next up for rhythm sections club focused sub-label international black 004 is here and it is bringing the heat - this time from tennessee, usa. mister saturday night and cgi affiliate alex falk delivers a 4 track ep made with one thing in mind the dancefloor. taking influence from the likes chevel, levon, redshape and phase, alex falk achieves a singular vision merging american and european styles of techno. opening with upp, an effortless techno groove with a tight rolling bass line, classic lead stabs that pulsate, twist and turn as the heavy kick punishes the subs. beta comes in next with a serious low end bounce a distorted bass bump pushes the system to the max before being followed up by lower sub all swinging around a fat house kick and tight percussion another club stomper for the serious rigs only. the b side is a proper dub techno workout.

imagine a peaceful cyberpunk world where flowers are used instead of laserguns, where bamboo towers are high in the sky and your fingerprints digitalized in a papermade card. this is the utopia you re living in while listening to this record. from the crowded city atmosphere of « mecanic chipo » to the suspended garden of« lady chipo », your existence is harmonious and serene. as a casual salaryman you dream of the countryside in « chipo sleep » but are waken up by the « chipo dub » bonzaï alarm clock.
« chipo sounds » reflect these everyday life and reveries which are at the end, not cheap at all!

hypnotic technogroove that never seems to end.

part 2 of out licenced infinity 45 releases, another disco funk crossover dancer thats pretty under the radar, the track for me is the floaty disco b side end of nighter, trust me this one works.

limited edition of 1000 copies on green & yellow marbled vinyl (death money) with download code included.
vive la void is the new solo project of sanae yamada, co-founder and keyboard player of moon duo. yamada wrote and recorded the self-titled debut album over roughly a two-year period, during windows of downtime in moon duo’s substantial touring and recording schedule. the dense, shape-shifting atmospheres of the seven songs grew out of late-night basement experiments in the layering of synthesizer tracks, a process that also led to meditations on the changeable nature of memory and perception. the result is an undulating blend of ethereal swirl, low end thrumming, and electric crackle, buoyed by yamada’s understated but captivating vocal melodies and her striking lyrics.

after a period of hibernation, aperture records awakens with a bang and a compelling program in the pipeline.
following their first album released on aperture at the tail end of 2015 ‘no.3.obliate’, the italian duo t.e.s.o. bring us their second full-length album ‘costruzione 04’.

with this new release, parisian soul unveils a classic from montana production reworked with a new keyboard bass line of their own, four movements and an original deep house ending of their own creation to softly end a mix. face b revives a scarce track from hip-hop disco with a massive and prodigious beat to set clubbers on fire.

300 hand numbered copies with added insert. on the 17th of june 1976, a large crowd of young south africans marched through the streets of downtown johannesburg. the protest was an outpouring of public disgust at the recent actions of the apartheid government and its racist police force who, just the day before, had violently quashed an uprising of black school children in soweto who were protesting the humiliating enforcement of afrikaans in their schools. in the process, they shot dead a boy called hector pieterson. he was 12 years old. the harrowing photo of umbiswa makhubo carrying hector s body through the dusty streets of soweto, taken by a local journalist that day, spelt the beginning of the end of apartheid. the world now had a view into what was really happening under the racist national party.

brilliant funk-soul from 1973. written by leon sylvers iii, produced by a heavyweight line-up comprising jerry butler, keg johnson and michael viner.

the „here & now ep” is the second instalment of a three-ep-series coming up in 2018. christophe salin is taking us on his musical journey and paves the way for cooperation with future artists on his very own imprint „salin records” that he runs with his wife daria salin as a platform for electronic music and art.

no intro needed as „dreams sometimes come true” instantly takes us on the groove line. „astra perle” keeps the groove alive with some heavy jazz samples. you maybe remember sitting in your first car (christophe’s first car was named „purple pearl” and was an „opel astra “) and just cruising thru the city. imagine to be suddenly overwhelmed by a creative hole, „ohh no, not you “… turn over to „can you pay my bills” the journey continues with more jazzy vibes to end up with a downtempo lounge-dub-work which is indeed „different but sweet“.

returning to hypercolour with the persona non grata ep, mor elian continues to flourish with four killer cuts of electro and techno infused goodness. following 2016s drum vortex ep, elian has clocked up superb releases for delta funktionens radio matrix label, delft and her very own fever am imprint. on the persona non grata, elian serves up dusty electro beats, icy synths, headsy techno flavours and bottom end funk!

mid june will see the launch of echocord sub-label echo echo with the ‘dream observer’ ep from grad_u. copenhagen’s echocord is a dub techno imprint with a history dating back fifteen years and a back catalogue featuring material from genre defining artists like deepchord, fluxion, sven weisemann, pole and grad_u who launches the new off shoot imprint echo.
the release opens with ‘jacob’s dream’, fifteen minutes of release date: subtly modulating synth glitches, ethereal synth drones, sweeping atmospherics and dubby echoes creating a hypnotic, ever-unfolding composition.
‘observing the night sky’ then follows on the flip side with thunderous kick drums, rumbling low-end pulses, wandering dub chords and bubbling glitches all subtly nuanced throughout the tracks ten-minute duration.

a new heart-stopping piece of work by visonia in which sadness, happiness, hopeful and desperation are in a continuous battle. as a result of this distress and ad nauseam the chilean artist has asked himself about the sense of life and figured out how to look on the bright side. doubtless, if we talk about -fake wings- we could point out that this one is an epic and thought-provoking album composed of 6 wicked tunes and released on lovely pinkwhite vinyl.

only one month after the release of their first ep on mt on may 2018, vactrol park continue surprising, this time with a full lp in the shape of “music from the luminous void”.the album sees vp delve much deeper into more atmospheric realms. using modular synths and unexpected drum machine sequencing they leave the 4x4 beats behind in favor of off-world rhythms and ever growing bass. &#8232,,,,, starting with drops’s high frequency tension, laying on top of those heavy kick drums it keeps on growing and growing. from there it moves to the “end of the party” groove that is novikov’s notation, and its trippy monotonic rhythm. the a-side ends with the heavy sampled ambient track macbeth, bringing forward that mesmerizing flute solo by italian artist luca spagnoletti yet succeeding in avoiding the kitsch, and with a touch of class. &#8232,,,,,&#8232,,,,,the b-side delves even deeper into ambience and atmospheric muzak. starting with bells, that features again spagnoletti on flute. then we get into the real gems of the album - anstruther and glove. the first is a pure trip into modular psychedelia and repetitive jazzy-like drum rhythms, creating tension right from the start and plays with it throughout the track before decaying slowly into glove, which is in sense both the catharsis and the decompression session of the album. like a 2018 version of vangelis, this track’s soundscape will keep you dreaming with your eyes closed long after the album ends. &#8232,,,,,

junes kicks off a new imprint, dote, with a full-length exploration of the direct yet dreamlike sound he s made his own. with his usual flair for crisp grooves and ghostly palettes, a view reveals a broader range of nuanced vibes. second wind and stop, elate show a playful buoyancy, and a sense of discovery in tracks like balancing act and two-sided embrace add a narrative pace to the collection. there s time for some of the creeping, spaced out atmospheres that hallmark some of junes previous best, but with tracks like packaging, the realisation of this sound is richer than ever. there s a restless feel throughout the work, too – especially evident in the closer spooked – and a feeling that we ve been on a trip that doesn t end here.

after bursting onto the scene in late 2017, hyperloop makes his drumcode debut with green velvet in toe. followers of truesoul will be clued up on the quality one can expect from hyperloop. last october he marked the label s 100th with in the loop , a superb three-tracker that signalled his arrival on the scene and highlighted a stunning year for the label. as 2018 picks up pace, hyperloop returns with a tougher follow up for drumcode. his mentalizm ep is a classy example of his versatility, a trio of original works, accompanied by two dj tools. beginning on a menacing tip, in your mind (reflections) is a low-end brew of industrial stabs, eerie melodies and subterranean vocals. ‘s-sound is his collaboration with chicago legend green velvet and is a percussive masterstroke of loops and drum riffs which drive the eight-minute track with all the puffing ferocity of a steam train. spring on the battlefield is the perfect contrasting accompaniment, as a warm rush of strings covers a bed of intricate analogue effects and stomping kicks.

its time for magaritas. dresdens master of the sampler alexander scharf chops up cheesy germanness for greater good and varying experiences: schlager-upcycling it is. -nur mit dir- is a lovely summer day s theme, the anthem of freshly found or long lasting love, the hymn for the night with your loved one. -ode an die fröbbe- is the morning after. the morning after the morning of too much togetherness: honestly weird and weirdly lovable. in the end -grünalge christian- keeps it all together. thank you, christian. thank you, schleander.

melchior sultana is back on his own profound sound with another cascading celebration of sheer musicality and sunkissed dancefloor dreams for sunsets that never end. if -timeless- doesn t transport you to a balmy, carefree state of mind then you should probably see a doctor - every inch of yearning synth, guitar, bass and beat is tenderly engineered for pure escapism. -the message- has a similarly rich sound bank, but it adopts a duskier mood that ever so slightly edges towards the club instead of the terrace. -i m serious- skips past the peak of the night and beckons you straight through to the after party - equal parts seduction and wind down for dancers with the mediterranean sun in their soul.

jaars other people is pleased to present a new solo record of guitar and live custom electronics artist patrick higgins, an american avant-garde composer and producer from new york city. higgins is known for his work in experimental and contemporary classical music, playing guitar and composing in the mythical avant-noise-jazz ensemble zs. his solo work as a composer unites european avant-garde forms with the post-minimalist howl of new york. his upcoming release on other people, dossier, is a four-movement piece performed live without overdubs or edits. all of the samples and synthetic patches were custom built and specifically engaged to become elements of live guitar manipulation. the sound world is post-apocalyptic in spirit but builds to an intimate and reflective end. the material was developed over a two-year period and finalized at the end of 2016. cover art is by alfredo jaar.

after the successful first year with four remarkable techno va releases, propaganda moscow launches the brand new series: code. inspired by hi-end and computer technologies, code will represent top electro and similar styles sound.

zweites album der französisch-schottischen electro-pop-band, geformt in joakims pariser kaderschmiede.

jon allen, acclaimed singer-songwriter from london, england is set to release his highly anticipated new album, “blue flame”. with a voice that is equal parts rod stewart, van morrison and sam cooke, jon allen has an uncanny ability to write songs that feel instantly familiar.

sagmen third release featured greg pidcock and andre salmon who combine to deliver ‘you got it’ ep with four dark house cuts plus two digital only mixes. uk producer greg pidcock’s nomadic tendencies have fostered a strong connection with his music which has seen releases on esteemed labels like hot creations, get physical, culprit, saved, not to mention founding his montreal-based imprint flora. meanwhile, andre salmon’s extensive knowledge of music production has earnt him releases on the likes of repopulate mars, leftroom, hottrax, suara, before founding sagmen alongside aert prog. ‘you got it’ delivers a heavyweight kick and sharp percussive rhythms that lay the foundation for haunting arpeggios and an intoxicating vocal hook before ‘loco’ provides grooved drum patterns, a powerful bass melody and an array of intriguing synthesiser transitions, with epic vocals effects . “tfss’ offers up warped vocal samples and mesmerising motifs on top of a pulsating low-end whilst “esto es montanita’ hits hard with crunching drum sounds, enticing filter sweeps and hypnotic samples. two digital only ‘black mixes’ conclude the package, with the first reinterpretation of ‘loco’ setting an ominous tone until the alternative version of ‘tfss’ follows with a rumbling bass, crisp percussion and dubbed out vocal licks.

erotek is back with his first ep since 2004 with a hybrid ghetto electro ep. “double time”, co produced with the anxious beat director, and “this i know” have been produced in recent times whereas the other 2 tracks “4mo” and “twisted truths” are archival projects from the end of the 90s. varying from 4/4 beats to broken patterns and electroid rhythms, this ep presents different facets of one of the classic detroit ghettotek producers.

sagmen co-founders andre salmon and aert prog team up for a solid single, featuring remixes from matteo rosolare & jojo angel, mr jefferson, as well as aert himself. individually, ecuadorian salmon has appeared on leftroom, repopulate mars, hottrax and get physical, while parisian aert prog has had output on anima somnis, laboratory records and popof’s form. launching sagmen at the end of 2017, both producers have appeared on separate releases on the label so far, however the founders now come together for a collaborative release, blending both their sounds together. ‘sagmen’ opens the release with shuffling kicks and claps whilst alarming drones and bumpy rhythms creep throughout, before daylight robbery records boss matteo rosolare teams up with greece’s jojo angel version comes bouncing in, littered with crisp percussion and shaky hums. twisted fusion and resonance records producer mr. jefferson’s take on the track rolls in after, full of thunderous tones and clanking beats. these carve the way for aert prog’s remix, which strips everything back, twisting it into moody roller.

“struggle artist” is the new album from justin c. meyers, the minneapolis-based composer, artist, and head of the sympathy ltd. label. meyers is a unique, underappreciated talent in contemporary electronic music. his greatest strengths are twofold: his compositions have a meticulous structural logic, revealing a hermetic and austere formalism, concurrently, his compositions have a deep, introspective narrativity grounded in his lived experience, evoked with a mature clarity. together, they make meyers one of the most interesting electronic musicians working with cutting-edge sonics today, unlocking their latent powers of metaphor and figuration. his previous album, 2016’s “negative space (1981–2014)”, deals with the onset of chronic illness and near-death experience. its careful, anechoic meditations on the failing body are a resounding achievement, and the album remains a high watermark of acousmatic music in the 21st century. “struggle artist” portrays meyers’ expectations and disappointments arising from making art in his free time. created initially during lunch breaks and in hospital waiting rooms, and finished after being laid off from his job, it catalogues the despondency of the precarious life. if “negative space” was about the fallible body, “struggle artist” is its violent collision with late capitalism.

red brut is the moniker of marijn verbiesen (part of sweat tongue and jsca). as red brut she is isolated, displaying a highly talented ear for day-to-day sounds, musique concréte composition and spontaneous sound collage. this stand-out record is a sketchbook documenting a wide array of obscured emotions, unveiling the inner soul of a highly talented and unique voice in avant-garde tape music.

the aesthetics of this ep is related to the universe electro / idm early 90 s by a choice of very precise synthesizer. p6, sh- 101, tb-303, tr-808 and to coordinate the whole an rs7000 which comes to rhythm this refusal of modernity. foreign sequence digs into the techniques of the past to find the answers, he shows his know-how here and uses it to express a multitude of emotions between nostalgia and optimism.

new to the all day i dream team is newman. his name literal. this new york based artist is at the beginning of what we believe will be a long career both through his emotive productions and compelling beautiful dj sets. the release itself sits at the more dance floor oriented end of the label. both breath of the souls and the long journey have been truly tried and tested at this point. solid grooves, wailing middle eastern emotive lady voices and strings. for our events, these are the peak time anthems. the ep also features when the leaves fall, closing out the release in blissful style, and a warm welcome for newman to our all day i dream family.

dino lenny returns with a new dark dancefloor drop, ready to cause a stir after a string of on-point release over the last year on the likes of innervisions, diynamic, ellum and sapiens. title track techno is dead lands on his own fine human imprint and takes a play from people sentencing the end of a style, but the truth is the floors are having it like no tomorrow. sonic wise, its a 8 minute slice of driving, shadowy, electronic sound, with rumbling 4/4 beats and warehouse ready builds working in tandem for a truly standout piece of finely balanced sound, that will no doubt light up the clubs. following up is go down to mexico, with an array of off kilter stabs and trippy vocal elements solidifying dino s dexterous production style. expect to hear these across the clubs in the coming months.

roy davis, jr. s undaground therapy muzik label relaunches after almost 20 years with al zanders guidance ep. al zanders approach to his first ep of 2018 is as precise as it is whimsical. featuring 4 tracks showing zanders sheer versatile when it comes to making music. opened by piano-percussion track martha s revenge which is made so clearly for dance floors, followed by television, a chance for a closed- eyes boogie be it on a dance floor in the middle of a set, or on the sofa at home. on the b-side, likes for cash s comedic title is met in contrast with a piercing synth top-line and stripped back drums, with just enough of a bassline to sit in-between the drums and synths. closing the ep is guidance, a reflective and a chance for the ep to close as well as it would close a dance floor when the lights come on at the end of the night.

2018 repress in plain white sleeve.
critical come extremely correct once more with what is bound to be an early summer smash as a certain dub phizix picks up where the almighty marka left off. teaming up with fellow manchester scene stalwart fox proves an inspired choice here which critical just couldnt ignore, so invited him back to drop these two more astonishingly fresh tracks for this, his second outing on the label. simply put, >never been< is baaaaaad man business. a lean, stripped back percussive intro leads us to a breakdown where fox greets us with the sickest of vocal hooks that you will be trying to decipher until the end. when the tribal half-time break drops its time to bounce as the undulating b-line rolls heavy throughout with dub phizix teasing with awesome drumedits and amen shakedowns. riddim! cinematic soundscapes and a solid beats combine on >codec<, a more bass-led slab of equally dance floor drum & bass that retains the dub phizix air of originality with an experimental break the kicks like a mule. another winner without doubt from a very exciting splinter cell coming out of the north of the uk right now.

redshape stars in another deep tripping, sci-fi odyssey on his imprint for present 16. opening the gate reveals a slow but surely building burner that is classic redshape, ripping the space-time continuum fabric apart at it s spoken word climax narrating of solar winds, cosmic ray particles and the speed of light. heed the track s unmistakable call and take flight on an interplanetary elevator with parched, bone-dry percussion, twisting lines with propulsive bass and growls that rumble underneath, enveloping you in an air cabin of jedi-level sound design prowess. the ride truly begins next with voyager. it s all aboard a throbbing deep low end countered by floating, melancholic sustained chords with twinkling bleeps and fading bloops that light up like the star-studded milky way. frantic hi hats and modulated percussion work keep riders on the edge of their seat through this fantasy space-age joyride at warp speed.

nichts passt besser zu dieser aussage auf diese wundervoll zusammengestellte und verzaubernde musikselektion, die, wie auch jeder agnes obel-song, ruhe und frieden ausstrahlt. es ist die entschleunigte antithese zur rush hour, wie ein zugefrorener see an einem sonntagmorgen. agnes obel verbindet songs der enigmatischen jamaikanerin nora dean (eine duke reid produktion) mit dem kargen, bitterbösen -party girl- von michelle gurevich, das den gleichnamigen französischen film inspirierte. wehmütige stimmen von the bulgarian folklore choir, nina simone, ray davies und agnes selbst treffen auf mehr oder weniger elektronische tracks von yello, can und der griechischen kultkomponistin lena platonos. garniert wird die kollektion mit neuem agnes obel-material wie den dänischen song -glemmer du-, die vertonung von inger christensens -poem for death-, sowie den song -bee dance-. die doppel-lp erscheint als limitierte 180g pressung mit allen 19 ausgespielten tracks, audiophil auf halber geschwindigkeit gemastered, inkl. bonus-download-code mit allen tracks (einmal komplett ausgespielt, einmal als mixset) in wav/mp3-formaten, im gatefold mit antistatischen innentaschen plus kunstdruck in 12- größe.

lithuanian based label sodai started its journey in 2016, making it a label still in its infancy but making a big impression. owned by artist gardens of god, who started the label to create his own no limits platform for his experimental sounds and projects. while at the same time a platform to give other artists the chance to also have freedom with art and music. with releases from raxon, few nolder and alex krell under their belt, they can announce the exciting debut from uk producer third son this april. ive been an admirer of gardens of gods music for a long time, when he asked me if i could do something for his imprint, i was more than thrilled! adds joseph. syncopes synths spread far and wide, making this a journey of a track, modulating and panning in and out, pushing and pulling along a percussive drive. his broad musical range can be felt in this mix, with its slightly hypnotic tones. irony has a punctuated low end, which creates a deep and dark groove. the synthetic elements in this track gain in attitude, on top of ambient pads, leading nicely into bach to close out the release. its driving and determined bass makes the backbone of the track, with a modulating hook line, along building and expanding frequency ranges. the whole package makes for a very strong first release from third son, and sodai are excited to be welcoming him to the family.

for ‘disco club’ (1978) i worked with a drummer making loops that were adjusted, to create the hypnotic groove that is so special. despite the fact that it was all recorded in a professional studio (in a suburb of paris) i find this a very ‘artisan’ disk because it was all done using equipment that we now consider “home studio”. my producer, jacky giordano and i chose to use nicknames for the credits: he would be ‘joachim sherylee’ and i would be ‘junior claristidge’. as for black devil, that was the end result of this change: an extension of me, a new character. - bernard fevre, 2015

the 3rd release on alma negra records is dedicated to the music of eritrea, a small (in african terms, that is) country nestled in between sudan and ethopia on the south end of the red sea. drawing from its native spiritual roots as well as the christian and islamic influences of conquering factions, this multiethnical country is home to an amazingly diverse plethora of cultures and musical styles. on this ep, we are happy to showcase the music of the saho people from the region of zula, which is located in between the coastal lowlands close to the dahlak archipelago. the word saho roughly translates (translated?) as nomad, pointing towards a lifestyle where tradition and culture is being passed on orally over generations. the exact source for these edits of the saho sound are thus lost to the murky depths of history, as they are based on traditional folksongs

from his saint denis apartment, and with the help of his machines, labelle has laid the foundations of an electronic maloya, modern and deeply rooted in its home territory: la réunion. on univers-île his latest album released in september 2017, the sound of the creole reunionese language played a key role. on post-maloya, labelle release a fascinating ep of introspective trance music.

it s time for a fresh new release from the apollonia stable, and this time around we unveil four groovy gems from shonky and tolga fidan working together for the first time, giving us a winning combination and one which is sure to satisfy fans of both artists. the first track dynamo sets the tone for the ep, the bassline has a deadly groove, while playful effects dance around at the top end creating an immersive atmosphere. intergalactic vibes. after that comes bastille , which features a similarly jaunty rhythm with a variety of bleeps, chirps and twangs layered on top on each other to give the track its depth and character, while a menacing b-line does its dirty work in the low end.on the flip we get micro-ondes , a mysterious into the undiscovered lands of planet funk. you feel as though you ve been transported to another world, where warped creatures lurk, calling out for your attention. as for the bass, its rhythm is utterly contagious. finally americana completes the collection, maintaining the unusual use of sound prevalent throughout the ep it utilises a myriad distorted instruments. support in the low end comes via a tough, punchy bass riff.

weapons of mass destruction was one of the last eps by nur jaber , which is best known in berlin for its residence at the techno-matinee staub . this could be heard slammender, dry techno with sometimes disturbing vocals – hope sounds different. more precisely: hope sounds like the first longplayer of the native lebanese. if only – a state of peace still carries a conditional in the title, but the music on the nine tracks speak very directly of a better world. inspired by the herbaceous-cosmic sound of the berlin school, ambient and ambient techno in all its facets and the friendlier side of the artificial intelligence tradition, the osf unites-mit operator on their debut album a variety of styles, which are translated into an equally sensible as multi-layered narrative. peace, that would be something for a change.

after 7 releases, rivulet records says goodbye. the very last release comes from cofounder stanley schmidt in collaboration with his long time friend hobor. the two leipzig based artists had the idea to release an album together for years and to finally bring the work to an end as well as to the label felt just right. the album itself ranges from eerie and otherworldy ambient tracks to banging lofi-jungle sounds. it mirrors the musical taste and exchange of the two artists. listen to it at home in full length, or play it in the club when the time is right – it works both. rivulet records says thank you to all the artists, dancers, listeners and friends. it has been great. leipzig, 2018

acid hologram is a record that travels between past, present and future. it is a real mix of different stiles, this makes it difficult to define as a genre. analogue incursions typical of acid and electro fuse with the melodic immediacy of trance, cohabit with cruel drum breaks and crazy idm interventions, creating a scenario composed of different styles and nuances, bizarre as well as emotional, enveloped by an idea of euphoria typical of the underground music of the early 90s, that allowed us to rediscover a personal sound, without compromise. produced between the end of 2013 and 2017, it was published as a limited edition and the first cassette release by weme records, the idea of the format justifies the need to publish such a high number of tracks, on an alternative medium that is able to reflect the identity of an equally unconventional sound. the tracklist titles reveal visual suggestions that recall the years of the rave scene of the early 90s and the cyberpunk imaginary in which the author grew up

real name takeshi fukushima, takecha has been a key figure within japan’s electronic music scene for decades and belongs to the same pioneering crew as soichi terada and shinichiro yokota. now in his mid- fifties, ‘deep soundscapes’ is an album encompassing fukushima’s sound with every track written by the producer between 1990 and 2013. intricate percussion and crystalline chords set the tone in ‘deep drive’ before a funky bassline joins serene synths in ‘midnight things’. appearing in soichi terada’s mix for resident advisor (under its promo title ‘deep loop c’), ‘gradual atmosphere’ is comprised of a galloping beat and saccharine chimes, ‘factory 141’ sees takecha demonstrate a murkier aesthetic, whilst ‘rhodes detox’ is a definitive example of takecha’s flair for expertly balancing elements within his productions. an homage to shufflepuck cafe&#769,,, an old mac plus video game takecha would play on a black and white 9- inch monitor back in the day, ‘shufflepuck’ blends ghostly melodies with clicks, whirrs and pops. ‘calm imagination’ is a poignant affair from start to finish with its hypnotising atmosphere, contrasting to the more up-tempo ‘warm rondo’ with its soulful keys and purring low-end. tying it all together, ‘genuine innocence’ is a cut that takecha made two versions of, one with a solo from a pianist and another with more emphasis on the beat, the latter of which appears on this album.-

the second release on kons officially licensed kontemporary imprint is here this time he takes on one of disco s anthems to devastating effect, deftly reworking sylvester s evergreen over & over. a true dance-floor bomb, over & over is just one of those records, originally written by the legendary team of ashford & simpson its inevitable that this jam oozes class. kon has lovingly freaked the original master tapes into 2 brand new, fresh versions that will undoubtedly find their way into any self-respecting disco freaks dj set. on side a we have his found a friend remix, a beautifully reimagined and restructured version that leaves lots of space and let s those wonderful strings really soar, finally crescendoing in total disco glory! it s no wonder that the mighty dj harvey has been closing his sets with this one. pure class. on side b we are treated to an amazingly bold dub mix, in keeping with the traditions of the classic labels, west end, prelude, fantasy and co, its sparse, melodic and contains just enough juice to keep the people dancing and asking for more! this is an essential official release, 2 future classic mixes from one of the world s best remixers further sonically enhanced by boston native caserta on the mix. licensed courtesy of the concorde music group.

uncage founder marco faraone makes his second appearance on rekids with a massive vocal cut entitled ‘on my way’, featuring a remix from 50weapons and hyperdub’s addison groove. the italian techno producer had an active year touring in 2017, dropping only one release on tenax recordings. however, 2018 is already proving to be one of his busiest on the production front, with releases appearing on rekids special projects, on edge society and his own label uncage, not to mention forthcoming appearances on gigolo and avotre. he now returns to rekids with his biggest sounding record yet. with its infectious vocal, rolling kicks and off-beat hats, it is undeniable that ‘on my way’ is destined to become one of this year’s most recognisable club tracks. on the flip, bristolian producer and swamp 81 affiliate addison groove has produced an intricate remix featuring a cacophony of percussion as a stuttering low-end joins chilling synths. finally, faraone concludes the package with a ‘dub acid rework’, losing the vocals whilst incorporating heady 303 licks.

it s the fourth go round for monsieur blue, who steps back up to the plate with another three surefire jams from the slinkier side of the minimal house spectrum. -track 1- is an exquisite trip through blue-hued keys and shuffling drums, striking a fine balance between the lounge and the dancefloor. -track 2- takes a moodier approach, eking out mysterious chords and injecting a little juice into the low end to suit a more rugged situation, and then -track 3- jettisons the ballast and pings off into a dubbed out sphere of house music perfectly crafted for the times you want to get lost at sea.

rhyw is alex tsiridis aka one half of cassegrain. on this, his solo debut for arcing seas, his smoul-dering alien techno sound manifesto continues to thrive over three unique tracks. the morphing, deconstructed acid of unpunishable - a molten statement of lusty intent - strikes first in a heady, hazy pummelling of doom-funk. ‘vertisol pushes crisp and dry snaking percussion through an anechoic chamber, the bass end neatly warming at first then burning hard through your mid section. an icy cold shot of ‘aqua velva is the final offering - a pushing sub-level trip through rhyws private domain - where tingling rushes of bass and static charges wash over us leaving a sinful residue. arcing seas is an anagram of cassegrain. it started out as a secret alias, releasing a couple eps on our circula sound. the secret was less well kept after the duo appeared at berghain under this name. a year later, after deciding to start a label, it finally made sense to bring the two together

klangkeller records, recognized for modular sound experiments, catchy beats and percussive rhythms, has done it again with audiokerns third release a personal way ep. the ep delves into experimental, abstract and electronica grounds. audiokerns sounds are stimulated by the external world and their atmosphere, with a drop of the basic essence of electronic dance music. these 8 tracks are certainly a confirmation of it. uncanny valleys live drum is fresh and magnetic alongside dissimilar jingles and swishes which positively balance. wired system is abstract, with a dark added vocal at the end which brands it as a powerful track. differently, under the same sun is entirely melodic, with beautiful dreamy waves that genuinely make you touch the sun. it continues with the night of glory. its duskier moodier vibrations and a few words add an exciting and dark temper that still fits purely within the ep. element of trance and hypnotic place are all about bringing the listener into another dimension. it alienates and hypnotizes you from reality through the quantity of small alterations and sub kicks within the sound. to conclude, dont forget the animals is mysteriously percussive, its like different animal roars assorted together, its gorgeously confusing.

dj koyote and too smooth christ team up to release on some party tunes, a 3-track ep of collaborative and spontaneous jams. willing to produce coupe-decale-inspired tracks with old analogue gear, they crafted at the end an hybrid sound mixture, somewhere between south african house, grime and uk funky. on error : does not computer, a tr606 meets swirling arpeggios spiced with crystal riffs. a sneaky bass line provides an even more swaying groove to the track. on strike (on-a-string mix), a straight-out-of-pretoria riff meets a strong and conquering string stab on top of a really dry and thumping beat. modern action is the most introspective track of the ep, with an m1 pattern flipped upside-down and hazy cymbals rythms.