reissues from 1996

includes remixes by jamie 3:26 and brisa.

incl slow hands remix

italian dj / producers based in london influenced by dub to disco & funk to punk

rsd, 2xlp with printed inners & numbered sleeve, 1 per customer

great new album by demuja

life is like a mirror ball! the first one in a hopefully long-lived series of disco and pop influenced super sound singles on running back, comes courtesy of the unmistakeable gibson brothers. leaving their biggest wedding hits -cuba- and -que sera mi vida- to the side, the philanthropic and smile-forcing -ooh, what a life- gets an extended edit service by shan & gerd janson, who cut away some of the fat and make it fit for fun on contemporary dance-floors. the flip side sees them remixing and sandpapering -heaven- into a disco-house interbred (filters and looping mandatory). to quote john lyndon: -disco sucks? you never heard that from me.-

repress - reve is a new label from paris. dedicated to artists from all around the world, genres & areas, respecting the 12 inch history, its heritage and available as digital too. this new label brings its first issue with paul johnsons cover aka the p.j. project of one of considered best larry heard & robert owens track : >bring down the walls<. originally released in 1986 on trax records, paul does the whole track with the last gear generation, >the best ear of chicago< goes back to the house roots. on the other side, one of the few ron hardys protege : k alexi shelby interpretation of glenn underground >indians & bagpipes<. k refreshes this anthem with the highest chicago edit level you can aim. deeply thinked structure. doubling the bagpipes adding subliminal frequencies, colors wish is refreshing the track. he follows his rules and put his style in it. after playing it for years. it is both >handbanging< as we say here & subtile. hit. to conclude this extended play, professor inc brings a remix focusing on the filters moves & trackey part of glenn underground, big sound, infrabass & fatness underground dj tool.

the 3rd longplayer from ny duo tempers.

the third 12- from the -forgotten art- cd. out in 2012 and gone since 2015. -shiloh- is house cut with heaven sent horn, big bass, and subtle filters. -we the party- on the flipside begins with an arpeggiated synth line and rolls in with sweeping pads and a vocoded vocal hook. repress scheduled!

this record contains: filters, singing, polish railways samples, the right touch of big beat and melodies & it can help you clean the air of the club.

aphtc return to arcane patterns with a two-track single for their second release on the imprint, following the success of last years when grounds shift. rewind the subject is a stripped-back, anxious roller sitting at 130bpm, with modulated subs and panicked percussion. flip the record for becoming none, which filters distorted think-breaks among a frenzy of razor-sharp stabs that scythe through the tweeters. dance like smoking weed on mars, not like a tree in the wind on earth follow the hihats, not the dreams that chase you fast-forward yourself, rewind the subject

r.a.n.d. muzik recordings knüpfen an ihre neuauflage von mick pointer s underground-klassiker fat filters vol. 1 an.

hailing from nashville, tennessee - a city better known for being the cradle of country music, jaundice and dzee form the backbone to the future dz duo, which has way less to do with johnny cash than with the hague sound, and their latest offering for the label they help co-run, tram planet records, although tracing rings of fire in its wake, further ratifies that lineage.
a shape-shifting collection of post-apocalyptic detroit electro and squelchy acid grooves sieved through filthy filters - perfect to play in your muscle car while speeding the highway at night, splint mask finds the duo at their most epic and unhindered. premiering today through our channels, sawed off is a high-octane 303 fuelled racer blazing with a hint of unit moebius weirdness and off-the-cuff rugged hardware spritz. if you like your electro scruffy, grinding and aggro like we do, future dz have you covered. get in the zone and feel the burn, you’re in for a treat.

mika visited the moog sound-lab in april 2015. he made one his last known solo studio recordings in the form of two vinyl sized side long pieces. entitled “lydspor” - danish for ‘soundtrack’. mika worked almost exclusively with the lab’s moog modular system 55.
this uk sound -lab instrument is the sole protoype model (containing several golden filters) of moog’s recent sold out reverse-engineered edition (55 units only) recreating the 1970’s classic.
on completion of his sessions mika announced ‘i could work with this machine for the rest of my life….i would need nothing else”.
a second moog session was planned but tragically mika died in an accident in april 2017, shortly after he had approved the vinyl mastering.
pressing on translucent vinyl.

having hallmarked their success through their ability to showcase the hottest talents in dance music, whilst being renowned for curating some of the finest compilations over the years, londons finest party collective, future disco now offers a warm welcome to gimbrère to the imprint. the young dutchman steps up to the plate with his heavy weighted disco weapon, a thing, seeing ava regular jordan on the remix duty. kicking things off, gimbrere teases with a series of sweet melodic disco grooves under a booming range of 808 kicks, slowly sweeping off the filters to let the passionate vocal howls let loose and tear through the speakers. coupled with thunderous crashes and well deserved breakdowns, this track is without a doubt some real peak time business from the flying dutchman. on the flipside, jordan lays one down for the early hours, switching up the beat into a trashy hi-hat affair, making room for a wobbly old school bass and synthline to playfully glide along with the sam-ple hooks. two completely different, yet equally as satisfying cuts, rounding off what is yet again an-other quality release from the future disco crew.

an ardent heart is a focused techno mini album that brings forward stefan goldmann’s most dancefloor-centered material in a decade. the tracks push and pull relentlessly. despite their linear appeal, there is an intricately balanced interplay between the heavy-handed kicks, the bouncy bass accents and the sizzling, yet clear-cut details whipped up by the rallying drums. the peculiar, seemingly “vocalised” mode of synthesis is maybe the most unifying sonic characteristic of the six tracks and one coda. formant shaping, vowel filters and airstream perturbations let a wide range of sounding elements speak in the tongues of a cybernetic babylon. layered polymetric patterns perforate the aural plane with alien scripts. clearly structured, yet opaque messages that seem to have traveled for aeons emanate from the red-hot circuitry. they spill into a network of delays, channeled down into labyrinthine corridors, enveloped in electrostatic noise. most tracks build on chance patterns evoked with hardware sequencers and freeform modulation sources. the resulting synthetic systems are as cohesive as they exhibit vast internal variation and range. thus balancing simplicity and complexity right in the middle, the results are just as immediately gripping as they can feed sustained attention. a wide palette of distortion and overtones mark the contours of individual elements that seem to have near-physical qualities – as if there were metallic strings, thick membranes, a resonating sphere, all struck by electric mallets, caused to vibrate by mechanical bows and sung by silicone lips.

not content with already steering the vigenere and oscillat labels and appearing regularly on will & ink and lazare hoche, malin genie has launched his own self-titled label as a vessel for his most intriguing twists on the house and techno template. the record strides in with the tracky tones of hypothetical island of stability, a feast of micro pops and squiggles strapped to a rock solid beat. fudeoroshi is more overtly minimalist in nature, using the barest of ingredients to make a potent dancefloor cut. bulbocavernosa opens up the filters and lets a little nasty acid fun and games into the mix, and then mer neith it es rounds the record off with a soaring slice of melodic, deep techno that stands confidently apart from the rest of the tracks.

licensed from french label, nymphony, f*clr are proud to present blazers groove sequence ep - four tracks of sublime french house. the title track of blazers ep, groove sequence is unrelenting with its taking no prisoners high octane rhythm, giving a reverential nod to the classic 90 s era of new york house. the north street remix crew - ashley beedle, darren morris and jo wallace - take groove sequence twelve beats to the four bars and beyond - an exploration into deftly constructed dance floor mayhem. side2side is an absolute cut up disco killer, already being championed by luke solomon on rinse fm and reviewed in april s dmc & mixmag magazines. with filters galore and that incessant vocal refrain, you ll need to call the fire department to put the heat out. and finally, bel air - one for the deeply approving head nodders - providing a musical poolside palette cleanser showcasing the versatility of blazers and his syncopated sophistication.

seth troxler continues to showcase the work of chicago great k’alexi shelby: after an ep on his other label tuskegee music and a remix for sean miller on this imprint, shelby now steps up to play it say it with a trio of excellent club cuts. k’alexi shelby is one of the windy city’s most venerated heroes. he’s put out six albums and almost 60 eps since the late eighties, all of which have helped evolve and establish the chicago house sound around the world. next to remixing acts like the pet shop boys and derrick may, he runs his own k klassik and 321 labels and remains as vital as ever. the perfectly titled ‘groove with us’ opens up with a cut and paste style, funky disco loops and plenty of filters all bringing the loose house funk. it’s a playful and timeless tune that is designed to blow up the ‘floor and most certainly will thanks to its unbridled energy. the dynamic and driving ‘so chicago’ then slips into a slick house groove, with great percussion, more big string samples lighting up the track and a knotted bassline that keeps you on your toes. suspenseful and explosive, it’s filled with authentic party vibes and a real sense of fun that will ignite any set. last but not least is the excellent ‘black sunday’, which takes uplifting preacher vocals from a church sermon and backs it with gospel singing, an old school baseline and raw energy that will get hands in the air. it’s a definitive piece of authentic house music with real heart and soul. this is an expressive ep of house tracks that embody the instinctive and emotive spirit of the genre to perfection.

laura jones returns for another ep outing on her label. despite weighing in with an incendiary first release that found mandar s sam remixing infuse s karousel and a follow up from jones that included one of the sadly departed trevino s final remixes, the label took a backseat to the birth of her daugter in 2017. a year on however and the pace has picked up with an ep from renowned modular wizzard kamran sadeghi at the start of the year and this latest ep from the label boss. the two originals are a snapshot of her evolving style. pathway places skippy beats and sub heavy kicks under a soaring chord sequence, abstract vocal samples and ethereal pad riff. tough crowd takes a moodier approach with a menacing sub bass and drum arrangement, bubbling filters building to a hook that unfolds halfway through to create a moment of formidable intensity. lee renacre s recent revival of his 100 hz alias courtesy of well received outings on slow life and bosconi among others, has found the producer on career-best form and he turns in a sublime remix that makes deft use of delicate top lines and bubbling oscillators to create a powerfully heady atmosphere.

this is a collaboration between producer nostalgia 77, synth wizard matthew bourne and maverick drummer tim giles. drum machines and acoustic drums, synths, filters and echos. an irreverent homage to the radiophonic workshops, pierre henri & their kin.

having been steadily absorbing the flowery humidity in steamy spa towns of central florida since his debut outing chillax, floridian $1 house music purveyor blair sound design aka kyle lyon emerges into the lobster forest with all 16-bit brass and duvet filters blazing. taking inspiration from late 80’s and early 90’s bargain bin finds, as well as a lifetime spent strapped to game boy classic kirby’s dream land, “console humidity” finds lyon on classically chipper yet introspective form, carving a path well trodden but that is unmistakeable his own.

remora, an alias of maroje t, one of the main forces in new york electro, returns to kraftjerkz with raw, distorted drums, deep filters, and a profound mood adapted to the dancefloor.

for this release metrist delves into a set of carefully constructed and deeply rhythmic but ear-grabbingly idiosyncratic, mixed fidelity dancefloor-geared oddities. the first three tracks are united, in a fashion, by the artist’s skill at programming a series of drum tracks that set a definite tone for the productions. within a quite partisan field of often microscopic generic variety, largely pinned down to the tempo and timbre of electronic drums, here metrist has pursued a tricky-to-define path. the bounce of new jack swing is twisted amongst stripped back polyrhythms, equal parts groove and glitch seasoned by some futuristic acid filters that create a constantly shifting aura of space and textural nuance around the individual drum hits. quite often arrhythmic interjections punctuate these ‘grooves’, be it the sawing bursts of noise and snarled, incoherent vocals on ‘an soaep’, the non-language and playful, bubbling bass surrounding the half time feel of ‘on golden seize’ that builds to something approximating an industrial take on uk funky or the brash sub-wobbles that intrude ‘pantomimer tongue’s juddering knife-scraping-on-a-balloon stutters. ‘caaacel the horze’ closes the record in a less weighty style, with crunchy arpeggios running on a synth that sounds like it’s picking up interference from a radio channel, as snatches of moaned vocals allude to a deeply ambiguous yet chilling narrative behind the music. thudding kicks intrude on the skittish melody but in a non-rhythmic way reminiscent of someone trying desperately to snatch your attention by banging on the adjacent wall. gauzy melodic textures in the background provide a calming counterpoint to the uneasy qualities of the composition

another root ready to bloom has been found in yann polewka. his opener is a filter laden, vocal drenched affair that holds the ever present rfb groove. all i dooo is next and holds that similar french filter style this one focusing on heavy strings and driving drums. the b side sees up ramp up a gear, luv me baby is looping and relentless. the piano and bass loop is short and repetitive but is constantly changing with filters vocals and interweaving percussion, this one works great on the dance floors. with b2 we see rfb take an unusual path for the label. all around is reminiscent of drum and bass almost liquid vibe with seductive vocals and ramped up tempo.

estetika 001 introduces the first release of the new imprint of jason patrick and pat king. the label s objective is to release a signature style of timeless techno. berlin-based artist mekas (originally from buenos aires) delivers the first 3 track record, nodata. a1 starts off the release with lebreton featuring qik. thick kick and bass anchor a beautifully warm hypnotic synth riff that filters meticulously throughout the track working hand in hand with a subtle atmospheric pad and spacious reverb touches to create a uniquely huge engulfing sound. b1 is the second track titled marshfield, a heavy tune for peak time. its kick, toms, and bassline form a rugged groove for its dark synth, which along with the mysterious pad capture the essence of the track while ride cymbals glisten and automate throughout. b2 is the third and final track, nothing, which continues the dark and mysterious vibe of the release. an acidy mid-range synth part works along with an ominous pad and well programmed hi-hats, claps, and rides with just the right reverb treatment to provide space and depth to the track.

very limited pressing of the rebirth 10 remixed release. part 2 features mixes from palms trax, rampa, red axes and borrowed identity coming in a hand stamped sleeve. limited to 150 copies worldwide! first come first served.

for those unfamiliar with the atipic releases, it may seem that buenos aires’ jorge savoretti has chosen to swim upstream on the latest atipic installment. as for a trained ear, the apparently bipolar approach, elegantly touching quite a few electronic influences from different decades, has a cohesive unity in all the 3 tracks presented. hidden under the sharp cut filters from the happy side a tune or building the groove to be unleashed in full swing on side b, it is up to the dancefloor characters to find these elements. rather unconventional, yet totally subjective, atipic004 is a proof of concept on how different angles can generate twisted and unexpected perspectives on modern electronic music.

ahead of a forthcoming ep on midnight riot dropping later this year, norm de plume makes a welcome return to his own label plumage nearly a full 2 years since it s last release in 2015. plumage05 is norm s 3rd solo ep for the imprint. a1 new flow is vintage ndp fodder it s just the tempo that has risen. two bars of obscure disco gets lifted, chopped & filtered. the emerging source material merging with norm s own synth lines / swells and chopped vocal stabs - all underpinned by tight, chunky, grooving drums. deep, disco-house the way we like it. b1 another flow see s norm explore more of his own original musical composition with this slightly deeper, more electronic cut. a soul vocal sits upon deep pads and a driving, gritty 1 note bass line. pads and synths swirl and build and we get some wild modulation on the filters before the track breaks to slowly introduce a repetitive, rolling & pounding motif over which norm lays some signature pads and a lovely simple lead-synth line.

after a year long break pepe bradock is back on the regular atavisme catalogue number order. and back to straight up long and burning 4 2 the floor house - at its deepest. #12@last! be (a) ware of ata 017 // #12@last ! the new orna-mental atavisme explores the rebirth of pÚpÚ bradock. after the dirty baby incident and the numerous & consuming time traveling trips to villa-beonis, deciphering the precious lines of medieval sequencing - they canÆt be read with numbers, trÚsors & tsundoku are a sudden return to approximative and abstract dancing containers, with or without filters, but often on the edge of the nerve-wracking pepexit for obvious reasons. it is an evocation of a spiritual ballroom haunted with unmatched awkwardness and a healthy dose of invisible whirling mascarons. would you kiss an ox for the sake of peace of mind ? well, you should

camea returns with the third release on her neverwhere imprint, titled vanish , this spring. in her new single, she digs deep on her drum machine into studio 1-esque territory, using alluring classic minimal techno grooves as a back drop for her seductively soulful, selfconflicted vocals. camea not only captures a timeless micro-house vibe in this piece, but she continues to push her sound forward as well as her love for avant-guard techno. up next is delft imprint boss, la-4a, best known for his analogue vintage roland drum machine productions. he has laid down an irresistible 303 break-beat club mix of camea s track in the a2 spot. his dance cut of her vocals over bass driven percussion is a perfect counter piece to the original, and compliments the sound from his recent acid techno album phonoautograph . on the flip side, berlin techno legend and ostgut ton/berghain resident tobias. gives his graceful interpretation. he has reworked the original into a tasteful, dark, spacious 8-minute minimal techno piece, with percolating panning and filters on the vocals. as usual with tobias., he clearly conveys his undeniable expertise and instinct for exquisite dance music. with this release, camea is also marking the 2nd anniversary of her cult neverwhere radio show this spring, having produced twenty-four, two-hour episodes with exclusive dj mixes and guests. the show currently has residencies on digitally imported, tsugi radio and ibiza sonica, and camea has quickly established herself as a driving force in the left-field techno community, and a passionate advocate of underground radio.

one of the current techno scene’s ‘hidden treasures’, bristol based a sagittariun has discretely released a wide breadth of music over the last five years for labels like secretsundaze, hypercolour and his own elastic dreams label. two highly acclaimed albums in “dream ritual” and “elasticity” as well as fifteen eps have appealed to those who like their techno without frontiers, taking in blistering 140bpm techno, breakbeat idm and ambient dub with ease. his second release for hypercolour displays signs of crossover appeal at long last… lead track “vanishing point” has already been receiving early plays from the likes of laurent garnier (dropping it in his recent timewarp germany set), spencer parker and len faki. big pumping beats and spiralling fx fall aside to a lone breakbeat that ushers in one pretty special breakdown section. the childlike keys and fathoms deep synth stabs (straight out of the john carpenter school of fathoms deep synth stabs) have already drawn comparisons to the retro 80s vibes to be heard on the american sci-fi horror series stranger things. it’s a breakdown that takes the listener to an uncharted dimension, bookended by slammin’ beats that acts as a perfect mood changer in any set. watch this one soar! “the pathway” keeps things on an all together straighter tip, an incessant tribal loop weaves and filters around a thunderous kick and shuffling hats, ebbing and flowing all the way in what might be a sagittariun’s most club-centric and stripped back production yet. matrixxman (dekmantel/spectral sound) is on hold to deliver a superb remix, pushing the original down a long dark tunnel for a growling and reverberating techno overhaul

in your face techno, there is no way of hiding no filters used just raw pure stompy techno!

next up on the docket for acid camp records is a record created by duo john tejada and justin maxwell. the pair came together to make acr iii with two things in mind: creating sounds that put a smile on their face while possessing as much character as possible. the opening track, -i ve got acid (on my brain)- is a mind-bending wavetable freakout, the likes of which tejada and maxwell have been striving to do for years. using a vintage ems vocoder to create an original vocal sample, this track is bright, playful, & vivacious. -the name rolls in- is layered in an acid playground of sounds. a rhythmic track with a potent 303 bass line, prominent percussion, and that infamous vocoder back at it to create a distinctly groovy track. -field notes-, is a composition of celestial arrangements that is completely beatless. carried through by tiers of sounds, filters, and noisier elements, this track lulls the listener into an alluring sonic dreamscape.

andrew numb makes his debut on modelhart with the calling ep. he drops 3 tracks with a remix by reggie dokes. the title track calling is a deep techno track inspired by 90s classical detroit techno. reggie dokes drops the tempo and make a slower house tweek of the same title track. on the flipside andrew drops 2 tracks for the dancefloor in the from of seashores and the filters are back!.

nice price deal !!! andrea doria is such a maniac in the best possible way for sure, when its about creating soundscapes, noisy filters and funky percussion breaks. with tracks like >arsenico< or >exit<, he stopped beeing nice and presents the dirrrrty side of italian sound made in bologna. distortion, bitreduction and noise are the key elements accompanied by stomping grooves that can t be resisted. not less placed in the range of loud and proud sound comes >summertime< with beautiful harmonics, paired along its deep, subtle bassline ready to blast every afterparty.

besides launching his fresh bodybuilder quartet series (qsb), inaugurated by scott franka, nachtbraker unveils yet another quartet: four records in the the trophy quartet series (qst). both these two quartets will be released over the course of the next two years. the trophy series will cover the warmer side of the house music spectrum. and who better than parisian boy-wonder tell (banoffee pies, skylax, rutilance) to kick off proceedings with the brilliant faster than light ep. last year he released hope springs eternal on qs003 which was an overnight succes after getting rinsed by heavyweights like jeremy underground and dam swindle, so a proper solo ep was inevitable. on the a1 tell serves up some intergalactic french filter house dubbed faster than light which brings back the daft punk and armand van helden vibes of our walkman-days. we all just love filters, admit it. its true. next up is yall feel that honey (paradise mix), a tune with undeniable swing and moody chords that ultimately collide beautifully with a delectable big room piano riff that will stay in your head for days. b1 opens with a leisurely-paced jam called “what can u do for me”. it’s the ‘pretty one’ of the ep, the one girls fall in love with and boys hate to love because they know he’s hot stuff. a high pitched vocal, asking what you can do for her, flies over rubbery rhodes chords with neat percussion keeping you on the groove. the ep closes with b2 vamos a la playa. keywords: coconuts, sand, bikini, six-pack and tan. vamos! large and in charge.

life is like a mirror ball! the first one in a hopefully long-lived series of disco and pop influenced super sound singles on running back, comes courtesy of the unmistakeable gibson brothers. leaving their biggest wedding hits -cuba- and -que sera mi vida- to the side, the philanthropic and smile-forcing -ooh, what a life- gets an extended edit service by shan & gerd janson, who cut away some of the fat and make it fit for fun on contemporary dance-floors. the flip side sees them remixing and sandpapering -heaven- into a disco-house interbred (filters and looping mandatory). to quote john lyndon: -disco sucks? you never heard that from me.-

the underground anthems just keep on coming from seth troxler’s play it say itlabel. next up is assured party starter and snatch! label boss, riva starr. this italian hit maker has long been delivering off-kilter and playful underground house tunes. he does so on his own label as well as cajual and hot creations, always injecting them with plenty of colour and charm, which help them stand out in any set. these latest two offerings are no different, and are sure to blow up dance floors all over the world. first up is the arresting title track, ‘another dimension’, a skewed and sideways house cut with booming bass, bumpy drums and quirky trumpets going off in all directions. it’s a grinding groove that will drill to the heart of any ‘floor and really set it alight. then comes ‘another race’, a much deeper and more direct tune for heads down dancing. it has surging kicks and synths, slinky percussion and an irresistible sense of forward motion that will sweep up all those who hear it. clever filters bring real tension, teasing out plenty of pressure and ensure this one is another modern classic in the making. these are two powerful tracks from riva starr that are sure to make a real impact this spring and mark another standout release from seth troxler’s ever impressive play it say it.

a special collection on a limited 2x12 inch vinyl edition including brand new versions of some of the classics of the label in the first ten years.
the package features remixes from some of our favourite artists. the don of chicago deep house ron trent gives his timeless classic touch to without me by tevo howard feat. tracey thorn.

too many possibilities can also mean a tyranny of the what if.... in this light, celebrating less becomes vital. and thats exactly what swedish producer and studio barnhus affiliate simon haydo does in redux. all of the sounds in the albums nine tracks come from just one synth: the korg ms20. as simon puts it, the idea was to maximize the use of less, basically. less gear, less effects, less input from other people , less everything.using only between 2 and 6 channels for every track, the result is a stripped but surprisingly rich sound, that delineates spatial techno vignettes coated with the unmistakable charac- ter of the ms20 filters. even more interestingly, this restraint is not only applied gear-wise, but also from an emotional point of view. instead of involving my own feelings, i let the voice of the ms20 take care of it, says simon. all this makes redux an expression of techno in its purest form. after all, its a kind of music that has always gravitated around simplicity, austerity and, of course, the believe that the machines have their own soul.

centre source records continue to fly the flag for local artists with their fourth ep - this time from berlin-based jad & the.
love tool presents a dreamy opening to the ep, with its effervescent piano riff and lush layers of filters and reverberations, which swell and deflate throughout. bouyant yet gentle, convertible on the m1 is a sunny, textured groove with digital flutes and claps, softly ascending through to a blissful breakdown. on the flip side, underachieving koala juxtaposes eerie vocal samples with melancholy piano chords, making for a poignant cut on the record. untzz twelve inch mainstay arthur miles takes the track in a more club-worthy direction on the remix, giving it a healthy dose of drive and glistening keys, all while staying true to the emotive mood of the original.

invisible, inc pull out the stops with their most dancefloor-friendly release to date which comes courtesy of strange culture aka glasgow-based dj gk machine. the ep features 4-tracks all built around the classic arpeggiators and self-oscillating filters of two synth heavyweights going head to head: a customized jupiter-4 meeting a seriously hot-rock-burned jupiter-8.

since laars epic crowdsurfing days touring with his former disco-band tog, laars has been honing his production skills with more metric music inspired by the classic godfathers patrick crowley and giorgio moroder for lysår/none 12inch. making playful, percussive house music with a disco heart is one of laars passions that comes into play on this 12inch. sampling hits from his favorite records, sweeping filters, playing on his juno 60 and having his band mates come in to play percussion and synthesizers over some of his grooves you can hear how much fun theyve been having making the record. the mysterious willy nickersen has remixed the songs into deeper territories complementing the record making it able to lift dance floors across the globe.

for its third volume jongno invites old collaborator and friend of the arts laura ingalls to the fold for more obscure korean edit madness. laura ingalls takes it down a notch with his signature endless dub delays and french touch filters, looping kim wan sun into oblivion on top of 707 daft beats, complete with guitar solo geekiness and spliced out vocals. on side b, mysterious digger and editor jongno edit takes the disco to the max on side a with a tina hwang facelift that will make you do the korean shuffle and back. loaded with bass slapness and disco synth toms this will fit right into the late night boogie and day light workout of anyone with a heartbeat.

unknown archetype aka roxy tripp & oliver kucera debut their visceral experimental techno for r&s on this four track ep.
unknown archetype is a collaborative project between roxy tripp, a british conceptual artist & music producer, and oliver kucera a czech born producer & live performer, residing in the netherlands. with an extensive background of solo projects in the underground scene, the duo began their collaboration together as unknown archetype in 2015. the tripp ep is an abrasive, visceral ep of electronic body music underpinned by themes of jungian psychology, symbolism and mythology. the industrial tech funk of lead track ‘voyeurism’ kicks things off - skittering breakbeats, squalling filters and blistering snares pile-driving the listener into ecstatic submission, while ‘tripp’ see the duo employing sizzling bursts of white noise and caustic percussion over a jagged rhythm box figure. matters are pared right back for the rigid austerity of closer ‘the serpent’ - the dubbed out lead stab quivers over a strobing 909 drum groove and scything cymbals. effortlessly balancing deep late night sounds with a unique character and intricate headphone centric programming, the tripp ep is a fitting and welcome addition to r&s’s storied catalogue.

jacktone records is pleased to announce our latest release: a vinyl ep titled channel from rising house producer, loren steele the ep from san francisco-based steele is comprised of four original tracks designed for the dancefloor, plus a sprawling psychedelic remix from mathematics/100% silk veteran, roche. not only are the tracks varied and ready for skilled djs to drop at that perfect spot of the night, but, they’re also earworms - hooking you with their infectious grooves and melodies. the clean production and energetic structure of the originals, featuring perfectly-placed pads, stabs and filters washing over propulsive basslines and percussion locks in a warm yet hands-in-the-air vibe. the roche remix of swimma draws out the groove and adds some of that san francisco psychedelic fog. the tracks were recorded live in single takes with little post production processing, giving them a kinetic feel that can’t be reproduced. channel was produced with creative feedback from both cherushii and nackt, whom were lost in the oakland fire. the ep is released in their memory. loren steele is a san francisco-based producer and multi-instrumentalist. as a bassist, dj and a solo live pa artist, he has performed at bay area institutions, haceteria, ok hole, psychic friends, run the length of your wildness, space gallery, public works, and underground sf. he has releases on wolf and lamb music, run the length of your wildness, bob recordings

creme organization s jericho one label continues to set a fine agenda with its fifth ep, this time from dj plant texture aka dona basile, who also releases as dona and given. this is only his second ep under this alias, and is one that again marries breakbeats, techno and electro into electrifying new forms. things kick off with maybe sometimes , three minutes of brutal old school rave. maybe sometimes (2_3 psymono mix) is then a heavily filtered and stripped back version of the same tune that is brilliantly weird and otherworldly. lello from sda then picks up the pace once more with reversed stabs, slamming drums and rubbery bass all cut up with yelping vocals and dusty breaks that take you right back to the early 90s. on the flip, gargantuans is on a deeper and more trippy old school flex with bright pads and gurgling bass taking you higher, then cyclone (tribute to the 90 s) is just that with its frenzied drums, filters and euphoric breakdowns all run through with street fighter samples. d_one then ends the trip with a bit of ambient electronics, with odd sine waves and sharp sound designs placing you in an unhinged world.