anthony fade embark on the fifth expedition into the exotic lands of palm trees and blue skies with their club fuelled ‘what i need’ ep. expedition five features four jams packed full of catchy vocals, crunchy drum patterns and hazy synth lines.

the second volume of the bld remixed series is here. once again, original tracks previously released have been revisited by artists that support the label since the beginning. in such good shape nowadays, oliver deutschmann delivers an outstanding remix of acid on mars pushing the limits of warehouse techno & jackin house faded with warm & hypnotic detroit chords and space-pads. as the name indicates, minneapolis legend freddy fresh delivers an ethereal mix of before deep full of nostalgic dreamy synths reminding us of his 1995 return to phantazia vibes. last one is coming from prolific asok bringing a raw and banging rework of be apart based on 808 electro beats & breaks combined with a crunchy bassline.

from tribal rhythms and haunting vocal lines, to crunchy jacking 808’s and rave-esque synth drops, this next instalment on the label shows once again, he/at knows how to get things done.

suction records is thrilled and honoured to announce the reissue of d arcangelo s self-titled debut ep for rephlex, the legendary uk label run by aphex twin and grant wilson-claridge from 1991-2013. d arcangelo are the italian duo of brothers fabrizio and marco d arcangelo, active in the underground electronic scene under various aliases since the early 90s, and still going strong today. released in 1996, their rephlex debut -d arcangelo- was one of the first releases to make a firm connection between contemporary idm/electronix and the sound of 80s synth pop. the 3 tracks on side a are ripping, industrial-strength electronix, as fierce, crunchy and menacing anything aphex twin himself had released at the time. in sharp contrast, side b s 3 tracks are playful, clean and melodic instrumental synthpop, with clear synthetic references to bands like depeche mode and omd. it was a sound that was certainly not in fashion at the time, and helped the ep stand out in 1996, for that very reason.

suction records is excited to unleash the 3rd vinyl ep in our series of archival releases by a rx-101 aka dutch producer erik jong, who recorded hundreds of afx / rephlex-inspired tracks from 1997 to 1999, which remained unreleased until now. continuing with our roland sh-101 themed artwork, rx-101 s -ep3- pairs the 101 with it s acidic little brother, the infamous tb-303. there s been a lot of renewed interest and hype surrounding the revival of acid techno in recent years, but rx-101 s acid offerings are not the slow n slinky variety favoured by most of today s acid revivalists. instead, ep 3 contains 6 tracks of crunchy, blown out, high-octane rave acid. long-time afx/rephlex fans will recognize the sound immediately - the 6 tracks found on ep 3 are eerily reminiscent of those sought-after rephlex classics, the universal indicator series of 12inches - released anonymously by aphex twin and his kosmic kommando on rephlex from 1992-1995..

london-based producer cera alba pairs up with vocalist zahra for a pair of tough tracks on jamie jones’ hottrax this june featuring a remix from stockholms tiger stripes. since his humble beginnings several years ago the newcastle-born artist has cemented a reputation for consistency, with releases appearing on the likes of hot creations, moon harbour, viva music, avotre, madtech and gruuv. as a dj he’s been making regular appearances across europe, including venues such as watergate berlin, sankeys ibiza, brixton academy london, not to mention festivals such as hideout. taking over me is a dark and moody roller from the get-go. robust drums and mesmerizing atmospherics form its basis whilst zahras soulful vocals and a cavernous low-end rumbles throughout to its rhythm as a piercing vocal and metallic elements ebb in and out of the mix. tiger stripes then provides a crunchy remix of taking over me, distorting zahras vocals whilst incorporating tantalizing synths into his own stomping rendition.

valencias alex font welcomes romanias sepp to acme for the first instalment of mis hermanos rumanos for an intricate split vinyl release limited to 250 copies. acme boss alex font has been producing nuanced house music for over a decade, cultivating a signature style that blends funk, jazz, latin, and techno whilst fine-tuning his skills as a club dj throughout europe for years. meanwhile, uvar and catren founder sepp, who s one of the most influential producers of the new romania minimal-techno scene, has kept equally busy creating and curating quality minimal, including appearances on apotek studio and ada kaleh romania, not to mention an album on uvar. first up, sepps cantecul fusului combines rolling grooves with hypnotic atmospherics before alex font s murph injects a visceral low-end bounce alongside slithering percussion. next, font keeps the reigns with mambo 3, a heady dance-floor number riddled with crunchy drums and a dusty aesthetic before listen to me closes the ep with the eerie phrase just listen to me echoed among crackling ambience for a meditative finishing touch

london-based producer, turntablist and artist touchy subject (numbers, astrophonica, medallion sound) unites dancefloor energy, technical wizardry and dub reggae movements on a 4 track release for irish imprint rua sound. the skyward ep draws on high speed riddims, junglist bloodlines, crunchy glitch and grinding low end pressure to deliver a fresh, creative 12inch full of tantalizing detail. support form fracture, sam binga, tmsv, moresounds, sam binga, itoa, jon1st, etch.

for its eleventh release italian label what ever not, founded by dodi palese and dan mela, crosses the world to catch up with japanese producer keita sano for a release of singular, no specific style. the contributions debt to disco, house and techno, all of which boast an old school sprint making one move from the inside. the four-track pack melts afro funk contaminations with scented, crunchy and deeply varied patterns, sampled vocal elements and looping melodies.

baltra embarks on the fourth expedition into the exotic lands of palm trees and blue skies with his ambient pad heavy ‘rendezvous ep’. expedition four features three jams packed full of moody vocals, crunchy drum sequences and face melting acid basslines, accompanied by a mesmerising remix from dj seinfeld.

mysterious berlin based label mask preps its debut release titled ‘lemmy’ with four untitled cuts this april. a new series born out of an established german imprint, mask’s enigmatic debut release was produced using a selection of analogue gear including a moog slim phatty, e-mu sp-1200 and nord rack 2x. the a side begins with a track built around a tightly programmed drum loop which subtly builds, laced with mix-slicing hats and sub-low kicks whilst stretched out chords dissipate around a crunchy synth lead. the second production is twisted and dusty, using flanging and reverberated effects to lead towards a distorted breakdown, driven from the depths by gusts of full bodied snares and a growling sub line. on the flip, dulcet tones of a female vocalist join lush melodic chords to cleanse the palette, whilst working within the confines of a subdued yet crisp drum machine groove. the final track then strips things back even further, employing minimalist percussive hits and a warm bass lead, leaving space for its soothing female vocals to do the talking

having first linked up with london-based coyote records in early 2015, grade 10’s forever returns to the label proper for his first full ep project, hymn which explores the myriad sounds, layers and textures that have come to define his music.
the delicate, slow-burning cinema of widescreen opener gweilo, the shadowy eeriness of hymn and the crunchy, industrial club heat of swamped each point to different reference points, but all feel interlinked by forever’s grip on atmosphere and tone.
coyote label mate, chemist - also one third of planet mu trio, silk road assassins - also turns in a booming edit of hymn, complete with re-booted, icy melodies that fire off like shards of glass, and rude, 808 patterns that nod to his work with sra.

usas jon hester serves up four heady techno cuts for the second installment in rekids newly launched techno orientated series special projects. based in berlin, hesters discography may be humble but it is one of pure quality. the american techno producer has released on rodhads dystopian, appeared on a release alongside the likes of dj richard, hinode and arthur kimskii (point break) on l.a.g., and now joins the rekids special projects series featuring fbk, markus suckut and dj deep. heaving distorted kicks and echoing stabs lay the blueprint to inertia whilst intricate hats make way for metallic melodies. speeding things up, on the move is a more driving cut in comparison with its trippy atmospherics and crunchy percussion, whereas the surging short circuit demonstrates syncopated percussion and ominous synths for a rhythmic dancefloor workout. finally, neurons sees various cosmic elements ebb in and out of the mix for a mesmerising conclusion.

mörk white finally launches to provide a small sub-outlet for more off-mörk sounds. exploring rougher edges and surfaces as well as some more minimalistic and stripped back areas and a bit of sly electro.
no moon opens up the series with 2x12”s of vintage warmth & fire. rollocking techno production and alien vs predator atmospheres & wails on space station kicks things off, rolling into the crunchy piano roller that is unusual light curve - undulating chords & bass washed over pretty much the entire package.

mörk white finally launches to provide a small sub-outlet for more off-mörk sounds. exploring rougher edges and surfaces as well as some more minimalistic and stripped back areas and a bit of sly electro.
no moon opens up the series with 2x12”s of vintage warmth & fire. rollocking techno production and alien vs predator atmospheres & wails on space station kicks things off, rolling into the crunchy piano roller that is unusual light curve - undulating chords & bass washed over pretty much the entire package.

spencer parker concludes his different shapes and sizes series with a pair of robust house numbers this april. parker conceived the series as a method of showcasing his love for different shades of house and techno and the final edition sees the work them records founder demonstrate his versatility once again. part three initiates with a thumping dancefloor workout titled riff shapes that incorporates an uplifting chord sequence and crunchy percussion. on the flip, size:yes sees a throbbing lowend join skipping drums as rave inspired stabs add to the track s commanding energy.

panorama bar regular bwana unites his dual loves of vintage 90s electro and classic progressive trance on this three track ep for duskys 17 steps label. achieving widespread critical acclaim with last years techno homage to the akira soundtrack - capsules pride - on luckyme, bwana has since released eps on his club ready home aus and fort romeaus cin cin, as well as appearing on 17 steps with a cult remix of duskys ingrid is a hybri - itself something of a panorama bar favourite. on this ep, the illustrious producer presents three contrasting but cohesive tracks in the dark acidic three way is the hard way, hypnotic dark trance builder hell is other robots and classic electro homage on patrol for their control. completing the package, the inimitable avalon emerson bends three way is the hard way’ into a glitchy, percussive groover that builds crunchy layers of dark drums around the original’s twisted sonics.

with a trail of club-worn bodies left in his wake since his debut lobster theremin ep, closely followed by huge slabs for shall not fade and unknown to the unknown, trp joins the mörk clan with four tough and ethereal modern classics in his crunchy house-techno hybrid production style.

the canoe label comes to life with some rough and ready cuts for the wilder kind of dance, courtesy of nyra s gritty studio approach. having previously been found on the likes of never learnt, elastic dreams and more besides, there s no doubt the plucky producer has experience in the field, and the diversity of the styles on canoe 001 is testament to that. -d.a.t- is a stripped down machine workout that keeps things punchy and urgent throughout. -save lite- meanwhile is a wound-up, bleepy techno number with soul, and then -rexperiance- aims for the rave jugular with a stab-tastic lead and some crunchy breaks.

bucharests romansoff brings post-industrial heat on sportiv002. with previous releases on creme organisation, mörk and his own raw tools, tudor cranks it to 11 and does crunchy, saturated beats under a killer analog riff on colonial past. bodylock on the flip is equally intense but chooses a more stone-cold approach. gripping, energetic material from a country at peak creativity. sportiv is a dexterous white label operation that brings you heavy-weight rhythmic performances from the world of techno athletics. related items

having lurked in the tape scene for many moons, al-90 brings his dishevelled house sound to the dancefloor with this single for tape throb. despite the name of the label, this is in fact destined for vinyl, and leads with the fuzzy yet funky cheremushki groove, assisted in the process by monokle. there s a whiff of gerry read s dusty production values present on fluid, but al-90 seems locked into a more discernible beat. that changes on cataract with its degraded hardcore breaks drowning under a sea of unforgiving processing, while tape throb label boss the cyclist is an appropriate choice of remixer to finish the record with a crunchy yet focused version of cheremushki groove

new uk based imprint aiming to bring you atmospheric and emotional treats that toe the line between bass heavy, electro leaning, house & techno and everything in between. the label’s first outing comes from the duo thread. tabor kicks of the release and it’s a motorik workout that combines elements of minimal techno and acid, with a squelchy bassline and moody synth melodies all carried along by tight percussions. dalling is a straight up electro jam, a galloping start/stop percussive pattern, ever-present pads with more layers of squelch added for maximum effect. on the flip brackenbury picks up a couple of notches on the bpm counter - driving proceedings to 130+, a proper heads down techy number with elements of micro house, filled with quirky sounds and lush pads layered on top of syncopated percussive patterns. the final cut on the ep conningham does away with all pretences and hits you in the face with another dose of unrelenting space music. heavy bass line, crunchy electro percussions and sci-fi atmospheric pads rounding off the first release in style.

the rtct. records posse found themselves a new family member for their upcoming record. this time it s the austrian house legend demuja delivering a bundle of three crunchy house tracks going straight to your legs. no other than urulu is topping things off with a percussion-heavy remix of 16 volt, which is stepping it up a good notch. as a result you re getting a bunch of quality club tunes that were built to last! just like their previous release by leo woelfel, the record comes with a seal of freshness, so rip it open and enjoy limitless playtime with maximum flavor. buy the vinyl and find the easter eggs they have planted for ya!

if you’re setting out on an epic voyage to the electronic disco universe, it pays to recruit an experienced pilot. when it comes to intergalactic musical fusion, few are quite as experienced as cosmic disco pioneer and noted dancefloor explorer daniele baldelli. produced alongside friend and regular studio partner dario piana, zero gravity cannily updates baldelli’s early ‘80s cosmic disco blueprint for the 21st century. we think that the ep contains some of his strongest music to date, with each of the three cuts offering subtle nods to the italian maestro’s original cosmic club ethos. a-side “infinity machine” expertly combines many of baldelli’s greatest musical inspirations into one mind-bending late night workout. underpinned by a druggy, arpeggio style bassline, the track rises and falls through waves of funk-rock guitars, crunchy clavinet lines and intertwined synthesizer solos. throw in jammed-out electric pianos, and you have a near perfect fusion of cosmic disco and blazed funk-rock. the producer’s long-held love of african rhythms surfaces on “if you drive”, where bold acid bass, ricocheting percussion hits and weightless chords combine beautifully with starry melody lines and vintage analogue synthesizer motifs. it’s afro-cosmic for the nu-disco generation. a fine ep is completed by “air lock”, in which baldelli and piana pepper a rubbery, electrofunk-influenced groove with cascading synthesizer melodies, swirling pads and a swathe of fuzzy, eyes-closed guitar solos. it’s bold and assertive, but also as otherworldly and stratospheric as you’d expect from a pioneer at the peak of his powers.

slacker aka sam black’s works have been simmering away online for a while now, creating a fair bit of buzz centred around his knack for choppy breaks, crunchy acid and rough production edges. amen to the lonely finally sees the young bristol producer step out of the simulation and present four raw heaters from the hd.

public releases hits the lab for some aural alchemy and to turn out its first release of 2017. a four-tracker from moscow’s phil gerus, scenes—or, in the producer’s native russian, &#1089,&#1094,&#1077,&#1085,&#1099,—manages to have a makeup that’s both peculiar and magnetic. the title’s a fitting one, every track feels like a vignette in a collection of short stories. separately, they’re self-contained, but a rich narrative arch is added when they’re sewn together. if there is a theme here, it’s of viewing the future through the dusty lens of the past, and each of the songs explores this in its own fashion. the kick-off, “ohashi sky garden,” starts as a hyped-up italo space epic, pumped full of swirling synth licks and sharp, tight drums, but it mutates into something completely its own when vocal samples (90s r&b?) and warm keys (prog rock rhodes?) enter. after the original’s brisk five minutes, the legendary richard sen—graffiti guy, breaks guy, house guy, disco guy, half-of-padded-cell guy—steps in to give it a trance-y tinge while doubling its runtime and adding a dancefloor-destroying hi-nrg coloration. the b begins with “naha swim,” a crunchy funk foot-stomper that might as well be an unreleased idjut boys or ray mang ditty dug up from the noid catacombs. fiery and furious, yet utterly cheeky. serving as a sort of coda to “naha” is “kiss of a kind,” a gerus take on 80s adult contemporary, replete with sleazy sax and sensual pads. a gentle nightcap to a zigzagging, antic 12-inch

rekids return with an ethereal release from burgeoning producer patrick conway featuring hessle audio’s pangaea on remix duties. -records inspired by transcendental mediation, uk rave, sheffield bleep/warp records, carl craig circa early 90 s, silent servant, shabba ranks and joss sticks smoking out the studio…- – patrick conway syncopated percussion introduces ‘sandy lane’ whilst ebbing pads and metallic nuances add to an overall shadowy aesthetic. ‘orbit’ then sees intricate breaks, ghostly synths and murky melodies join piercing vocal cries before pangaea delivers a cacophonous remix combining crunchy drums with effervescent notes and a throbbing low-end.

hell’s first single in well over a year, ‘i want u’ throbs and thrusts with in-the-moment physical tension. unhurried and extensive in its 11+ minute arrangement, it’s every bit as deep and as long as you’d want such a session to be with its rush-riddled breakdown that dips deep under the skin with lavish emotional chord changes and peaked atmospherics. a celebration of gay culture, an homage to purist analog-driven proto techno, a statement for what’s shaping up to be yet another exceptional album from the hugely influential international deejay gigolos founder, ‘i want u’ comes complete with two startling remixes: the legend that is the hacker accentuates the grit and crunchy ebm charm of the original with an all-out exercise in sonic horsepower while hell’s selector kindred spirit and all-round robot-rustling icon martin matiske provides a whirlwind trip back to another foundation era for electronic music with b-boy-busting electro boogie spectacular. trust us, you’re going to want all three. and thankfully you’ll get all three right here. let us know what you think!

in keeping with the label’s philosophy of promoting new talent, the pont du gard ep is sbot’s first release. he comes out of the gates strong with four tracks of crunchy house music. sizzly hats and loose kicks keep time over pads and bass lines that ebb between driving groove and moments of hazy descent into madness.

crunchy, funky techno trax from the workshed of ford foster. featuring a mike dunn remix for decisions with two other versions for digital release. early support from hodge, fabrice lig etc

following mandingos universe ii on rekids last year the label has tapped thomas melchior and larry heard for remixes. mandingo is best known as detroit producer monty luke, the founder of black catalogue whennot appearing on labels like planet e and dogmatik. echoing synths and crunchy percussion join trippy nuances and effects in melchiors otherworldly reinterpretation. meanwhile on the flip, larry heard distorts the original into a mesmerising number featuring a meandering hook and intricate melodies.

valby001 demonstrates louf’s keen ear for growling analogue synthesisers and crunchy perpetual drum rhythms. hiccup is a wintery club jam that follows an intertwining exchange between a vocal motif and a warm winding synth line, held down by a pounding drum workout. dawn loop provides a breath of early morning nostalgia, with a combination of dusty rattling percussion and hypnotic chords that swell and crackle recurrently.

safer at night returns late january 2017 with the vinyl only release of the deep end , featuring two original curses cuts and remixes from ian blevins and holy ghost! safer at night founder curses launched the label back in 2014 and it has since gone to play host to material from eli esobar, walker & royce, jagerverb and of course the label founder himself. here we see curses re-release his composition the deep end marking the ten-year anniversary of its former releases on institutes in 2007, while enlisting ian blevins and holy ghost! on remix duties and stirring in a new original of his own as well. the original mix of the deep end takes the lead and offers a chance to revisit the decade old curses cut fuelled by wandering bass and lead guitar licks, dropped-tempo crunchy rhythms and murky piano chords all instilled with a gritty new york electro feel. holy ghost! then rework the original with the funk-laden feel via bright chord sequences, elongated delay swells and an amalgamation of 80 s synth leads, hooky bass lines and sporadic vocal lines. on the flip ian blevins offers up his interpretation of in shadows employing stuttering vocal hits, choppy arpeggios and droning bass leads to create an emotive and hypnotic number before curses original mix of in shadows closes on a cinematic vibe with an 80 s sci-fi soundtrack feel to perfectly conclude this vinyl only 10 year celebration.

cutting room present an interpretation of their ebm, electro and industrial inspirations on steeplejack’s second release.

a1 --aqua lifeforms- is perhaps the least intense cut on the record, a sort of a slow grower which builds up momentum by layering sounds and pads. a2 -body mover- is exactly what the title tells you. crunchy peak time tune for the dance floor, with shuffling broken beats wrapping around deep chords that hint what s happening on the flip side. b1 -doorway to her- is a nod to the classic deep techno chord-ish approach. well, sort of. the song lets you think that until the first curveball just before the half of the track. after that, it s just deeper than deep. b2 -pulsing hearts- is another well-crafted dance floor cut. the track moves from deep meditative vibe to subtle acid tripping, just to be finished with a proper bass workout. overall, we couldn t think of a better way to mark the 10th barba release.

renowned house veterans d’julz and jordan fields drop two tracks each for a split release on radio slave’s rekids this december. one of the key components in parisian electronic music, the a side sees a display of groove led cuts signature to d’julz as ‘shy town’ combines sultry bass tones with mesmerizing atmospherics and tranquil piano chords, making way for the crunchy drums and trippy synths of ‘in your soul’. meanwhile, from across the pond in chicago, jordan fields’ raw productions begin with syncopated percussion and fuzzy notes until ‘mformation’ concludes the package with thudding kicks and ethereal melodies. both artists have been commanding forces in electronic music for 25 years each making this split release very special indeed.

nice price deal !!! with releases on 7th sign, persistencebit and self defence to his credit, belgian dj/producer franco cangelli returns to his own mowar label for this killer four-track ep. inspired by classic techno and contemporary machinations in equal measure, cangellis palette is varied but sophisticated. >pressure< kick starts the ep in dubby mode, but the fat beats and spooky riffs are soon joined by a warm, sublime chord sequence. >frantic<, as the title suggests, picks up the pace, with a slamming, slightly off-rhythm underpinning wired analogue bleeps. thanks to cangellis smooth production touch, it manages to sound both timeless and modern. on the other hand, >fringe< and >deviate< make no secret about their influences. the latter deploys raw, crunchy beats and a shuffling groove as the basis for a sensuous chord sequence, while >fringe< is even more reverent. gently filtered bleeps and tones cascade over tight claps and an insistent, jerky rhythm that recalls stasis and derrick may. dont miss out on this future-retro gem

repress in black vinyl / dj support, raresh (arpiar), sante (cocoon / desolat), chris carrier, ilario alicante, dj w!ld, ....
james barnsley s imprint has reached considerable momentum so far with releases from himself, scan mode, dj honesty and dj w!ld, not to mention remixes from daze maxim, laura jones and burnski to name a few. in its fifth release vessel sees the leeds based label boss pair up with irishman gavin herlihy, known for releasing on leftroom and apparel music, under their newly launched trackers moniker. hexagon paves the way forward with shuffling percussion, arpeggiated synths and mesmerising effects, before memory game delivers crunchy snares and dubby echoes. unison wax and beste modus founder diego krause then takes his hand to hexagon , creating a rhythmic rendition built on intricate drums and hypnotising atmospherics, until french duo s.m.a.l.l & paco arrive under their politics of dancing pseudonym to convert memory game into a bass fuelled dancefloor workout.

spain s javi bora has been steadily carving out a name for himself over the past few years holding up a residency at the infamous, now late space ibiza and its kehakuma parties, as well as racking up releases for elrow music, suara, robsoul, 2020 vision and moda black. here though we see him paired with fellow spaniard for a new ep set to be released via london s fledgling spilt milk recordings which has played host to material from the likes of italoboyz, alexi delano and of course its founders tred benedict and st. bernard. title-track bounze takes the lead on the record, laying the foundations with snaking synth sequences, voice atmospherics and robust rhythms before hector moralez and katal step in on the remix. the pair reshape bounze with their own stripped-back distinctive style, opting for floating pads, heavily swung percussion and snippets from the originals spoken parts. ritual rights follows and lays focus on arpeggio 303 tinged bass hits, crunchy drums and subtly unfolding synth leads that ebb and flow throughout the record. the 002 then rounds out the package with dubby stab sequences, soaring pad swells and gritty, energetic rhythms

ltd to 220 copies
long time minimal techno pusher franklin de costa steps up to jersey city label green village to thrown down a ruckus with four serious cuts of advanced house and techno. -derp journal- may be flippant in name, but the bassline it packs is not to be trifled with, nor the edgy drums and lashings of reverb. -bogart space- is a more house-minded affair, but it s still reaching to a contemplative space using unfamiliar sounds. -good day bad day- gets into a cyclical, psychedelic mood thanks to a trippy synth circling overhead, but then the ep gets dealt a tough finishing blow by the cranked up hustle of -flashmelo-, coming on like a crunchy mid 00s minimal jam of the highest order.

motion (newcastle) co-founder and resident richie steedman makes his debut on jamie jones’ hottrax imprint with three groove-centered productions this november. a key component in the north of england’s electronic music scene, steedman has had a deep-rooted passion for house and techno since becoming au fait with a pair of turntables at merely 12 years old. since then the british dj launched newcastle’s motion event series back in 2010, where he’s a resident alongside fellow hottrax producer patrick topping. he now joins a roster spanning the likes of yousef, harry romero, waff, mat.joe and more. echoing chopped vocals, crunchy percussion and a meandering bassline form the basis of ‘stitcher’ before undulating drums join a medley of squelches, pops and whirrs in ‘chance it’. concluding the package, ‘slip’ incorporates infectious open hi-hats and a stuttering vox for a moody and mesmerising finale.

after a considerable career releasing on numerous labels, as well as being co-founder of essen based label mild pitch, langenberg finally drops his first album under this alias. max heesen, (who is also one half of ribn with manuel tur) delivers the smartly titled central heated house for steve bug’s dessous recordings. the lp format suits langenbergs hypnotic house classicism well, allowing time and space to stretch out the grooves and moods over four sides of vinyl working both for the djs and perfect as a soundtrack for the autumn. the lp kicks off with jade, a melancholic, tape saturated introduction to langenbergs deep tastes. room 210 maintains this atmosphere, with fizzing percussion and warm detroit-esque melodies. groove 26 is perfectly timed for the hot summer, as lush rhodes chords and kdj style vocal snippets provide the heat for the openair vibes. the single from earlier this year shadows features the talents of vocalist blakkat, and caused some serious response when it hit airwaves and dancefloors alike. never worry is a heads down roller, built around a simple but perfectly executed bassline, while dreamliner is trippy laidback sunshine house all the way. ill be late and planitz proposal step back into the club, with langenbergs signature crisp percussion, crunchy hits and analog synth wizardry on full display. rain & roses closes out the album in a similar way to how it started wistful, thoughtful house music with soul.

opening cut acido setting the tone perfectly via murky broken rhythms and glitched out bass hits before the latter stages introduce a squelching 303 lead which tails out the rest of the record.what follows and takes a more robust approach rhythmically with a weighty kick drum, shuffling congas and choppy hats lying at the forefront while spiralling bass hits and vocal chops meander around them. opening the flip is nasty(or nylo if there is no way to fix name) which draws on an earth shattering sub bass lead, sparse percussive shots and a subtly bubbling synth stabs.lastly the package is closed with nylo(or koi if there is no way to fix name), an intricately programmed energy fuelled workout featuring reversed bass swells, jazz tinged rhodes melodies and crunchy distorted drums.

interstate 87 presents an experimental trilogy of swirling textures, crunchy glitches, and mysterious synth lines. from the introspective, wandering melodies of the title track, to the cold, expansive chords in islay, and finally, the uplifting drone of truckers, interstate 87 is a meditative journey through a dynamic and nuanced sonic palette.

circus recordings boss yousef teams up with renowned new york producer harry romero on jamie jones hottrax featuring a remix from 8 sided dice founder alan fitzpatrick. liverpools yousef has cemented a solid reputation as a reputable dj-producer whos released on cocoon, desolat, bpitch control and defected, remixed the likes of chaka khan, sven vath, moby, four tet and carl cox, and is also the brain behind distinguished events brand and record label circus. meanwhile, harry romero has been a force within house music for over two decades, with appearances on ovum recordings, subliminal and suara, whilst alan fitzpatrick has done recent remixes for prime numbers, hot flush and hypercolour when not releasing regularly on drumcode, cocoon and duskys 17 steps. arriving on hottrax, the artists join a roster spanning patrick topping, waff, mat.joe and jamie jones himself. a purring bassline drives im behind you forward whilst intricate percussion joins echoing notes to generate a low-slung groove. recent fabric mix series inductee alan fitzpatricks remix then ups the tempo by utilising heady piano melodies and piercing stabs before yousef concludes the package with a crunchy solo outing titled tightrope that boasts energetic drums and stuttering vocal snippets

this is the first release for brooklyn ny based 369 records. for the first time also the music of bne and diet rx is being shared with the world. bne is a two man group also based out of brooklyn, their deep house vibes are an easy pleaser. diet rx is as you guessed a nyc resident, and supplies the b-side with a funky gear heavy throwback to a ravey, trancey, crunchy time where image was not as important as the experience.

jerome hill (super rhythm trax / dont) dons his techno hat once again for an outing on fresh new label * swords* and opens up with * the creeper*, a brooding ear worm of a banger that skulks around unhinged as fm synthesis drills a hole in your eardrums with solid and moreish bass keeping things very heavy indeed. on the flip we have * drum war* which is just that, sharp snare rolls puncture a heaving carcass of crunchy kicks and bass with tension riding high. also included is a bonus drumapella for djs to utilise when extra snares are needed!! lastly, the original mix of * plastic jam* gets a deserved release after a more stripped back drum heavy mix appeared on the excellent power vacuum label last year. the original mix sees a happy melding of broken beat techno with old skool 1992 hardcore. early dj support from: tiga, richy ahmed, bodyjack, teed, mano le tough, ford foster, pangaea, g-23, addison groove, dan curtin, dop, hrdvsion, franklin de costa/mudkid, ben sims, paco osuna, len faki, serge, iron blu, dense & pika, perc, dj haus.

nice price deal !!! excellent crunchy minimal techno !!

nice price deal !!! crunchy & twisted kickin uk techno, ltd backstock !!!