims continues to bring his ron bacardi alias heat with along with a remix from borrowed identity.

second release on ostcode exile records by fran hartnett from dublin. 4 straight techno tracks to drive your mind to another place. early support from surgeon, bens sims, truss and sunil sharpe !

deep moves presents opinion.

originally released on richie hawtins minus label a decade ago, restore stands alone as houles very first long-player and helped to establish his penchant for the quirkier side of techno and his superlative production skills.

as we move into a new year, again start the cogs of labels and artists around the world, this is certainly the case for disc over music as they bring us their first release of 2015. high off the back of exquisite releases in 2014 from luca lozano & mr. ho and nicson, disc over’s first installment of 2015 comes from label head tim green - a three track ep bursting with two classic tg productions and grooves which is then given another dimension with a remix from the talented german born producer borrowed identity. the ep kicks off with the aptly named ‘scar’ - a track which when heard, truly makes it mark. it sets the tone for the rest of the ep with it’s prominent bassline and haunting howls whilst dreamlike keys bounce and float above. track two, ‘we thought’ is taken down a gear but keeps all of the groove built from ‘scar’. it begins with a simple trademark tg bassline and is allied with light and free singular keys. the listener is then joined by vocals which along with the previous elements take you on a real trip. borrowed identity speeds things up right away with his remix of ‘we thought’. the track is morphed into a dancefloor groove with the comforting vocals darkened, cut and reworked on top of an unpredictable and fluctuating bassline. managing to keep the identity of tim’s original the track becomes something completely different and certainly makes you feel you want to take the trip

herman primes debut 12inch, maajo is a beautiful ode to spring and new birth. maajo pays homage to nigerian music, with its borrowed vocals from juju styles king sunny ade. the track has a house foundation, which shows in its fat kick drums and sub bass groove, while the hypnotic rhodes melody harkens to early minimal electronic pioneers such as manuel göttsching.

during 1993 and 1994, between shifts at selectadisc, blagging studio time from diy and looking for a new girlfriend, nail spent time at home with some borrowed equipment a tr-808, tb-303, boss delay pedal and a knackered spring reverb, plus his own korg ms10. recording live & straight to cassette, these acid-soaked sessions were given the name sentipede, after a friend at the time saying one of the tracks made them feel like they were being eaten alive by a giant creepy-crawly with lots of legs. selected from four d90 cassettes full of tracks, 99:wave presents the imaginatively titled one, with just 8 tracks over two slabs of grey vinyl.

on the back of 2 well received releases on dirt crew & dam swindles heist recordings, dutch native nachtbraker drops a beauty on hudd traxx.

flumo limited 006, spleen underground music, salt, pepper & sunshine ep remixes by borrowed identity & jona

three is the number, basement toolz the titel. once again rat life records is taking mickey on a night out to the sewer. here are two tracks made by credit 00 with a borrowed tr 909 drum machine. side a is called korg the groove, as the title already reveals, its inspired by a classic detroit techno cut. can you tell which one it is? on the flip side you will find 909ish, one drum machine and one synthesizer, which is not much but all you need and more, plus there is extra noise on the clap to amplify your face slapping pleasure.

the first release of düsseldorf-based baka gaijin is here: 001 - -life s a beach- by j. lewinson. evolved from art exhibitions an artistic event with musical guests like gerd janson, italojohnson, bicep, ata, tom trago, tama sumo, borrowed identity - the label wants to prove that a diversity can be brought into this genre, when being combined in the right way. this is what this release tries to show, too, j. lewinson one of the residents of baka gaijin proves in his debut a fine feeling for a nice combination of genres, sounds and influences.

smile for a while is going into the next round. this time with some long-time friends of ours, hailing from different parts of germany

detuned pianos, rough house beats and soulful vocal cuts makes doing your duty a deep, club oriented track with a classic feel. borrowed identitys beautiful remix conserves the original essence of the track and adds stabby techno elements and a punchy bassline, turning into a perfect peak-time tune for the rougher sets. pressure points is a dark, introspective track with a funky bassline that is suitable for the dancefloor, octo octa creates a deeper, smoother alternative to the original.

secret reels is a brand new label set up by uk house duo purple velvet to showcase their own music and music from artists that they respect.

phil weeks and robsoul recordings kick off their 15th year in house music with a new three track ep from the main man himself. live at palladium has been the standout track of phils sets over the last few months, always generating a queue of people asking what it is. you may just recognize the marvin gaye sample, which was also previously borrowed by moodymann. it comes backed with the funk-infused *you want my love* and the soaring, chugging groove of *demain a jamais*, and looks set to get another year off to a flying start for one of the finest labels in underground house music.

another day, another motherfuckin dab-j! well, their release roster might not be that prolific, but well not let reason interfere with rhyme. and you guessed it: its another shadowy figure lifted from obscurity like a golden pearl plucked from the deepest depths of the ocean. could it be the work of an infamous producer, or the product of a hobo wizard whos borrowed a few machines from a home-owning friend? only thedabj illuminati know this. and the fact that they also have a sense of humor means that we can keep getting away with writing these increasingly ridiculous press releases. it also gives us reason to assume that the entire dabj back catalogue is the work of an 85 year old woman. o.d.d: ol dirty debra working that danceflo heat. but more than likely its not on a geriatric junt tip.

die songs auf ulrich schnauss viertem soloalbum schweben mühelos zwischen electronica, ambient und shoegaze.

the mysterious zohar – nobody knows who he is, but what we do know is that his music is truly remarkable. we first took notice of him for his great records on the equally fantastic label quintessentials. his love for philly soul samples is one of the reasons why he is such a perfect match for tenderpark since we are big philly lovers ourselves. brooklyn 9.30 am and dog day are full of wonderful soul references and so is the drei farben house edit of brooklyn. another deep quality outing from tenderpark. supported by alex agore, roman rauch, ivano tetelepta, skipson, borrowed identity, adryiano, ynk

nice price deal !!! the manifesto: to celebrate our 10th release we are proud to present the first in a series of upcoming special edition packages, a musical declaration, if you like, of what the label is all about and our intentions going forward. all packaged neatly as a limited edition double vinyl with 2 exclusive vinyl only remixes from 2 very special guests.

australian michael ozone, currently operating out of melbourne, is an artist embodying the purest form of absurdist energy. this debut offering, is but of a fraction of the entertainment we can expect as his career zig-zags forward. perfect systems is a tuff native track based on the idea of man-made tools, technology and borrowed languages. imagine failed cities overtaken by jungle life as youre swallowed by this utopian island groove. a not-so distant relative on side-b,hetrotopia leads us on a nomadic journey, exploring vast new landscapes and uncharted territories. references to new beat and horror soundtracks are apparent, but no matter what fantasies we infer from ozones music, his talent for crafting such fiction is a welcome addition to the esp institute.

taking inspiration from great early 90s house producers like def mix, & borrowed vocals from a pop singer, delivers an uplifting & soulful synthed out dancefloor burner that keeps the production values of 2012 in the forefront. comes on single-sided whitelabel vinyl.

2012 will be a year for new faces on the boe release schedule and first up is professor inc., a producer from paris who has taken inspiration from the masters of the early dub house and techno sounds, incorporating samples borrowed from the days of floppy-disk sharing to create fresh new soundscapes with a very modern feel. he delivers a 4 track ep of stripped back house with complex peripheral textures and effects, from the evolving strings and moving sub bass of path illumination and vtm beos tribute to the sinister echoes and delayed drums of elements combined and essence dub.

panacustica’s fourth release is amongst cosmic metal mother’s finest work. “time is now” the track in question, defies definition by mastering a style on it’s own, by fusing elements echoing from prog-rock drenched with emotional content into an adult and contemporary way of delivering which is unique to the cmm writing style. the original is melancholic bliss. a vocal line at the center of the piece whispers words about oscar wilde and mr. death accompanied by a cello melody that grows bigger and bigger into an angelic cascade of notes. the track begins and ends in the most bare way with just a drum beat leaving you with the feeling you have just entered a loop where time is irrelevant. commodity place has the second cut of the a side. the duo from rome, known in the global underground of the vinyl tribes for their signature guitar style, chooses to call their mix “experience”, clearly paying homage to the gods of rock, delivering a guitar solo that will fire up your speakers and fill your eyes with the brightest psychedelic colors that we all so desperately need in this age of grey anonymity. the b-side is a full eight-minute mix by the man who needs no introduction and made us all dance since day one, larry heard, a.k.a. mr. fingers. his version is a fast “four to the floor” track, where a shaker drives the house beat into the melodic lines and voice borrowed from the original, making it one hundred per cent dance floor efficient with the modernity and mastery of his touch