let me introduce you butter fly, the second vinyl of the label take hit records signed by the talented french artist brtz aka breitlitz. this ep, including the collaboration of behzad & amarou, two residents of the famous club concrete in paris, and also a remix of the growing polish michal jablonski, is a journey through a powerful dark and mental techno built on energetics modern beats and breaks really efficient for the dancefloor or big stage. you can find a digital or vinyl copie from february 2018 on every records shop or store online.

ltd deal

massive wackies dub album from prince douglas, originally released in 1980 - essential!

cult edits from manfredas, simple symmetry, and siaubas guaranteed to burn the house / club / teepee down. these top-secret jams have been extensively tested, ended countless epic parties, soundtracked highlight-reel boiler room moments, and prompted innumerable feverish attempts at track ids. heard in the sets of illuminati djs, the cult exclusivity now extends with this limited edition vinyl only release. culted 001 worth believing in.

d.ko records regular mad rey joins rekids with a pair of deep house cuts this march. the parisian producer and red lebanese co-founder started releasing music as mad rey in 2014, providing d.ko records with their second release (having already contributed to the d.ko01 various artists ep under his real name quentin leroy). he now joins rekids with a solid two track package initiating with in my house no6, a lively slice of house featuring funky bass licks and jazz influenced melodies complete with a compelling groove. on the flip, lorage (dub) lorage (dub) slows down the tempo whilst exhibiting sampled strings, crunchy snares and twinkling effects.

andrew scott, aka nyak, scott has remained a consistent representative of the music scene and we re delighted to have him on board for the first release of 2018 on local talk, bound ep. we re treated to four tracks, the opening track bound is a cut up, soulful disco house slammer. next up we got dancing, a perfect example of andrew s skill when it coms to slowing down the tempo but still letting the track have enough character to keep you dancing. on the flip we got see more which takes you straight to a dark and gritty club with it s stuttering chords, tight drums and pulsing bass. last but not least we got sandwiches which features long time collaborator ian blevins. a stunning low deep groove for any theo parrish or marcellus pittman fans out there.

echovolt is thrilled to finally bring you the work of the first greek producer on their growing reissue catalog offering two ultra-rare recordings that lived on the shelf for exactly two decades. the then 16-year old starcount recorded those two stripped-down cuts straight to dat tape in his bedroom studio in athens during the late 90s between cutting classes and sailing in the aegean sea. despite his young age both calma and jeraldine showcase top notch production skills with solid arrangements featuring the typical vocal samples of the period underlined by hypnotic melodies, jazzy chords and a densely populated pallet of drum hits. it is most likely that the above mentioned tracks might be the earliest detroit influenced productions ever made in greece around that time! suitable for night cruising and any kind of rides with friends and family!

two of dance musics hottest producers coalesce on the latest hot creations release. frank storm and matteo spedicati bring us gimme tha honey, a throbbing three-track ep that gifts us with a rework from robsoul label boss phil weeks. frank storm reveals -this is our first collaboration which was born a year ago in our studio in barcelona. we share the same passion for our own definition of the ghetto sound, blending fresh and techy vibes.” with this inspiration they weave an almost menacing vocal into the pulsating bassline of lead track gimme tha honey. the phil weeks remix brings a slither of light with a shower of synths and warm, bubbling bass. the ep closes with the long wait shaking the record into heavier terrain, as the industrial keys are underpinned by a flurry of tough drums. frank storm has been a key player on the white isle having played at some of the island’s biggest clubs, space, sankey’s, pacha, ministry of sound and zoo project, as well holding down a residency at the night unusual suspects. matteo spedicati began releasing music in 2006 and has received support from ricardo villalobos and richie hawtin. since then he’s gone on to work with such high profile names as joseph capriati and mendo, as well as releasing records on an abundance of top labels.

paper recordings ben davis takes off his flash atkins cape and mask to launch a new project exploring things left of centre and balearic. in these disposable times, stubb will celebrate community and diy with a limited run of 300 vinyl screen-printed kraft card sleeves of commissioned illustrations by artist rachel johns plus hand-drawn labels by hebden bridge s the egg factory. we are launching is a journey in to psychedelic balearia with one of the most exciting artists of recent years, jane weaver her mercury music prize long-listed album modern kosmology was described by the guardian as -a lean and thrillingly addictive slice of unearthly pop-. the stubb collaboration is a sublime head trip to the deep reaches of space and electronica with hallucinatory guitars, burbling synths and arpeggiators that are beautifully set off by jane s ethereal vocals. mike lindsay is founder and producer of folktronica pioneers tunng and his distinctive tones sing the praises of doing nothing on boring days, which is psychedelic leftfield pop at its finest. the track is locked down by a nagging fifth bass with vocal pops, hand claps, muted afro guitar, washed synths and arps that build before the choruses hit in a wave of analogue keyboards and fuzz guitar. after that, a gloriously stretched outro takes you straight to the mediterranean. there s also an edited instrumental that brings out the sunshine...

sprechen sie rhythm? its time for a new dance. welcome to the wonderful weird of talking drums an unsafe space for poorly executed dance moves, misjudged vibes and narcotic bravery. semi-cosmic, way wonky and oozing grooves, this is music for the fringe class. the party starts with a tripped out tribute to an italian inspiration. c60 lato a sees the crew pluck a couple of killers off a well worn cosmic tape, leave them out in the sun a little too long then stick them back together with an experimental blend of uhu and fufu. springy bass, spangled brass and mangled electronics make for a motherlode of funk, fried just long enough to make the walls melt. bendy.... over on the b-side the crew come through with a little bath-salt boogie, pitched down and loved up for all the slow dancers and romancers out there. strutting like a stoned fox, get serious wraps rubber-limbed bass around propulsive percussion, gets hooky with the horns then slaps you silly with its x-rated synth-smut. pinched from the pound bin and taped over a ch 5 classic, this disco drooler will loosen up even the stickiest floors. freshly dressed and pressed to impress, the drums are talking

the 1995 album from annie lennox back on vinyl.

bar 25 music proudly presents this 12inch-ep from benno blomes forthcoming album >night shots<, including three remixes. remixed by dachshund from geneva and tigerskin from berlin, >white flag< is a deep tune, full of 909 drum sounds with a reduced melodic synth-line that sidles seductive through its performance. >we come in peace<, is pitched way down in dachshunds fantastic mix. in tigerskins version, it disappeared, instead layering the hook line into a warm, dubby groove monster. >spherical aberration< goes deep, yet remains pretty club-compatible in its original version. it has found a superb remix by jiggler from berlin. he is also known as one half of channel x, and is pushing the theme into its boundaries and is capable to set any floor on fire. this 4-track-vinyl ep is a preview in reference to bennos full length album >night shots<, to be released in february 2018, also on bar 25 music. stay tuned...

traveling through these eighteen ambient cosmic tracks from true heirs of library music, you ll expand the surrounding space. limited to 300 copies.

a new year means new musical horizons here at the bordello. curses formed his sound in the distortion and sweat of back alley dive bar bars amidst the crash of guitars and the audible gulp of beer. hints of disco and wave balance this rougher edge, smoothing down those creased lines for a style that adheres to no boundaries. -pedal to the metal and don t look back- is a perfect introduction to curses multifaceted sound. beats orbit burbling bass and brash strings in a work of dreamy hypnotics. -knife in teeth- comes from a similarly shadowy lair. dark bars are further inked by industrial percussion in a track born on the factory floor to strict ebm parents. terr takes on -pedal to the metal and don t look back- and does the original proud. bass rumbles to the tune of a guttering engine before lighter notes take hold. murky currents are cleared by bright synth blasts in this uplifting remake. the bird of paradise closes the ep with his psychedelic take on -knife in teeth.- drums take on a more sinister tone as tribal rhythms give rise to jungle imagery and the immediate threat of what might lurk behind those supposedly innocent sounds.

pour le mérite releases pour08, pour09 & pour10 all bundled up for one special price!

nadanna proudly presents its new project, the canadian synthpop act techniques berlin! formed in 1984 by high school buddies andreas gregor and david rout, the band started experimenting with synthesizers, drum machines and guitars. in the early stages, techniques berlin was heavily influenced by uk new romantic acts like japan, spandau ballet, visage, the human league, orchestral manoeuvres in the dark, yazoo and depeche mode as well as rising canadian synthpop bands rational youth (dave became a member in 1998/99), men without hats and trans-x. it took them a few years to master their electronic toys and create a unique blend of addictive electropop melodies and beautifully crafted alternative beats.

200 copies - vinyl only - giant records sees in the new year with a killer ep from a bright new producer from poland, by the name of, mariuz kryska, mariuz offers up two peak time grooves here with remix duties falling on, sascha dive and giant head honcho grant dell. the first track up is low jam, which sees the original mix dive into a deep drum lead swing reminiscent of old todd terry beats, that have gone before, all topped off with a spoken word and tight hats and rides. next up is sascha dive - giving low jam a slowed down dubby feel with some sweet dubbed-out stabs that evolves into that deep house sound that sascha has mastered over the years. next cut is no perspective mariuzs original mix is a relentless bass heavy work out which weaves around some slick west coast gangsta rhymes and detroit style strings and pads. grant dells take on no perspective leans on the detroit style pad, from the original and adds some off kilter 808 beats that sit nicely along some smart 303 stabs and the gangsta rhyme which then merges into a slick techno jam with added breakbeats.

lobster theremin dig back down unda to bring another fresh salty aussie experience to the table with well seasoned young talent shedbug aka geordie elliot-kerr at the helm for this one. as co-head of salt mines he’s been responsible for some of the most exciting new underground electronic bizz coming out of aus - including hymns, rudolph c, escape artist and 92 spacedrum orchestra. as shedbug he makes entrancing house, acid-tinted techno, cosmic electro and heavily stepped uk-influenced jams, with 12” ep’s already landing via of paradise, deeptrax, flux and a cassette album for thrhndrdsvntnn. on destination love, shedbug harnesses the emotive, pad-heavy sound showcased on previous outings whilst mixing in blend of interstellar synths, jagged breaks and crusted-yet-cutting drum work - all mixed down with some serious studio finishing.

this initial release on the new futurepast label marks davy’s first output as a producer, crystallizing his endeavours in the studio and bearing witness to his long-standing experiments in electronic music. built between london and berlin over the last four years, the long now lays down the blueprints for following ventures on the label: using old and new gear to create unique, obscure soundscapes both outside of memory and away from nostalgic projections of lost futures. in a timeless and precise collaboration, davy has brought together two historical figures for this release: 1990s r&s records associate david morley mixed the tracks, while simon davey of the exchange lent his renownedmastering skills to the project. temporality, time travel and perception are key concepts for davy, and not only in the ep’s title. the four stripped-down tracks move forwards, sidewards and backwards in a bid to get us lost – not in space but in what time might sound like should we be swimming through it. mysterious and ageless synths mesh with the beats of an unnamed drum machine under davy’s control. we move through a non-linear story told by three distinct forward-thinking techno titles: no memories planned, circular weeks and causal loop. finally, the titular ambient track pans out cinematically over the images left in our heads: an invitation to begin it all again in the long now...

len faki isnt showing any signs of slowing things down over on his special edits-platform, already lining up the second round of 2018 and thus bringing the catalogue total up to lfrmx006. alex danilovs inside comes in two new versions here, both of which build upon the russian producers trademark filter action, making for a groove that funks as strongly as it remains subtle. first off the charming deepspace mix patiently unfolds into crisp breaks and lush strings, followed by a remarkably atmospheric hardspace mix, which soon steps it up a notch and gets smacking in order to get that floor chugging away to its choo-choo-chimes. meanwhile on the other side, developers steaming lost moments is treated to an array of additional elements, the outcome sounding razor-sharp and agile as ever, yet still channeling a considerable amount of propulsive force. as with all releases of lf rmx, the proceeds of this record will be donated to the berlin charity project straßenkinder e.v. to be used in actions against child poverty.

with a brimming catalogue of music that operates in the more adventurous quarters of the techno music genre, a sagittariun preps his first release of 2018, with a remix disc of one the holy grail of tracks from one of the most endearing electronic acts of the 1990s. the sabres of paradise, aka andrew weatherall, gary burns and jagz kooner, released a clutch of acclaimed albums, singles and remixes between the years 1992 and 1995, when the trio disbanded. three albums for warp, remixes of the future sound of london, leftfield & lydon, bjork, new order and the dust brothers (aka chemical brothers), and not forgetting the now legendary smokebelch ii single, which must have soundtracked hundreds of thousands of sunsets and chillout after hours over the years, have left a huge treasure trove of a catalogue as part of their legacy. one production though has gone down in sabres folklore, since its release was limited to inclusion on one multi artist compilation cd album only, and it is this track, lick wid nit wit, that a sagittariun has unearthed, licensed and re-moulded, 25 years after it was produced, for release on his elastic dreams label.

the ecstatic sounds of a fruit machine spewing out winnings or a computer game bleeping a player upwards to the next level chirp and bleep all over ‘true beauty (and other things), a jubilant and chaotic tape from philadelphia’s nah aka michul kuun. his first release under new alias michul kuun, the seven track album lurches between church bells, angsty video game chimes and battered drums (kunn pummelled drums in punk band 1994! in the past). there are flashes of mutated house and techno (“threes, threes, threes” and “written house”) as panicky, stammery rhythm structures are built up, battered down then kicked around. “taking station” seems like it’s going to be the most mellow, almost melodic jam, then rounds off with a solid minute of air horn, before exiting on what sounds like a motorbike through a swooshing traffic for jittery finisher, “follow thruu”. - claire sawers, for wire magazine

plastik people call on west country deep house veteran andy compton, who took a leaf through his box of dats to dig out some previously unreleased jams from the vaults that should get all lovers of classic feel good jams popping with glee. sawfunk is an infectious uptempo jam with a funky edge in the cheeky bassline coursing throughout. dark disc has a moodier flavour to it, with a bit of that us soul heat rubbed into its loins. will you wait for me gets into a twitchy garage swing and holds it down for the duration, organ stabs, dx7 bass and all.

formerly of france, now based in brazil, d3 elements returns with their second instalment of the beatz series, this time with jazz artist, bruno e, also hailing from brazil. bruno, who has been producing and performing since the late 90s, has worked with and remixed the likes of silhouette brown and gilles peterson, as well as releasing albums in his own right. this limited colour 10inch release features three versions of the track ventos do outono, (loosely translated to autumn winds). first up is drummer, composer and producer, pat van dyke, taking a break from composing the soundtrack to jerry seinfeld s comedians in cars getting coffee, with a breezy, laid back version of the original. featuring lush horns and flutes, along with vintage keyboards, the track urges us to get down, while straddling the boundaries of jazz and golden era hip-hop. still on the a side, it s bruno s turn, delivering a wonderful broken beat track. full of beautiful keys, strings and intricate rhythms, this track is reminiscent of the sound championed by kaidi tatham and nu era. flip over to the b side, and techno legend, kirk de giorgio takes us on a deep, futuristic ride. the track starts off with banging drums and a pulsating bass line, priming us for the cosmic pads and keys to come as the uk producer takes us on a journey to outer space and back. another quality release from bryan hervieus label, with three diverse versions of the same track, sure to appeal to a wide variety of tastes

ess o ess (aka chris stoker and jamie blanco) return to not an animal to further indulge in the organic house territories previously mined for the previous releases. the duo have an uncanny nack for deftly balancing the rockier end of disco with the authenticity of early house, and never more so than on -secret place. the original bounces and struts in a pleasingly groove laden hypnotic fashion, while the dub version turns down the guitars and turns up the synthesisers for a more heads-down dance floor excursion. on remix detail kuniyuki takahashi makes his 1st appearance on the label. on the vinyl you ll find an interpretation which can be best be described as pitched-down balearic-techno, which clicks, clacks and folds upon itself, drowning in waves of reverbed drama-drums at a deceptively low tempo. kuniyuki also provides a second remix as a digital exclusive, mildly pulling back on the pomp of the vinyl version, but replacing it with a spacious pathos, complete with backwards guitars that reminiscent of an electronic within without you era beatles. angaphora make their naar debut with their own wildly stirring remix of the lead track, which evokes the golden era of 80s melodic pop music to bewildering success, laden with digitised emotion, singing ebow guitar, and not a kick drum in site.

the cosmic perspective lands on eternal friction records for the labels second output. dark quadrant takes you once more on a journey into space. further exploring the boundaries of the techno landscape. drifting down ever deeper into the incomprehensible vastness of the universe.

liam blackburn’s ancestral voices project has been consistently hard to pin down to any genre as he progresses through his new musical experiment. taking hunks of his formative style developed as indigo and stretching it into uncharted forms, most of his new work is underpinned by a skill at sound design that has endeared him to the sync community and recently saw his music soundtracking a trailer for paramount pictures 2018 thriller ‘a quiet place’ to launch his own label ‘the fifth kingdom’, liam has stripped away the rhythms and percussion entirely for a full 6 track ambient release that soars and glides on a bed of cloud like haze. a soundtrack for flotation, mycelia opens an exciting new outlet for conscious music from one of electronica’s more daring creators.

electronic leatherette is the new label from riga based producer dmitry distant. after years of making electro and wave music he decided to create a new story and run his label. with a first release label provides a series of 4 basic nature elements. as a fundament of everything this release is dedicated to element earth and can bring you though atmosphere of esotoric electronic music within guides from vessel in distress, heinrich dressel, franck kartell and new comer name from same planet msrg. enjoy your travel and sound scape.

white cassette with foldout art,
liam blackburn’s ancestral voices project has been consistently hard to pin down to any genre as he progresses through his new musical experiment. taking hunks of his formative style developed as indigo and stretching it into uncharted forms, most of his new work is underpinned by a skill at sound design that has endeared him to the sync community and recently saw his music soundtracking a trailer for paramount pictures 2018 thriller ‘a quiet place’ - to launch his own label ‘the fifth kingdom’, liam has stripped away the rhythms and percussion entirely for a full 6 track ambient release that soars and glides on a bed of cloud like haze. a soundtrack for flotation, mycelia opens an exciting new outlet for conscious music from one of electronica’s more daring creators

few authentic electro producers from the uk can wear the badge legend with the same level of justification as phil klein aka bass junkie. active since the late 80s, phil has been peddling his own take on electro almost constantly, either as a solo artist or as part of numerous collabs with the likes of dynamix ii, keith tenniswood (radioactiveman) and si brown (dexorcist). dj, remixer, live act, and the man behind the killer battle trax label, there is nothing this junkie hasn’t done.
with essential releases on labels such dmx krew’s breakin records, andrea parker’s touchin bass, and billy nasty’s elektrix, the bass junkie sound spans the old school beats and vibes of the electro genre’s origins, to the borderline industrial. from funky to ferocious, bass junkie’s discography is a must have for anyone claiming passion for the genre - influential, individual, and infectious with every beat.
his low frequency fugitive ep is a welcome return for his bass junkie project, after several years working primarily on collabs. the ep brings four new tracks that maintain the bass junkie sound that brought him such success and notoriety in the first place, with a healthy dose of evolution too.
this is one fugitive everyone should try and track down...

secret lover returns with one that hits all the angles, a record for the lovers and haters, the movers and the dancers? truly a record for the people! now let s say you re home by yourself, pour yourself a drink, pop on your house coat and lay down by the fire, let the tunes take ya over. could get spicy, know what i mean?

frame of mind is back with a re-issue of another unknown gem from the early 90 s. uk production team dave campbell and viv beeton are most known for their uk techno, rave and bleep classics as ubik. it is under the alias of timenet they released an obscure white label in limited quantities in 1992. this untitled and one-off 3-tracker remained fairly unknown up until today. it shows quite a different side of their stunning production talents. dishwasher is a rough drum machine work out topped with a wild bleepy sh101 synthline a la mr fingers. dx moods is a spaced out techno tune combining mysterious pads and crazy dx-100 programming. with on the move the uk pioneers come closest to their ubik sound: mad uk techno with a hint of rave. a previously unreleased and stripped down version of this track is included as well.

the 70s saw a growing interest in so called dub versions, an approach based on deforming, stripping and rebuilding the original tune and came known as dub music. king tubby along with other dub wizards such as, lee perry & prince jammy, were responsible for this exciting new dimension to jamaican music. however, most of these dub albums were pressed in very small quantities and disappeared quickly. one of those albums is dub expression by errol brown and the revolutionaries. no gimmicks on this one, he uses simple echo and delay, a few vocals sliding in and out, separate instruments floating on top, with respect to the melody of the tunes. a mixture of dub and instrumentals. enjoy these super tracks!
limited edition of 750 numbered copies on orange coloured 180 gram audiophile vinyl.

limited 7 inch box !kultig brachialer new wave of new wave / post punk !!

for our first release of 2018 and our 11th year in the game, we kick off proceedings with jicheal mackson. the highly in demand producer and live artist drops another forward thinking offering on our imprint. on the a side he delivers carneval, its an underground disco themed cut with hypnotic highs, a groovy bassline and intricate drum programming that evolves through out, vocal murmurs add to the ambiance and complete this winner. jichael switches things up on the b side (vinyl only) with odyssey, this is a more stripped down and trippy affair with break beat drum programming merged with 4/4 swing, white noise slashes and drones set the mood for dark little number. on b2, he lifts the mood with kraut, a more upbeat offering, driven with a bouncy bass groove and intermittent lush pads he creates another groovy master piece perfect for a late night dance floor. this ep truly shows the diversity and talent of jicheal mackson and confirms serialism never ending quest to deliver quality underground music...

le$ and dj mr. rogers dropped one of the hottest and most slept on tapes of the year so far back in may with midnight club. the 10 track tape has just one feature, domo genesis, the rest of the tape showcases le$’s lyrical ability and smooth flow, which sit perfectly over the beats. 45 south see le$ add his spin to childish gambino’s massive hit red bone. one of the chillest tapes to listen to this summer!
limited green coloured 180 gram vinyl.

top-sampler mit 21 soul/funk/disco-klassikern aus den 1970ern, die in der britischen rare groove- und modern soul-szene seit den 1980ern wieder für furore sorgten, darunter etliche cd-erstveröffentlichungen und vinyl-erstreissues. mit kostbaren raritäten von almeta lattimore, mary clark und tommy mcgee, 2-step-perlen von jocelyn brown und zulema, smoothen jazz-soul-floatern von margie joseph, aretha franklin und ihrer schwester carolyn, debbie taylors grandios orchestrierter ballade -i don t wanna leave you- sowie wundervollem harmony-soul von the ebonys, manhattans, natural high und the impressions.

bout time we release another long-player, right? right. seven tracks of straight disco-flecked, hip-hop-laced, mpc-orchestrated pulsating house. house that s speeding down the highway at ninety in the middle of the night, house that s a packed dance floorundulatingin a heavy cloud of fog, house that s fast-forwarded time-lapse video tours through new york, tokyo, paris, london. throw gaspar noé s enter the void in the dvd player, double the playback speed, mute the audio, play vinum over it on repeat, and then some of the above will make sense, come into focus. or maybe it won t, but we know you ll have a hell of a time doing it.

reptile dysfunction launches think sideways edits: a four track vinyl ep with club cuts from soul clap, charlie rope, noah schy & rick trainer and doorly himself. doorly and reptile dysfunction proudly present the first of their new vinyl think sideways edits series, in which the label boss will be calling in favours from a-list stars and bright young guns to release some heavy duty, clubfocussed edits and sample heavy cuts. since launching in late 2016, reptile dysfunction has been resolute in championing previously undiscovered talent alongside releases from firmly established artists. now with the launch of a new vinyl edits series, and the first official reptile dysfunction parties just around the corner, the label looks set to have a landmark year. with miami wmc just around the corner and the summer season following sharply on its heels, think sideways edits vol.1 presents four disco-sampling, feel good club edits ripe for pool parties and basements alike. -this one features one from me that one been holding tight for a while. i m now putting it out due to popular demand after people track iding the hell out of it for the last few months. soul clap have – unsurprisingly – turned in a stunner, then we have new talent from noah & rick trainer and a follow up to his wonderful ep from charlie rope. -all of these tracks have been severely road tested in the clubs and i really believe it s our strongest release so far.- doorly

lost in time has laid down some killer 12-s to date from the likes of ralph lawson and tuccillo, and now they welcome london-based scene staple alex arnout to the label with an on-point ep of explorative house music variations. -no borders- features long time us house veteran jovonn, and the pair whip up a tracky tech house roller with serious percussive pressure and a subtle lick of dub in the mix. -downtown 500- is a rough and tough, bashy house jam with a fresh drum palette, and by contrast -riddim- brings a straight up deep house vibe with classic organ licks aplenty, that almost sound like they should be the handiwork of jovonn as well. -jam the dance- finishes the ep off with a twitchy house cut peppered with vocal slices.

having recently appeared on bosconi records and altzmusica, daisuke kondo is a producer on the rise at present. this outing on vibraphone adds fuel to that particular fire with four distinctive cuts that push to the outer edges of house music without losing sight of the groove. -hold on to love- is, on the surface, an upbeat, disco-infused house jam, but there s a certain trippy approach kondo takes in the processing department that edges the music into a different head space. -life- meanwhile gets gritty and bass heavy at one end of the frequency range, and airy and melodic at the other. -feelin blue- gets even dustier and scratchier with its sample treatment, and then -fallen star- lays down some unflinching machine beats with wonky, distant piano licks.

sold out - its that time of year when thoughts turn to lazy afternoons down the beach, early evenings sat watching white isle sunsets and sticky nights of loved-up debauchery. in other words, it s the perfect time to dive into the latest volume in the consistet balearic compilation series. there s naturally much to admire in the now-familiar cafe del mar/cafe mambo style, from the horizontal, flute-laden samba shuffle of the madrigals the ride to the moon and shay lovers exceedingly drowsy black & white, to the warm chords and head nodding beats of steve cobby s remix of tradewinds- by penelope antena, and tropical exuberance of maajos musa paradisa. best of all, though, is mudd s impeccable mix for emma of zee erf s blissful cover of southern freeez, which is one of the most stunning tracks you ll hear all year.

east man is a new project from anthoney hart and its material predates his previous work as basic rhythm. his unique take on grime reduces the sound to its steely fundamentals, bringing in influences from dancehall, drum and bass and techno to gird the voices of the mcs he works with. his own name for this hardcore continuum mongrel is hi tek.
anthoney struck a friendship with the academic and theorist paul gilroy, who wrote the album introduction below, after starting personal research on representations of working class and mixed race families. he asked paul for some help after coming across his work via stuart hall, paul’s mentor. their discussions and friendship developed, and it dawned on anthoney that his research and the east man album had some synergy, so he asked paul to write a piece conveying that.

the ebm-indebted techno funk of james welshs thread reemerges from the industrial fog, evolved into two outstanding remixes by a trio of established, emerging and somewhat unexpected artists. ozel ab delivers his debut remix, reimagining thread to encompass a widescreen vision of depth and drama. unfolding slowly and ethereally, with military kicks holding down a seemingly weightless, extended breakdown, his taste in dreamlike rave euphoria contains the same magic touch as it has done on previous, acclaimed releases for workshop and lobster theremin. on his garten remix, radio slave takes a percussive approach to the relatively raw electronics of the original track, adding a deceptively simple but immediately effective layer of drums to the production, before unleashing a more filtered and fucked-up interpretation of the riff to winning effect.

calling in the favors: marcel dettmann, roman flügel and scuba under his scb inversion disguise, take apart songs and tracks from tuff city kids debut album adoldesscent. dettmann, submisses to his new wave and em callings, keeps the song that is scared intact, but mangles it into a fast-paced pogo piece, while flügel uses his second take of rmancer (see the happy gerdy remix for reference) to push it into the k-lauer abyss, before scb inversion tones down the rockism of nordo and makes it inherently his own. to complete the picture, you get thorarium by tck themselves. a previously unreleased track that is basically a remix of a previously unreleased track

it s been a while since we last heard from flord king, who has popped up on junk yard connections as well as regularly featuring on lyssna. it s the latter label he returns to now, and he s got some focused, stripped down club fare to impart. -el klassiko- is a shuffling, funky minimal house jam with some wriggling melodies and a subby bass throb, while -avocado in blue- does a quirkier turn with some crafty synth flex that really stands out from the crowd. -bob- too is a distinctive cut with some detailed layers of dubby ripples and errant computer debris quivering and shaking over the mellow pads and steady beat. -deep diff- twists out some cheeky bass and an overall emotive mood that ends the record on a poignant tip.

as the wind whistles through your hair, everything passes you by in a blur. faster and faster you go, faster and more terrifyingly into the abyss you fall. you scream with a mixture of panic and joyful abandon half wanting this to never end but knowing that it will anytime now: a smile creeps across your face. and as it ends, you breathe a sigh of relief, wistfully remembering with powerful emotive accuracy before hurriedly joining the back of the queue for another go - after all, it s just a ride. life is very much like the blitzbahn . it goes up and down, round and round and for much of the ride, we never know what s going to happen. here on his fifth studio album, oliver schories explores all the fun of the fair across 13 expansive cuts that showcase his incredible knack for straddling that house/techno mid-point with consummate ease. some artists take years to craft their albums, agonising over every detail before, frustratingly, deleting the whole project and starting again. oliver, however, is as prolific as he is confident of his ability to construct the kind of dance floor bombs that have helped him to build a significant head of steam in the underground.

betty wright is a 64 year old american soul and r&b singer and songwriter, who rose to fame in the 1970s with hits such as -clean up woman- and -tonight is the night-. like aretha franklin, betty was blessed with a four octave voice range and is adept at using the whistle register. pressing on 180 gram audiophile vinyl.