incl unheard works by legendary swiss artist anton bruhin

egyptrixx gives a glimpse into his forthcoming second album on night slugs with the vinyl-only cut *water (reduced)*. the hi-definition crystalline world of his previous album *bible eyes* has sunken, submerged. *water* takes place in some vast molten expanse, a subterranean electrical storm expressed as acid-tech. this 12 inch features the reduced dub, stripped of melody to for full hypnotic effect. the full version can be heard on the forthcoming album, titled *a/b til infinity*. on the flip: helix keeps bootlegging our records. he cuts up the masters and edits them up like fruity loops lego, applying the same post-timbaland stutter-logic that was amplified so dramatically in 03-06 grime. here he puts his hand to egyptrixx blastbeats-heavy *adult*, also taken from the forthcoming *a/b til infinity* lp. the results are extremely punishing but compelling listening.

william anthony bois was born in stockholm, sweden, in 1991. he expressed an early interest in music, especially electronic music. whilst william demonstrated a natural tallent for piano composition from an early age, in 2003 he began channeling his creativity into house music after a friend introduced him to fruity loops. early street dancing lessons introduced him to funk which has been a source of inspiration ever since the age of nine. he continued the dancing with the dance group funky 4 brothers and has performed around europe and sweden. william also studied music production and sound engineering at sixth form college. this background has given him a firm foundation from which to express his music through a variety of rhythms and tone that give his music an individual flavour.

austin-based vvv is one of a new wave of garage producers whose music actually feels like an honest mixture of vintage and modern touches, rather than a trend-hopper looking to capitalize on a few dubstepforum fruity loops tutorials. he s an artist who happily mixes and matches signifiers, lacing his productions with subtle streaks of colour and leading them into unexpected detours. over the course of across the sea vvv swings from gleeful todd edwards-style vocal mush (-aisle seat-) to sepalcure-esque house-tinged workouts like -retreated- to more experimental fare. on tracks like -stuck between- or the stumbling punch-drunk jungle of -duration of light-Ñwhere breaks crash through filtered soul samples and cause ripples like dominoesÑhe always keeps the tracks backbone intact while doing some of the weirdest things to bass music youll hear this side of machinedrum. across the sea doesnt have the same visionary outlook as room(s), but it shares that albums embrace of fine-tuned sequencing and development. the tender, reflective moments that occasionally pop up are its best, whether its that memorable opener or the fogged-glass beats of -among the whispers,- which admittedly sounds a little like burial but higher-definition, with high-strung chords recalling netsky more than untrue. the albums closer -all that weve been through- nicely sums up the proceedings, throwing an out-of-context piano on top of another burial-esque beat loaded up with reverb yet still cutting clear as day. its perfectly representative of vvvs aesthetic: his debut album isnt always made up of entirely original ingredients, but like any good chef, he knows how to present it in a way thats irresistibly appetizing.

rezkars fascination with music began with his parents record collection. listening to local radio stations as a child, he heard 80s tracks. as an adult he discovered the magic of 60s and 70s jazz and funk. one day, his cousin played a track that he immediately fell in love with. he later learned that this was house music. he discovered the fruity loops sequencer software and thought, why not try to make my own tracks, after all, it cant really be that hard? deep house can sound deceptively simple. its a bit like japanese anime, rezkar says. it looks so cute and easy to draw, but try to actually draw it, and you will discover its even harder than realistic drawings. the thing about house is that if you try too hard it can come across as being very cheesy, but then again, if you dont do enough it can sound incomplete. finding the balance is not easy, rezkar admits. after hearing his music, one finds that he is learning this lesson quite well.

freaky / crazy electro a la justice !! 18 months, 700 emails, 500 phone calls, 400 text messages, 30 artwork changes, 7 tracklist alterations, 10 software meltdowns, 5 mastering attempts, 16 arguments, 10 tantrums and 6 breakups and now finally it is here, the debut release from zzz. >lion<. roar. zzz are melbournian boyfriend and girlfriend production duo, anees and nana. the posh and becks of modern dance, the peter and jordan of noise, the tom & katie of fruity loops, the ultimate techno power-couple. they met on a singles techno forum, fell in love on facebook and have spent the last 18months making their own brand of romantic powerdance. lion is their first born. >lion< is all about pianos. pianos piano pianos pianos and more pianos. so much piano. pianos everywhere.

alter schwede. das bolzt gut los. jürgen paape is back und macht keine gefangenen. geradlinig schieben sich die tracks durch das vernebelte dickicht der tanzfläche. techno !