nice price deal !!! yasuyuke >mutron< hirata is a very remarkable japanese music composer and brings us a fusion of high octane electronics, haunting strings and evil voices. add to that the occasional but highly functional high resonance bleep and what you get is a downright futuristic floor-filler. for the remix of alone -or should we say reconstruction- its ronny & renzo that will make your bowels churn with their slow but funky afro-rock beats, a deep & rolling bass line and countless layers of percussion topped of with screaming flute sounds.

tommy mccook to be leader of the skatalites in the early 1960s, he went on to become the chief exponent of rock steady as leader of the supersonics house band at treasure isle. mccook remained a key session player throughout the reggae era, and during the roots reggae heyday of the mid-1970s, his expressive melodies found particularly strong outlet, especially on the music he created for grassroots producer bunny ‘striker’ lee as a member of the aggrovators, the studio outfit lee hand-picked from the cream of jamaica’s musical crop. when enhanced by the adventurous mixing experiments of king tubby, the engineer that turned dub into an art form, instrumental aggrovators music became positively ethereal, yielding an exceptional listening experience. on king tubby meets the aggrovators at dub station, tommy mccook blows mean sax and flute over dubs of outstanding tracks by johnny clarke, cornell campbell, linval thompson, delroy wilson, and others greats. first issued on third world in 1976, this vinyl reissue comes complete with four thematic bonus tracks, and the whole disc makes for essential listening. reissued on lp and cd with bonus tracks!

very limited repress!!! banoffee pies records launches its first white label to date, and it s a three-pronged collaboration by new and exciting faces in the scene. first up is philou louzolo and his excellent -afrofuturism dance-, a solid house jerker with lively tribal influences, folloed siftly by wendel sield and his moodier, jazzier piece entitled -history of black people-. on the flip, huntleys & palmers mmt proceeds to drop some gipsy king house in the form of -ton a ton-, backed by the more funky disco shades of -pangae flute-. nice and diverse for ya!

first word enters 2017 with a bang: a 28-track album courtesy of eric lau. this, his third instrumental album, is a veritable tapestry of vibes, ranging through hip hop, soul, jazz, funk & brazilian beats. a mere taste into the genius production skills of london’s mr. lau, it’s easy to understand why he’s so revered by djs, artists and producers across the world, including rich medina, 9th wonder, bobbito, dam funk, gilles peterson, james poyser (the roots), phonte and ali shaheed muhammad (a tribe called quest), amongst others.

originally released on track mode in 2003, nu forms is a musical nod to all things fania and afro-cuban jazz. malik alston shares keyboard duties and delivers a blazing flute solo on beautiful brown people along with alton miller on percussion. a definite groover reissued on inner muse!

few nolder has created a fitting second ep for gardens of god’s sodai label, spotlighting the cream of electronic talent coming out of lithu&#8203,,,ania. ’&#8203,,,ace of space’ confidently delivers three original tracks that build upon an already solid reputation. “&#8203,,,showing a steady upward trajectory, few nolder has established himself as an internationally respected &#8203,,, dj-producer”sosaid&#8203,,,xlr8rofhisrecentwork.h&#8203,,,isopeningtrack‘&#8203,,,balance’isthemostunexpectedtrack linas strockis aka few nolder &#8203,,,claims to have done in years. he is particularly surprised with his approach, discussing the “&#8203,,,deep percussion and long tail cowbells together with windy tex&#8203,,, tures, and lush hypno feel”. while ‘&#8203,,,teaser’, which gardens of god played during his back to back with &#8203,,,b.traits &#8203,,,on bbc radio 1 recently is contrastingly unrelenting. “&#8203,,,the m&#8203,,, elody evolves into a monster”, he says of the record, which can be heard in the metal snares and enchanting flute.&#8203,,, on title track ‘&#8203,,,ace of space’ nolder wants you to imagine “&#8203,,,stars passing by in their intergalactic travels &#8203,,,whilst the drops are like a return from an uncharted nebula”. this is an ep based on big melodies and endless spaces, and a worthy fit for the burgeoning label. few nolder has been creating music for over a decade with a steady succession of releases on ghostly international, planet mu, connaisseur recordings and needwant recording

the period of the 1960s and 70s was so fertile that the speed with which tastes changed left a colossal amount of incredible music to gather dust - perhaps most famously a profusion of funk, soul and rock. countless of local artistsw released their music independently, such as mr. holiday. and what a dope double-sider it is! check the drum & flute break, something to die for!

deep, storming salegy sounds from madagascar. salegy is the electrified updating of the traditional antsa style from the north-west of the island — 6/8 rhythms, layered with percussion and call-and-response vocals — and the vetson’ androy group one of its most popular proponents. from 1978, mavandeza has the heady urgency of killer fela — with two women singers out front, psychedelic organ and prowling-lion bass. the flip is from a decade later, by malagasy superstar eusebe jaojaby — rough and tough dancefloor worries, with a mazy string-line, mash-it-down percussion and lilting flute. another sizzler from sofrito.

hailing from lithuanian capital vilnius, miskotom appears on pleasure unit for a debut appearance that should appeal to all lovers of delicate, pop flecked house with a smooth 80s veneer. the production is perfect for the mood of the music, with the dusty groove of the title track embellished with eastern flute motifs and larry heard chords of the sweetest melancholy. - downtown - meanwhile revels in slap bass finery, and -tempelhof kite- gets a rubbery moog tone in the low end that offsets the woozy pads beautifully. kito jempere comes on board for a remix that dubs -tempelhof kite- down into a warm and sexy house cut of the highest order.

what’s on help008? mainly music from the arhus-boy dj sports. it’s sort of a debut, but sports has released a bunch of tracks on regelbau and help over the past years, solo + with his groups maizena, sportscentral and lester. this young sensible producer initiates the release with the breaky hidden spheres that has a cool piano. next another leftwing original from sports. this one, with it’s flute, breakbeat, confident synth chords and beautiful minor nature is a favourite of mr. sports parents. this one is our favorite, his parents. if we haven’t lost you so far, the flipside contains a timeman dance version with more danceability, hook and playing time than the original version of the bridge that was released on the tape sportscentral. last but not least you get an alternative version of that get-in-touch-with-your-inner-passion/synthesizer-melody-rythmical-ambient-track mindless turns, that also originally appeared on the aforementioned tape. we hope you ll like our new record, that, if on repeat, might provide you hours and hours of by-yourself enjoyment.

eighth release from the danish duo out now containing four brand new tracks. the opener, your sun belongs to me, is a 6 minute long socalled -deep house- track. on the inside you will find a slightly more -deep- version of your sun belongs to me. b1, moon & flute, on the flipside is a faster flute house slammer. word is bond rounds up the ep with a moody groover. you surely don’t wanna sleep out on this.

new 12 inch from the modern house quintet, with two house music tracks.
* fiesole*: rhodes + guitar + pad + tr-909 + flute + bass + string chord
* florence*: organ + rhodes + tr-909 + bass

cosmic & earthy dubbed out house by zarate_fix from narrabeen & dj sotofett of moss – sex tags mania. the percussive title track expands little by little until reaching a cosmic choral state, then giving space for a long-driven flute solo. b1 provides pure dub chains of percussion and an extended flute part while b2 goes further towards the beatless beautiful cosmos with soft chimey new age ambient synths.

few can fail to have noticed the re-emergence of italian deep house in recent times. tracks paying tribute to the dreamy, loved-up and new age-influenced style pioneered by italian producers in the late 80s and early 90s are ten-a-penny these days, though few are quite as breezy and evocative as this ep from minimono. the fact that it s appearing on re-born rome label vibraphone - dormant since 1993, but brought back to life late last year - is rather fitting. the duo s dreamy, melodious and tactile style - see the fluttering synthesized flute lines and tactile grooves of -sailing-, the horizontal house bliss of -suspend-, and the ron trent style slickness of -next step- - is perfectly in keeping with the label s wavy, sun-kissed ethos.

soukas mix by dj sotofett might be a snake charmers terrain in clubland, with stomping percussions and that fairytail flute crossing over more than half of the tracks 11 min. running time. vera dvale s debut track fills out the b-side with a spectacularly heavy drone that transforms from sub-driven landscape to melodic noise and back again. both sides with essential 12inch club sound.

brotherhood sound system records is back with its third 12inch offering and the first in a series of compilations entitled percussive parameters delivering percussion heavy sonics focused directly at the dance floor. the lead track of the ep, callahans kudzu, opens with a chopped, atmospheric vocal layered intelligently over rolling percussion and a hypnotic flute. a pounding 808 kick drum is teased underneath until the track switches into a relentless, chugging club tool. this ones destined to tear up dance floors for a long time

nice price deal !!! the ibiza summer smash gets a speaker pounding makeover. the deep penetrating kicks and bassline accompanied with its techno stabs merge into the essence of the original track which made it so well known in ibiza. the original vocals, pan flute and rattle snake shakers get worked over to provide another perfect re-rub for the harder edged party techno connoisseur.

andrzej nowak is a polish early computer music composer who never found proper place in official contemporary music world. tracks produced between 1987 and 1994 as a score for never screened animation movies (the producer didn’t like them). lines of simple sounds, interrupted by primitive electronic trumpet and other fake instruments. are you sure it’s a film score? what was the thing that producer didn’t like? weird harmonies or too much rhythm?

born in sao paulo to a deeply religious family, laercio has been around music all his life - amidst the challenges of daily life, his adventist parents would whip out all sorts of instruments whenever the situation would allow it, introducing a young and curious mind to a wide range of musical expressions. it should come as no surprise, then, that our hero quickly felt at home with notes and bars, choosing the flute as his first weapon of choice which he eagerly studied from the age of seven. even later non-musical career choices always reflected an infatuation with the world of sounds, like his stint as a capoeira teacher, combining martial arts, acrobatics and dance. with such a multi-faceted background in music, the inevitable tinkering with synthesizers and other means of electronic sound generation was rather a question of time than one of ambition, and sure enough we find laercio roaming the parties of the mid-noughties, absorbing the unique melange of styles and scales that inform club culture to this day. in stark contrast to most other rave inductees at the time, however, he never wanted to become a dj: his area of expertise is the performance, not the collecting and curating of other people s releases, and it shows in the unusual fact that laercio has held club residencies as a live electronic musician in venues like sao paulo s the edge without ever so much as touching a record. in these release l_cio has worked with d.o.c. mastermind gui boratto. and the result is music for the dancefloor.

alma negra is a swiss collective that consists of four musically driven friends, the figuiera brothers dersu & diego whose roots are established firmly in their cape verdian heritage, dario with his half and half portuguese/italian mix and finally mario with spanish roots. they are all passionate diggers who love playing music from all over the world, something that s evident in their productions as well. encompassing jazz, african and latin sounds to soul, funk, disco, house and even techno. as far as inspiration goes they mention donald byrd, fela kuti and theo parrish. their creative output has led them to release on such fine labels as sofrito, highlife and most recently basic fingers. fans of alma negra includes gilles peterson, ben ufo, axel boman, dam swindle, africaine 808 and tim sweeney. now they are back with digger s workout, a fresh and exciting instalment in the basic fingers catalogue - divided into three seperate 12 s with remixes from esa & santuri, osunlade aka yoruba soul, rainer trueby & corrado bucci present truccy. digger s workouts, part 1 contains three original cuts and one remix from esa & santuri with spectacular basswork worthy of funkadelic. if you re looking for rattling percussions, irresistible basslines, melodic synths and vocal chants that interweave and do a delicious dance with each other - look no further. this first part of the series is a sure-fire way to send anyone into a near shamanic state. .

ltd pressing ...on the magic movement s 5th phenomena, sound wizards noema & dreems (of multi-culti records) invite you on a journey to the tropical depths of a world beyond. close your eyes, step outside your sphere of being and find yourself in the animal empire . this afro inspired jungle techno swings with a dubby melody and hypnotizing bells while the driving bassline enhances the macumba vibe. for those affected by swirling sonics beware the vertiginous breakdown, where all seems lost for a brief moment of madness. flip the record and hear the sound of aztec acid disco on the rise . with a lot of love for the detail, flute, percussive guitar and shamanic vocals get you into the groove. after a little hang out with the local jaguar warriors the 303 soars up for a flight over the pyramids, until an elevating melody takes this intense beast right into the glowing morning sun.

after the successful -la jupe volante- project, whose b-side has been synchronised on the australian tv series the offspring (channel ten), kind & kinky zoo are back with some hard hitting pure laidback style music. they have received massive support both in the clubs and on the airwaves and now they are back, with on the flipside the help of lack of afro, or adam gibbons as he s known to his psychiatrist. two pistol paced and good-natured tunes as they are very capable of. a side - wonder zebra somewhere between retro psychedelia and afrobeat lies the wonder zebra. speeding along à la calibro 35, the feel is frantic and thrilleresque. now wonder kind & kinky zoo are a big hit on foreign tv shows. b side - v.l.a.m. (loa remix) a breezy bite-sike chunk of head nodding, foot tapping funky beats. led by a warm, sunny flute and irresistable rhodes, rather reminiscent of a 60s slice of dancefloor-friendly acid jazz. small but perfectly formed.

over the course of four albums, manchester based trumpeter, composer, arranger and band-leader matthew halsall has carved out a niche for himself on the uk music scene as one of it s brightest talents. his languid, soulful music has won friends from jamie cullum and gilles peterson to jazz fm and mojo as well as an ever-growing international following. his label gondwana records is home to gogo penguin and his own albums have found halsall exploring the modal jazz of john and alice coltrane, paying tribute to the hard bop of the late ’50s and early ’60s or most recently on fletcher moss park drawing on eastern influences in his most personal statement yet. his latest album when the world was one is something of a companion piece to fletcher moss park (much of the music was written at the same time) but draws more explicitly on halsall’s love of spiritual jazz and eastern music as well as his own studies in meditation and travels in japan. beautifully recorded at hasall’s favourite studio, 80 hertz in manchester, and engineered by brendan williams and george atkins it features the recording debut of halsall’s large ensemble, the gondwana orchestra, which utilises the exotic flavours of harp, koto and bansuri flute and eastern scales to create a global palate for halsall’s life-affirming sounds.

the music on algorithms ep is a perfectly balanced hybrid of techno minimalism which is entirely unique and yet somehow strangely familiar. whether provided by dismantled bass notes or simple drone, the music here resides on par with fragile arrangement - a unique brand of minimalism that s breathtakingly engaging and attuned to detail. three awesome tracks for the floor.

british art-rock band no-man (tim bownes & stewen wilson w mick karn, richard barbieri, steve jansen, ben coleman) recorded heaven taste in the studio sessions in summer 1992. it got first released as a complete 21 mins version on painting paradise ep on one little indian (1993). the track drew attention in the rising ambient techno scene and got played by djs like mixmaster morris. the track fuses ambient techno with art rock and features a distinctive fretless bass solo by mick karn. this super sound 45rpm 12- features a steven wilson edited 11.21 mins version of the original and on b-side jimi tenor s rearrange with some solos with flute and keyboard. file under: ambient techno

ritornell’s richard eigner & abby lee tee originally teamed up to provide the score for a collaboration with filmmaker andreea sasaran and illustrator katja seifert entitled »melting sphere«. sharing a passion for the combination of filigree electronics with playful timbres of diverse acoustic instruments and odd utensils, the cooperation of the two producers was a logical choice.
»melting sphere« merges subsonic bass, kalimba rhythms, accordion sounds and toy bells, all framed by eavesdropping recordings of abby lee tee’s cat, bathroom squeaks for five minutes of organic downbeat bliss.
»tired dancers« on the flipside offers a melancholy tale of seduction relayed from the shadows, with field recordings of nightly city noise, a reversed music box melody, hypnotic chords and meticulous percussion. delicate, celestial cello (by lukas lauermann) and contrabass flute emerge as counterpoint to this rhythmic hypnosis.
this record is as shimmering as you would expect.

wiederveröffentlichung von mobys fünftem studio-album als doppel-lp-set mit 180g schwerem vinyl. ursprünglich 1999 veröffentlicht, wurde es zum erfolgreichsten indie-album des jahres und in über 20 ländern mit platin ausgezeichnet. mit -play- änderte moby seine arbeitsweise ein weiteres mal. er nahm samples aus folk und gospel - viele davon entstammen aus dem archiv von alan lomax - und verbindet diese mit seinen elektronischen klanglandschaften. dabei schneidet er aus den samples schleifen, die er endlos wiederholt: bessie jones -sometimes- wird in -honey- über 20 mal wiederholt und so entfaltet er den hypnotischen sog, der diesen song zum hit machte. bei erscheinen wendeten sich viele moby-fans, die ein techno-album erwartet hatten, ab und das album schaffte es nicht bedeutend in den charts aufzutauchen. es sollte über zehn monate dauern, bis sich das blatt wendete und das album sich doch noch zum absoluten hit mauserte. mit 9 (!) single-auskopplungen und unzähligen lizensierungen an tv-shows, filme und werbespots entwickelte sich das album zum dauerbrenner und hat bis heute weit über 12 millionen einheiten abgesetzt.

after the success of his backwards light ep slackk returns to r&s with another 6 tracker of instrumental grime mutations. a figurehead of the uk scene through the influential boxed night he runs alongside mr. mitch, logos and oil gang, slackk aka paul lynch distils the boxed sound into his own inimitable, richly melodic style.

from rubber duck marching brass bands to mutant swinging pans, expect classy miniatures and raw bruitist soundscapes, hawaian interlude or proto-funky chase featuring cracked up ocarinas, obsessive rattles, vintage drum machines and a consistent amount of analog synths, all revealing a unique and playfull sense of accuracy in their use. exclusive and previously unreleased material, digitalised from original master tapes, wrapped in deluxe package with full booklet designed, photos and detailed liner notes (english & french). artwork & layout by jean-philippe bretin a weme rds and biceps rds co-release.

this is the third record of the modern house quintet. this new one features one house/deep house track (a side) and a more “detroit-atmosphere” cut on the b-side. “belle-ile” opens with a filtered piano organ which responds to a massive bassline. the second part of the track introduces gradually a flute line, a trumpet sample and a layered pad.“fountain” starts with a pad which is progressively defiltered and quickly joined by a bassline. the break introduces an acid bassline, supported by a string chord. all these elements blend together to create a detroit atmospheric vibe.

loved by the robsoul community for his beats from the streets series, the san jose resident first appeared on the label back in 2012 with a trio of tracks that made up vol.1. two more collections followed and firmly established arturo as one of the labels most exciting talents.a label boss himself, arturo is seen as having helped define what is known as the silicon valley sound. his own blend of beat-laden house infused with elements of soul, funk and disco has seen him become a favourite the of sneak, farina and weeks.arturo rolls out fabels of funk and frolics on the storytelling ep, lead by the low-slung swing and diva sounds of ‘another day’. the pummeling kick drum of ‘deep inside of you’ jumps up and slaps us round the face, followed by the bumping title track with its deep chime and floating flute melody. the final tale in this story is the guitar-licked, bass-slapped wonder of ‘delight’

ostgut ton reissues neun of zehn with original tracks by ben klock and ryan elliott as well as len faki revisiting rainbow delta. 2015 marked ostgut tons ten-year anniversary, celebrated with an extensive 30 track compilation release, titled ostgut ton | zehn, spread out over ten 12inch vinyl records housed inside a limited box set. this sampler sold out in no time, which is why ostgut ton is re-issuing these ten 12inches individually in 2016. without any doubt, the best klubnacht moments are when dancers let go in trance not peak time, not big hitters, its the subtle nuances that matter. ben klocks first solo production in six years on a internalises this formula: a simple beat, pulsing sirens, a shimmering melody, some sprinkling flute notes and ben’s your uncle. sirens is a pure, hypnotic cut, shrewd and stylish. on b1 ryan elliott underlines why he has been playing both of berghains floors regularly: smith lake is somewhere along the lines of micro techno/macro house, something living inbetween musical worlds and floors, combining tribalist bongo percussion with ethereal synth pads and a delicate bassline. is it safe to say that rainbow delta is a modern classic? because it is! on b2 len faki revisits his 2007 release in form of a stripped-down, bare-naked and intimate ambient version. a modern classic, turned seren

limited edition of 300 copies with unique artwork made by russian street artist (grisha), which were carefully adapted to sleeve design by mikhail myasoedov. the vinyl lp contains 4 selected tracks from the full 8-track album.
after 9 years of silence, here’s the 11th album from the unclassifiable brussels-based duo. with their usual tamping drums (just mention the two parts of “the decision to exist” or “same area”, led by a ferocious 808), a regular bass guitar hammering, some bare minimum poor voices, threatened violins, skinbound flute and oboe here and there, a distorted furious piano everywhere and finally some tiny cautious optimism (the extra-human guitar in “enough slaps”), the whole is carefully assembled in order to obtain an accurate picture of life on earth. “pain” and “pleasure” are different aspects of the same mental construction.

the title track has already made rounds on numerous dance floors and proved to be an irresistible organ house monster. panthera krause s tracks wiggle within the zone between epic floor moments and abstract beat structures like in the mighty -z-cuts- or in the flute-induced -howling for july-. finally, the space between us- is an emotional ride through the twilight of eternal loss and extravagant hope. the artwork was created by lisa geue.

this is the second record of the modern house quintet, a french band who makes house music. like the former release, this new one features two house/deep house tracks: * marmande* starts with a lush pad and staccato bassline soon joined by percussions and an organ chord. the second part of the track introduces gradually a flute line plus a powerful open hi-hat. * bellevue* opens with a pad and a filtered rhodes synth supported by a low-fi bassline. that structure evolves step by step until the break introduces strong open hit-hats followed by another flute line.

kaffe crème, 21 years old, is finally releasing his debut vinyl ep on his own imprint moonrise hill material founded in february 2015.this year, he took part of multiple projects in addition to the production of this ep such as a jazz house live creation with piano, flute and percussions and the composition of an electro-symphonic artwork. due to his classic, contemporary and jazz percussions practice and his love for old school and electronic music, his ep retraces all of his influences and recounts the progress in his musical research this year.

bubu, da beatboxologist,jizzy, tagi, the funk spirit, the hip-hop mahatma, the mic buddah! behind all these pseudonyms lies just one man: sly.

being at an albion gig is like entering a bedouin tent and smelling the scent of an exotic spice for the first time, at that point you can t imagine living without it for the rest of your life.- the psychedelic disco viking is back. master crate digger albion is a dj who doesn t merely take you on another drum journey, but adds an extra dimension where preconceptions don t apply. it can take a while to get used to it, but sophistication never went out of style, it just took more than three decades to catch up. when the coin finally dropped, albion was there to pick it up. when it comes to the mixtura series albion always opens up new ground. he only selects the finest cuts for our table like -burning disco- we here sexy sultry voice from a man who probably has a very large moustache dont you know i m dancing like an eagle in sky, people always ask me why? onto flamingo synths play in tandem with guitar and flute glides though a delay without a care in the world, add the horns and sexy porno voice and you got a winner. mustang is about letting the good times roll, freaky disco biscuits with dash of rock? yes please. comes correct on 180g white vinyl with no repress

after debuting on rebirth with their new alias easy to remember (inspired by the famous song from st germain of the same name) niro and elia perrone release now on their own unclear label. the ep contains two originals backed by three remixes.royal rumbles obscure synth melody and obsessive pitch changes pave the way to sinister background noises and beats, whereas jazz cowboys free style drumming, syncopated rhythm and xylophones blur the line between house music and free improvisation. minimonos remix of royal rumble brings the kick drum to the fore and adds a staccato bass line coupled with some stop & gos that spice up the vibe of the track. giulio etiopes rendition of jazz cowboys adds some deep pads, flute sounds and a trumpet sample leading into a dreamy break, with def safaris dark rework turning it instead into a galloping percussive tool.

** ltd 120 units **
this is the first record of the modern house quintet, a french band who makes house music. it features two house-deep house tracks: * bosphore* starts with a piano loop and a deep house bass line which are steadily joined with several other chords, percussions and a jazz guitar. * venise* begins with a bass line and a piano chords which progressively evolve until the break introduces heavy open hit-hats and then, a flute pursues and concludes this deep house trip.

following the sold out theo parrish remix of marcos valles 1985, heres the second in far outs brazilika 12 with three scorching remixes from uk dance veteran ashley beedle. three peak time excursions into percussive, soulful house on a stylish, cosmic brazilian party tip.

limite edition translucent purple marbled 7 inch vinyl.

different house style from new york based juice records!
vinyl only, 4 raw cuts that reminds the classic house from deep88.

nyc label kicks off with 4 edits, thoroughly field tested with 100% guaranteed results: a rejiggering of a 90s rave classic, a glitzy, flute-laden disco boogie, a more driven thumper, & a slow-burner, a sexy number that is all velvet & satin.

territories wold ex france, ex poland the first time ever on vinyl: the original soundtrack of zbigniew preisner /kieslowski / 3 clolours / trois coulours / 3 farben: blue / bleu / blau 1lp+cd

pittsburgh track authority return with a new single-sided limited edition edits record on the imprint that bears only their own logo. “i always wanted to be in a band” kicks things off in an early 70s soul jazz style, with infectious vocals and catchy horns doing the damage. next, a flute driven cover of the dance classic “lowdown” keeps the disco-funk vibes of the original but with added springtime/summer vibes. both of these have done damage for pta at their gigs, and now they can do damage for you at yours. a fitting end to the magenta logo series!

‘psych , the long-awaited freaks album released in 2014 gets a re-release in 2015 with some brand new remixes. freaks, a musical partnership between luke solomon and justin harris that s spanned twenty years and includes the music for freaks label, four albums, and an avalanche of singles on the likes of playhouse and hot creations to crosstown rebels, news and international deejay gigolos. the album was released to rave reviews and featured a much awaited gathering of material from the late 00s onwards, including collaborations with robert owens, stella attar and diz washington. this 12- includes interpretations from dave aju, jamie 3:26 and freaks. for over a decade, san francisco innovator and a vital part of circus company, dave aju has been producing and performing his unique brand of electronic dance music, a consistently fresh and expressive sound. his remix of situations makes no exception, a strong piece of jacking house music with bubbling sub bass, strong raw percussive beats, and an effective use of diz vocals and the flute sound. on the b side misfits is reworked by chicago s master jamie 3:26 who turns the tune into an acid house monster and by freaks themselves who extend their original version for dance floor action. a strong package…and more to come !

part 1 of the first true language of the universe on mathematics. limited edition reissues of back catalog and out of stock label classics from the labels primary artists. 8 tracks from echo 106, les aeroplanes, kuba sojka, ifm, joe drive, takeshi kouzuki, john heckle, and marcello napoletano.

the ever-busy aus music continue to assert their consistency and follow up eps from tom demac, escape and youandewan with the second offering on the label from toronto born bwana. having kept his cards close to his chest during a 2 year hiatus from releasing music, bwana broke the silence with his ‘flute dreams ep back in december of 2014 which offered a propitious insight into the second chapter of his anthology