on the prowl appears to be on a roll with its new found artists. following up robotalcos success on the previous otp, giorgio lands himself in anthem territory. the a1 track >more heart< is big, catchy, and totally feel good house vibes with disco styled horn flourishes. the a side inside cut >basement 6d22< takes us near kerri chandler with delayed brassy chord stabbing and long organ pads. flipping the record over reveals a stunning slo mo disco house workout, filled with jam style organ riffs and amazing synth horn parts. for b2 we get a perscription style deep house track with all the right dark drifting chords. excellent release.

180 grams audiophile vinyl deluxe triple-gatefold sleeve ( e l p cut-out) limited to 1000 copies.

deep and delicate infectious rhythms. each record includes one of two risograph prints featuring a lino cut by the artist.

four years after his excellent eclipse 12-, roberto auser is back on a rotterdam staple: pinkman. color your soul has adopted some, but not all, of its older brother s attributes. lumbering with menacing intent, the title piece leaves wreckage in its bruising wake. -do you want to believe- is cut from the same deviant cloth. grunting rhythms stomp on tortured strings, industrial shrieks cry beneath the boot of a raging beat. the closer, -wake u up-, has auser toying with his victim. steam hisses, acid lines bulge, pistons pound and sirens blare in this boiled work of brooding brutality.

the second release in endless illusion s series of split eps comes from marcos cabral & daniel araya and features two tracks from each artist. new york s cabral is known for his experimental idm and techno on labels like l.i.e.s. while daniel araya has recently released an album of acid, techno and industrial on the classicworks label. araya s we almost lost detroit is first and is a truly haunted deep techno cut with sparse acid undulations and a real sense of manic in the rasping synth lines. softer pads in the background only add to the spooky nature of the track. ghost bass is the other araya cut and this one is more up on its toes, with mid tempo kicks down low and wonky chords up top. it s a mind melting tune that trips deep into the night. live at the egg is cabral s first effort and is a lonely and icy techno track that is supple and seductive in its long lines and paddy drums. after getting you into a state of hypnosis, some freaky vocal sounds only add to the unsettling nature of it all later on. cuts & bruises rounds things out in squelchy and depraved techno territory. muted acid stabs are off in the distance as swampy drums suck you in from the front. it s a brilliantly odd tune that close out a fine ep.

this is my best album for sure, says todd. we cant be exactly sure on that one, all three albums from todd bodine have been great. forms however, is perhaps the most complex and mature album that the berlin producer and dj has accomplished to date. and its also out with us! todd has worked at full speed over the last six months to bring us this fine piece of work. as a dj playing around the world and as a producer in the highest ranks of consistency, todd bodine has constantly developed as an artist. releases and remixes on respected labels, and collaborations with various artists have made him an internationally popular electronic musician. in 2007 he finally began to perform as a live act, and what club would better fit todds new live premiere than the panorama bar in berlin!? todd shows with forms, his innate knowledge of the two sides of electronic dance music. this is a meeting of peaktime euphoria with the relaxing bliss of the hazy morning light. a meeting of hypnotic natural rhythms and driving cut-up sounds. todd can impress you with dancefloor bombs and also with his sophisticated sound visions. the sound of detroit would probably be the best comparison.

it had been four years since juxtaposition, radians last record. chimeric is not a polished album. within the context it is raw, broken, even dark sometimes. steady, multiple rhythms, layered on top of each other disappear into chaos and turn back into discreet structures in the next moment. references of rock music, executed with the precision of a sequencer, mutated, restructured. a lot on this album is about control and the loss of control. the risk of failure. but chimeric is much more free. some of the longer pieces are composed of very different parts and different colours along a continuous timeline. they tend to evolve in a narrative form and are moving through various scenes and surroundings, which is also present in the spacial relationship between the instruments.

supported by delicieuse musique, folamour, moony me, st paul, voyeur, ponty mython, kian t, kisk and many others. after 7 years in the game, apparel music strikes again in style with a brand new concept. the main ingredient of this recipe called ôapparel waxö is quality music, without any compromise or distinction. apparel wax is the aka of an unknown/unanimated artist, brought to life by many talented international ghost producers who, from now on, will be pulling apparel musicÆs strings. curated by giuseppe dÆalessandro, mastered by lopazz, vinyl cut by schnittstelle, r.a.n.d. muzik manufacturing, licensed by sac a pain ltd, distributed by wordandsound.

this second half of 2017 quintessentials will offer a lot of south american music. like from our long time friend and regular guest soul of hex! hailing from tijuana, soul of hex (also know as sebastien vorhaus) has a rich, nuanced and grainy style with an authenticity thats closer in sound to vintage detroit or new york pastures, despite his mexican heritage. busy djing, producing and running his own label vicario ltd, soul of hex is a driving force in the mexican scene. his new helipop ep offers different styles like a downbeat intro, a deep bassy rough house cut (helipop) plus 2 back to oldschool rave/warehouse tunes not afraid using some uplifting pianos, catchy vocals and deep basslines. house music all night long!

ksmisk drop three atmospheric techno cuts for their second release on norwayís ploink. made up of truls kvam and robin crafoord, the scandinavian duo are well known under their trulz & robin moniker and have released on the likes of prins thomasí labels full pupp and rett i fletta, not to mention their own imprints cymasonic and cymawax. ëmagmaí is a deep and mesmerising production that continues to evolve as more elements are incorporated, blending crunchy kicks with serene pads and otherworldly effects. ëlavaí is a dark and suspenseful number in comparison, establishing a raw hook and ominous nuances at its base whilst sci-fi inspired synths cut in and out of the mix. finally, an ebbing beatless track titled ëtuyaí generates a melancholic aesthetic to conclude the release.

stephen mahoney contagion ( lee holman remix ) , in his typical but distinctive way, lee holman re works contagion with futuristic and forward thinking outlook. it swerves and modulates for its entirety, it s a peak time affair that grooves in lee s distinctive flair. stephen mahoney contagion, unstoppable broken beat with intense hi hats that give way to acidic lines, a sure fire peak time track. stephen mahoney craft, a groover that combines hovering hi hats with an unstoppable groove. its simplistic as it is effective. modulation and claps combine to deliver a heavy hitting cut. stephen mahoney rosettes, acidic lines deliver a trancey cut. its minimalistic form hovers and glides to deliver a suspenseful track that ignites and modulates across its duration. a slow burner, hypnotic in approach.

hugo capablanca may be best known for his more disco-minded output from his time on gomma records, but increasingly his scattered output and his label have been reaching towards more abrasive material. nothing will prepare you for the confrontational nature of this daring, no label transmission. the artwork alone is enough to challenge the senses, while the opening track is a metallic drone that gives way to the distended mutant beats of top less. guy debord is no less cut throat in delivering a disco punish remix of lap dance on the b side, all deconstructed groove and guttural noise, and then dance less rounds the record off with another excursion into unsettling, heavily processed noise.

houses in motion presents the long awaited 12” cut of mansion ep. the highly sought debut release from a. m. limonata that has made waves in local melbourne for over a year.
this 4 track burner explores a variety of down tempo percussive grooves and infectiously melodic progressions, with the b side feature edit after midnight special rounding out the record with an amplified bang. a release perfect for warm spaces, loving hearts and busy dance floors.

after a killer 12 inches from mori ra, jongno edits is back with two tunes, blurring the lines between editing and sampling. the a-side, 42 below, is an uplifting korean fusion boogie with slap bass, tropical synths, summery guitar and female vocals. given a serious dub work out by monsieur jongno. effortlessly working the bassline and guitar with added muscle, subtle dub fx s, drum fills, teasing the vocal and synths before unleashing the chorus and guitar solos. nice brazilian vibes on this one, like a lincoln olivetti production, seoul went rio. on the flip side, drums and a bass is an obscure lp cut from a korean percussion ensemble with traditional korean folk elements, tribal drums and chanting, spikey avant garde guitar plucks, rolling punk funk bassline that builds the energy levels with jazz style vocals and horns. sounding very liquid liquid, a bit can, a bit pig bag, with some korean craziness. expertly extended and re-arranged by the jongno edits main man to give it more of a dancefloor edge, and ramping up the psychedelics. powerful stuff.

anyone who has seen one of egyptian lover s riotous live shows will confirm the role that classic cut -i need a freak- plays in proceedings. during performances, he attempts to get female members of the audience going by altering the lyrics to suit the occasion - a tactic that usually gets a rapturous response. despite being recorded in the 80s (and eventually released in 1994), the track has lost none of its energy or appeal, it should be in the collection of any genuine electro enthusiast. there s another treat on the flip in the shape of the rarely seen extended version of 1984 cut -my house (on the nile)-, which is every bit as essential as the a.

this is a must have record and supplies are extremely limited. long out of print and extremely sought after, david porter’s “i’m afraid the masquerade is over” gets a proper re-issue on 45, but with a special twist. first released in 1972, this groundbreaking masterpiece was mostly overlooked by the masses of that generation. however, twenty plus years later, hip hop producers would revive newfound interests in this cut (and porter’s other works) after sampling bits & pieces of it for some of the most defning songs of the mid 90’s and early 2000’s (who shot ya, duel of the iron mic, it’s over, etc). for this special edition, the original multi-track session was resurrected from the archives, re-polished and re-edited into a brand new mix for your listening pleasure. familiar fans will go emoji crazy once they get a taste of the exclusive new version that boasts new breaks, alternate takes and a louder, fuller instrumental presence among other goodies, creating fresh opportunities for beats and lives mixes. pushing the 9 minute mark, parts 1 & 2 are presented between 2 sides, presenting the all of music in it’s entire glory. original pressings of “i’m afraid the masquerade is over” are not easy to come by. own this collector’s item while you can. “must have” vinyl for dj’s, producers and anyone else on the hunt

hieroglyphics imperium and elevation nation present “the hierotrope series”, a collection of 7” 45 singles with 2 sided onrecord phonotropic artwork that comes to life, animating when viewed in a camera/phone in direct light. the music for the series will be a variety of unreleased songs from the hiero vault, and featured singles from upcoming projects released bi-monthly. all design/animation of the series is created by unjust via elevation nation, long-time hieroglyphics collaborator. keeping in tradition with hieroglyphics’ tradition of innovation, landmark creative quality, and independent ideology, this series gives its listeners/viewers a truly unique bonus value, adding an extra layer of visual stimuli to the beloved physical act of playing a record. marrying art, music, and technology, the hierotrope series promises to be on-going treat for hip-hop heads, vinyl heads, and tech-heads alike. this single in the series is first light (opio + pep love), “livin’ the life” b/w “fu2”, 2 previously unreleased songs that were cut from the “fallacy fantasy” album, produced by unjust.

sometimes you produce a track with nothing but a dancefloor and a good sound system in mind. twelve inch jams is offering you just that - strictly two a side tunes for the floor cut at 45 revolutions per minute. jazz & milk pays tribute to this classy release format with their new 12inch vinyl series. each record comes in a hand silk-screened printed and stamped sleeve! the series starts off with members

over the past three years melbournes albrecht la brooy have patiently cultivated their own space within australias prolific electronic music scene. deeply rooted in technos ambient influences, the duo improvise their compositions with an overarching approach that breaks away from techno s conventional presentation. recorded in one take from beginning to end, escape velocity sees albrecht la brooy take on the voyage aesthetic and principles to create a twenty five minute odyssey spanning four passages, to be played continuously across the 12inch medium. utilising both sparse, drifting ambient palettes and driving, machine-led rhythms, escape velocity is a pensively uplifting account of future travels through space and the ninth installment to the voyage catalogue. both sides of the vinyl are cut as continuous sides.

hip hop classics from ll cool j 1985

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

see double, the london based imprint headed by luca cazal and brigante, returns for its fifth outing, a three track ep from boris werner titled badabing badaboum. a club-ready package and staple of werner s recent sets, sd005 once again proves this amsterdam locals deep knowledge and understanding of how to move a dance floor. played by seth troxler and richy ahmed amongst others and tried and tested by both label boss cazal and werner on dc10s terrace throughout this summer, title track badabing badaboum is a bonafide club smasher. leading the charge with a hypnotic bell riff alongside a chugging 4/4 pulse, werner keeps a driving pace as sluggish and evolving low end theory enters the fray. a deftly constructed, energy filled arrangement progresses before indiscernible, tribal vocal chants take the fore, trading blows with a modulating acid bassline. on the flip werner delivers you snooze you looze, a tech-infused cut adorned with rolling subs, clinical percussion and a head-snapping rhythm. phased synthesis and dissonant sample work pushes the track into uncharted trippy territory, as processed vox stabs and crisp hi-hat patterns maintain momentum, leading to a deeply musical breakdown that offers a truly dynamic shift in mood. closing the ep is whooos in control, a lesson in atmosphere and groove, which sees spaced-out synths interplay with automated stabs. ethereal pads and warped fx float atop werners swung drum programming creating that perfect roller for those early morning moments. sd005 will be available soon in both digital and physical formats.

this is my best album for sure, says todd. we cant be exactly sure on that one, all three albums from todd bodine have been great. forms however, is perhaps the most complex and mature album that the berlin producer and dj has accomplished to date. and its also out with us! todd has worked at full speed over the last six months to bring us this fine piece of work. as a dj playing around the world and as a producer in the highest ranks of consistency, todd bodine has constantly developed as an artist. releases and remixes on respected labels, and collaborations with various artists have made him an internationally popular electronic musician. in 2007 he finally began to perform as a live act, and what club would better fit todds new live premiere than the panorama bar in berlin!? todd shows with forms, his innate knowledge of the two sides of electronic dance music. this is a meeting of peaktime euphoria with the relaxing bliss of the hazy morning light. a meeting of hypnotic natural rhythms and driving cut-up sounds. todd can impress you with dancefloor bombs and also with his sophisticated sound visions. the sound of detroit would probably be the best comparison.

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

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

route 8 and s olbricht are both highly regarded artists in their own right, but less light has been shed on their collaborative endeavours as ste pwri tmod. largely lurking around the go! finger label, this second instalment of selected works is taken from the album of the same name, giving a proper vinyl outing to some of the stunning tracks previously confined to cassette. -when i pictured myself- is a wonderfully laid back jam peppered with personality at every juncture, while -horriflowers- takes a more uneasy trip into machine techno led by a growling synth. things cool off considerably on the dubby -nirrimi- and then -strobes- rounds the record off with a brooding, wavey cut for dark, romantic dancers to lose themselves in.

ursa’s reef is a late 80’s traveller and surfer wandering endlessly in the secluded raves of goa, searching for his own soul while dancing in abandon to the proto-trance journeys of goa gil. brought up in sintra, portugal, by a family of uptight catholic hypocrites, ur goes rogue in his early 20’s, seduced by the esoteric teachings of levi, pessoa, crowley and israel regardie while keeping an unhealthy obsession with roxy music. he is also a fictional, made up persona - a musical heteronym - of lisbon-based dj and producer marco rodrigues, mostly known for his work under the name photonz. together with his friend jose acid - a musical heteronym of joao ervedosa aka shcuro - he makes one last trip to goa that could prove fatal.

renowned argentinean artist franco cinelli returns to unlock recordings with three intricate cuts from the vault this september. one of argentina s most respected producers, franco cinelli has been making music for over two decades. the rosario-born artist has made a name for himself with excellent releases on the likes of djulz bass culture, esperanza and raum...music, not to mention his collaborative project alongside dario zenker named maria fresca on ilian tape. with so many of the upper echelons of house, techno and minimal supporting his tracks, including ricardo villalobos himself, franco cinelli s inimitable productions are not to be overlooked. originally released in 2009 and now finally getting a proper vinyl release, cinelli s remix of saccobros why not constructs an energetic narrative that extends over ten minutes. tight kicks work alongside looped atmospherics as a muffled hook and infectious sample add to the heightening suspense. cuts from the vault also sees two new productions from the argentinian. morph sense is the more twisted of the two, demonstrating a medley of clicks and whirrs whilst sci-fi inspired arpeggios operate throughout. as the name suggests, dub sine of the moon is the deepest cut on the package, with its crunchy percussion and subterranean tape delays that form a hypnotizing aesthetic from start to finish.

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

2017 repress - timmon records in helsinki, finland - the home of myron & es band & collaborators the soul investigators - have released their own custom versions of the myron & e recordings, cut right at home in the timmion cutting laboratory. the two lps - cold game and going in circles - are strictly limited edition vinyl releases, packaged with old school thick cardboard sleeve and tip-on cover. going in circles lp contains the full, original versions three tracks from myron & es broadway (the u.s. release on stones throw) and four others which arent on the u.s. release.

anthony nicholson chicago deep house maestro delivers here two amazing soulful deep house tracks for the attias brothers label visions.visions open mind and wide vision returns here with their 15th release continuing their journey into the world of electronic dance music on the a side anthony and william kurk have produced an amazing soulful vocal track mixing lush pads rhodes and beautiful vocals sustained by a solid house beat. this is a sublime journey into a soft and beautiful chicago deep house jam that we fell in love instantanely with and wanted to share itwith the music lovers and vinyl collectors.the b side is a jazz funk number that rolls deep into rhodes chords, moog leads and funky basseline for an 8min 20 long amazing dancefloor instrumental bomb. with one track per side and with the great mastering and the loud cut , these two chicago slices of goodness will find place in any dj bag for sure.

ghosts inside stands as ekin fil’s most arresting recordings to date, written during a period of personal despair with an oblique poetry of sadness cascading through the songs. it’s an introspective sound, completely turned in on itself and tuning out the socio-political tumult of her native home in istanbul. in confronting psychic distress, heartache and depression, ekin fil blocks out the rest of the world to concentrate on the immediate issues of human relationships and their many complications. allusions to catharsis flicker through the sullen, narcotized beauty of ghosts inside, updating the mood found on those classic 4ad albums of the 80s (i.e. garlands, it’ll end in tears, lonely is an eyesore, etc.) orbiting the spheres of grouper, lovesliescrushing and stars of the lid.

key uk house player richy ahmed is next up on play it say it with a standout twotrack ep that proves just why he is such an essential talent. ahmed is currently in the headlines for his four thirty two label, which has put out some of his own great music and will a&r plenty from his peers in the future. it has also spawned a big party in ibiza at privilege, and has hosted events from glasgow’s sub club to leeds’ mint club. all this comes after years of richy headlining all over the world and working with labels like hot creations and crosstown rebels. now really into his stride as a producer, his latest is sure to rock floors worldwide. up first is the big and bombastic kimalaya with its tribal tinged and jumbled beats and big woodblock hits. wordless chants also join the groove, and the looseness of the whole thing is what will ensure it really gets the dancefloor going. add in diving bass notes and some clever breakdowns and you have a sure-fire recipe for success. just as infectious is come with us, a more nimble and peak time tune with lively synths darting and jumping about above techno leaning drums. its a freaky cut with inventive synth patterns that really get under your skin as it rumbles on. with these latest tracks richy ahmed once again offers up some truly fresh house perspectives

techno, disco, italo, electronics, house, library, cosmic and ambient frequencies - these are the bedrocks of the midnight drive ethos and sound. a label shining a light on overlooked or unheralded creations and respectfully reissuing them for the contemporary audience. a label that respects and understands the connection between these disparate and sometimes forgotten forms of musical expression and celebrates them. drive001 sees us step back to 1998 and into the hands of the duo of damon wild and mederic nebinger, recording together as blue maxx they quietly unleashed some of the finest futuristic widescreen techno and electro to emanate from nyc in the late 1990 s. utilising a small sub-label of wild s seminal techno imprint synewave called deja vous the pair embarked on a slew of ep s released over the space of a couple of years with private life being one of the last. across 3 tracks private life opens up a new sound world, from the driving, tool-like qualities of the a-side cut - all swinging drum programming, synth stabs and deranged metallic percussions to the deeper, more clandestine leanings of the b-side tracks, mining a more musical and electro infused vein, the whole ep stands out as something truly original. a hallmark of the blue maxx sound. this is the first time private life has been reissued, almost 20 years has passed and somehow wild and nebinger s style remains utterly fresh and contemporary. a truly rare and essential piece of hi-tech techno expression that could easily have been released this week. such is the quality on display within these grooves. remastered by curvepusher. artwork and design by atelier superplus.

cocoon recordings presents cor12146, the dignified follow-up 12inch by rico puestel that we were waiting for so long. cocoon head sven võth himself is dropping caravel for quite some time already and the godfather of german techno smashes floors around the globe with this hot and dirty bombshell. take all of the rocking techno ingredients that you loved so much over the last decade and you get a melt down of dustin zahn, industrial strength soundhack and many more milestones to nameà however puestel created a very unique own style out of all these influences and the result is simply outstanding. sven played the acetate of this so often that we even had to cut a second one. techno-trainspotter worldwide went mad for this one and were killing us with their requests and track-id inquiries. the wait is over guys! caravel and est (on the flipside) are two cutting edge techno monsters that hold enough energy to power your car, your computer, your phone, your lifeàwe cannot imagine what rico will show us next

australian release - limited to 100 - 1 sided. tracklist a. sharpshooter shortinfo: brand new sharpshooter from melbourne artist nerve. sequencer-driven, high-speed modern elektro mutation for the 6am crowd. super limited, single-sided 12&#8243,,,, cut proper by helmut erler at dubplates & mastering

driven by passion for quality music, easy tiger came to life in 2011. as a contemporary party series. it was born from the idea and the desire to offer something fresh to belgrade’s electronic music scene.
delving deeper into musical endeavours, marko nastic blends his essential quirky, modular soundscapes into two dancefloor oriented tracks. on his new vinyl only imprint, marko promises further explorations of the genre, octagon gate being the primary example of the abstract tendencies. the second side cut, monday surfing, brings some intricately programmed rhythms, keeping the dancefloor dynamics integrated with intricate synths and subtle pads. the first release on his own new easy tiger series is all about future thinking house music.

as a longtime chicago and detroit house-head who spent hours listening to sets online, justin ramsey packed up his bags and jumped ship to berlin to get involved in its thriving music scene. the result - spacey pads, warm vocal samples, and driving drums which make up the backbone for each cut. don’t just keep me is a deep and trippy ep, dressed up with bouncing bass lines and breaks to dance to.

swedish wonder-producer dj different debuts on mood of the era with an emotional yet gritty four tracker. the undisputed ep features 4, raw and heavy jams, soaked in emotion. the mesmerisingly different moods are captured and enclosed on a luscious translucent 12” magenta vinyl. full sleeve artwork by helsinki-based illustrator and artist milena huhta.

london-based dj & producer dimension returns to the limelight this year with his highly-anticipated new single, ‘generator’. premiered via bbc r1 on friday by danny howard, theatmospheric and energetic cut follows on from one of 2016’s biggest underground d&b anthems, ‘uk’, in what has been dubbed his “strongest year to date” by annie mac. the rise of dimension has been nothing short of remarkable. with multiple best-selling and seminal anthems including ‘whip slap’, plus numerous remixes under his belt for the likes of chase & status, duke dumont, nero, emile sande and deadmau5, 2016 became a real turning point for the producer as it saw two of his singles, ‘automatik’ and ‘uk,’ crowned ‘hottest record in the world’ with annie mac on bbc radio 1. a thrilling and enigmatic producer who likes to let his music do the talking, dimension’s commitment to the sounds of the underground whilst still receiving mainstream success provides further impetus to deem him one of the most exciting artists of 2017. this year will see him undertake his biggest tour to date in australia and new zealand, return to amnesia for another season as a resident dj at together and hit the summer circuit once again at festivals including sw4, tomorrowland, snowbombing, sziget and creamfields.

joy divisions classic 1979 debut album back on 180 gram heavyweight vinyl . cut from the 2007 remasters and housed in a sleeve replicating the iconic original album artwork.

get ready for some true wonkiness, courtesy of neil landstrumm.
this is techno purely for those rock-solid psyches who lack that element of the deranged, the off­-kilter and the strange - on the dancefloor and in their own mental constitution. if you’re even slightly in doubt of your sanity, stay well clear of this cut.
the fact that he’s been using elektron instruments probably means it’s even more important to have that straightjacket at the ready. even that won’t stop you from dancing, though. neil has been making wonky techno since antiquity, hell, he’s the progenitor of the genre, but what you probably didn’t know is that he’s also been doing graphics for rockstar games, the software house that brought you grand theft auto.
he’s been a skilled elektron user from the very beginning, from the high and far­ times of the sidstation.

born in shreveport, louisiana, reuben bell began singing in local clubs. he first recorded for the local murco label in 1967 before moving to the silver fox and house of orange labels. in 1975 he released his first 45rpm single for alarm records (-superjock- b/w -i still have to say goodbye-) which was produced by wardell quezergue. neither side made any noise back then but 24 years later -superjock- was included in dj shadow & cut chemist s brainfreeze mix. since then it has become a classic and it has been played constantly by hip hop and funk djs all around the world. it has appeared on a handful of (mainly bootleg) compilations over the years so we are proud to present the long-overdue, fully licensed re-issue on its original format. you may check out tramp s -countdown to... soul- (tr-9067) compilation which contains -superjock- as well as some other fine rare grooves.

after the huge success of their first collaboration, doorly and el prevost are back for part two: this time the world touring doorly serves up a hot original that gets remixed by red rack‘em and el prevost, while el prevost also serves up an original of his own, all on his own no speakers label. the first ep, featuring a lee foss remix, got support form the likes of paco osuna, solomun and groove armada and this second instalment is set to be just as big this summer. doorly is a dance heavyweight who headlines clubs like space ibiza on his global travels, releases on cajual, hot creations and dirtybird and is no stranger to hitting high places in the charts with his big and infectious sounds. as a dj he is energetic and can make a mark on any dance floor, and so will this new tune, ’sonder.’ it is six superbly deep and atmospheric minutes of warm, rolling drums and searching synths that bring an intergalactic feel next to twinkling keys. jostling percussion brings a little loose funk and the whole thing is sure to lock in dance floors. el prevost then steps up to remix after 15 years of putting out killer cuts on labels like third ear. his music has made its way into the record bags of tastemakers like steve bug, dj hell and steffi and this excellent remix shows off his singular style again. it is a little tougher and more energetic than the original, with sprinkled hits, rumbling bass and pixelated synth lines dancing about up top. then comes red rack‘em, the bergerac boss who had a huge hit with ‘wonky disco bassline banger’ last year. it was one of the tracks of the year and has been followed by an equally brilliant album by this esteemed house veteran. his remix here is big, bouncy and off kilter thanks to its coarse hi hats and punchy rubber drums. great vocal treatment adds more wonkiness and broad synth strokes flesh things out into another sure-fire party starter that sounds like little else. last but not least, el prevost offers up a solitary state mix of his own ‘temper mental’. it’s a hugely inventive track with great synth modulations burrowing deep into your brain as dancing hi hats and whirring bass encourage you to cut loose and shift freaky shapes. this is a strong ep that really packs a punch across four standout tracks.

mental groove records is thrilled and honored to announce the follow up to last year water vein ep (mg115) by asian psilocybe foundation & dj yogurt. entitled daikaku, a buddhist term for one who has achieved enlightenment. this second installment smiles on geinoh yamashirogumi akiras soundtrack. apf is an eccentric japanese musician who raised attention from the detroit. remixed by jon dixon of underground resistanceÆs timeline, apf first ep was released by once legendary producer orlando voorn (fix, game one, baruka). on the a side he achieves to capture akiraÆs spirit with his own organic and floating sound signature within a long, delicate and trippy techno number while on the flipside dj yogurt, a regular figure of tokyos nightlife who worked at cisco records, delivers two straight percussive numbers fueled with traditional japanese flavor to take the most discerning floors to a tetsuo state-of-mind. mastered by music matters mastering and cut at emil berliner studios, berlin.

played by marcel vogel / it s been a while since we heard any new material from rick poppa howard, the father of prodigious house talent tevo howard. the soul and raw, off-kilter production style runs in the family, and -keep holdin on- demonstrates this perfectly with its immediate warmth and unfussy arrangement. -gimme that love- is the real gem on this record though, toying with a rubbery bassline and a touch more atmospheric detail that makes howards voice shine. that said, if you do require an instrumental version for any reason, the alternative cut stands proud on its own. for our money though, we d say howard s vocals are what makes this record special.

180 gram heavyweight double vinyl pressing, cut from the 2007 remasters. housed in a gatefold sleeve, replicating the original album artwork.

label regulars ulterior motive present two finely cut pieces of drum and bass, both of which are full of the usual hypnotic funk and production prowess that the duo are now synonymous with. ‘step change’ is the monster of the two, with a twisted reese running throughout combined with heavy hitting, tightly tuned drums - a signature ulterior motive creation. it’s the funk that bursts to the forefront on ‘get close’, sitting over an eerie foundation and completing a stellar double pack for their first original tracks on metalheadz in almost 2 years.

copenhagen’s echocord colour returns this august with stephen brown’s ‘power factor’ ep, featuring three originals from the uk techno stalwart. scottish producer stephen brown is a name synonymous with techno across the globe having been releasing material since the mid nineties on imprints such as derrick may’s transmat, subject detroit, skudge records, ben sims’ theory and holland’s djax up beats amongst many more. here we see brown join the roster of echocord’s sub-label colour, slotting him in alongside the likes of mike dehnert, nick ho&#776,,,ppner, luke hess and deadbeat in the back- catalogue. up first on the release is ‘sandtext’, a stripped-back dubbed out opening cut fuelled by a robust kick and minute percussive hits running alongside a sturdy sub bass drive and spiralling dub stabs before ‘wet’ takes things even deeper via muted kicks, shuffling shakers and delayed synth chords. ‘back stroke’ then rounds out the release with an amalgamation of airy reverberated stab hits, rumbling low end pulsations and a thunderous kick drum to once again create an understated, hypnotic composition.