paris player le loup and pura launch their new label shadow play with a four-track collection of avant-garde house music delivered boxfresh from the studio. as a solo artist, and one half of hold youth, le loup has cultivated a nuanced sound that is steeped in soulful jazzy influences, with a nod to the future and plenty of soul. on this first ep we’re presented with a showcase of this sound, and a hint at what’s to come on the brand new label… to get things rolling we have the very first track ‘the ancient ways’, which is quite laid back and minimal in its composition. there’s breathing space for the beats and bass, with an eerie atmosphere pervading throughout. ‘ygam’ is next up with a wobbly bassline, cosmic death rays and sinister effects lurking in the background - it feels like the soundtrack to a deep space thriller. on the b-side things get ravey with ‘acid surface’. retro breakbeats and stuttered toms support a dangerously alluring symphony of effects and pads. at the heart of the track is a deep subby bassline, transmitting an ancient, yet cosmic vibe.

after the release of its 5 year anniversary ep with ricardo villalobos & umho, drumma records starts off 2017 with its sixteenth release - resolutions by faster. the romanian artist brings us three outstanding dance floor tracks. >got to give< is an excellent club piece with a funky minimal ostinato, perfect for energetic and deep sets. the tracks long duration keeps us constantly floating and finally reaches a zenith half-way through. without a doubt, this composition will allow long, purposeful mixes and calm any crowds jitters. on the b-side, >got to take< is a track with a relaxed tempo where beautiful bells and percussive instruments ring out while we feel ethereal and mysterious melodies forming as landscapes in the background of a painting. a perfect b-side to listen to at home or to bring down a club in a sunrise set. 180g and vinyl only!

leftfield’s iconic 1995 debut album back as special edition with remastered audio on 180 gram triple vinyl. housed in a triple gatefold sleeve with download code included.

the foundation of this dub album was created by some of the finest sessions musicians ever to grace the studios of 1960s & 70s jamaica. their instruments were the cornerstone to countless dub lps that began to surface in the early 70s and continued on into the 80s creating a whole new genre of music. as they did back in the early days of dub, the kingston all stars gathered together in kingston, jamaica at mixing lab studios and laid down a series of riddims that would lay the groundwork for what comes next: the singers. both greenwich farm rasta, prince alla, and falsetto, cedric myton of the the congos, contribute vocals to the album but half of the riddims on this lp are, to date, unreleased, and have yet to be voiced. in essence, this album is a sneak peak into upcoming releases. the style of riddims that were created during these sessions range from the cumbia influenced reyes dub to the ethiopian jazz flavored kebra dub that pays tribute to the african sound system, kebra ethiopia sound and shows the wide variety of influences that fuel these musicians. tracks like dub ova combine ansel collins keyboard work with hux browns infectious grooves to create a funky rhythm that you have not heard the last of.

the foundation of this dub album was created by some of the finest sessions musicians ever to grace the studios of 1960s & 70s jamaica. their instruments were the cornerstone to countless dub lps that began to surface in the early 70’s and continued on into the 80’s creating a whole new genre of music. as they did back in the early days of dub, the kingston all stars gathered together in kingston, jamaica at mixing lab studios and laid down a series of riddims that would lay the groundwork for what comes next: the singers. both greenwich farm rasta, prince alla, and falsetto, cedric myton of the the congos, contribute vocals to the album but half of the riddims on this lp are, to date, unreleased, and have yet to be voiced. in essence, this album is a sneak peak into upcoming releases. the style of riddims that were created during these sessions range from the cumbia influenced reyes dub to the ethiopian jazz flavored kebra dub that pays tribute to the african sound system, kebra ethiopia sound and shows the wide variety of influences that fuel these musicians. tracks like dub ova combine ansel collins keyboard work with hux browns infectious grooves to create a funky rhythm that you have not heard the last of.
limited pressing on yellow & green marbled vinyl.

this half-speed, deluxe edition released for rsd 2017 features unseen photography from the recording session in a 16 page full-size booklet. the audio source is the continental tapes, mastered at half-speed by the legendary miles showell at abbey road in london – the most stunning reproduction ever made, accentuating the details and nuances that appear throughout this masterpiece.
in our opinion this record is a true and complete masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre. the original continental versions of the album now fetch around $2000.
the album transcends the genre of brazilian music, and infact all genres. highlighted in part by the number of artists that have sampled from it, mf doom, ludacris & common, little brother, jneiro jarel aka dr who dat?, dibiase and action bronson amongst others.

creating electronic landscapes since the late 90s matt flores is still searching the universe for the best soundscape. his new album sidechained escapism is not an album made for you. it is made by matt flores for himself and that makes it an album for you. simply a journey through a man’s mind who has been making music for 20 years now. from drum’n’bass, uk garage, trip hop to house. his countless releases, projects and collaborations have made his discogs-page explode. but still he cannot rest. this düsseldorf resident is always busy revamping genre expectations. sidechained escapism is matt flores second album and his forth addition to the o*rs cataloge.

medical records proudly presents a special limited edition of all 3 “forgotten tracks, sketches and unfinished work 2002-2004” by martial canterel as a triple gatefold set. volume i was released previously in 2013, and volume ii and iii are simultaneously being released by medical records as standalones. sean mcbride has been producing work under the martial canterel moniker dating back to 2002 as well as working as half of xeno and oaklander. these tracks capture the allure and depth of sean’s early work exploring rhythms and perfectly crafted pop songs using a very early incarnation of limited instrumentation. fans of martial canterel’s early work (think “austerton” and “sister age”) will be instantly elated. this is the first time these tracks have been released on vinyl and have been remastered for this release by martin bowes at the cage, uk. contains special bonus insert with lyrics. fans of early martial canterel as well as other cold wave icons such as a blaze color, snowy red, and the like will need this collection. presented on high-quality 180gram classic vinyl in a triple gatefold pack.

medical records proudly presents volume iii of a collection of “forgotten tracks, sketches and unfinished work 2002-2004” by martial canterel. this release coincides as a standalone with medical’s other releases of volume ii as well as a special 3lp compiling volumes i-iii. sean mcbride has been producing work under the martial canterel moniker dating back to 2002 as well as working as half of xeno and oaklander. these tracks capture the allure and depth of sean’s early work exploring rhythms and perfectly crafted pop songs using a very early incarnation of limited instrumentation. fans of martial canterel’s early work (think “austerton” and “sister age”) will be instantly elated. this is the first time these tracks have been released on vinyl and have been remastered for this release by martin bowes at the cage, uk. contains special bonus insert with lyrics. fans of early martial canterel as well as other cold wave icons such as a blaze color, snowy red, and the like will need this collection. presented on high-quality 180gram classic vinyl.

best selling sophomore albums are one of the music industry’s rarest gems. one example of such a gem is jamiroquai’s second album “return of the space cowboy”. improving on their infectious blend of funky r&b and acid jazz, jamiroquai delivered “return of the space cowboy” in 1994, hitting the charts with a vengeance and amassing global recognition as the leading pop funk band.
incredibly groovy and tight, jamiroquai expanded their compositions into the realms of jazz and this was accompanied by a positive but critical message regarding human rights and environmental issues. the hits “space cowboy” and “light years” propelled “return of the space cowboy” into all-time favourite status among alternative pop lovers all over the world. now with enhanced and remastered audio, pressed on audiophile 180 gram vinyl.

one half of cab drivers and co-founder of cabinet records: zky presents his new label ground service. 4 tracks that show what he and his imprint stands for. grooving baselines, driving beats and hipnotic sounds. tunes that take you on a dancefloor journey.

ltd coloured edition
from his early releases as lusine onward, jeff mcilwain’s electronic explorations make up one of the more diverse discographies of the past decade and a half. effortlessly blurring the lines between techno, electro-pop and experimental composition, the texas-raised/seattle-based producer’s arrangements are meticulously constructed, but also filled with emotion and soul. with an introspective turn that’s hinted at in the record title, lusine’s fourth album for ghostly sees mcilwain diffusing the pop-leanings of 2013’s the waiting room with opaque, brush-stroked melodies washing over these new buoyant productions.
the double vinyl release includes a download code.

the latest release from serbia’s soul print recordings brings together the two l’s, leonid and laak. up first is leonid on the a side with two tracks urania 1 and 2, possibly named after the muse of astronomy, which makes sense, as both tracks have a cosmic feel about them. urania 1 starts off with a nice string sound that permeates the space before the drums start to really take effect half way through. urania 2 has a more house feel about it, with the acid bass line sitting nicely along the deep pads. over to the b side and laak takes control. delving into late night territory with haunting layered leads & pads these tracks are typical quality by laak. featuring label artwork once again by fellow serb, bratislav milenkovic and pressed on a beautiful sky blue, yesterday for tomorrow is a thing of aural and visual beauty.

new york’s sheik n beik continue to assert themselves as a trusted outlet of chilly, understated techno following up releases from xamiga, keita sano and hermans with a va from family members ivvy, mr dello, og ag and ray rose. first up is mr dello with ‘pilgrims’ - a bold march that propels few finely crafted elements with deft usage of warped analogue fx. intensity snowballs throughout as metallic synths thicken before og ag aka andrew grant follows up with ‘410 prospect’ - an intergalactic transmission rich with bending synth lines. one half of dirk largo, ray rose then casts his eyes down in following up with tight, shuffling drums and buoyant synth tones all suffused with a healthy dose of dub before ivvy - a fresh alias from madison levine. originating from seattle’s burgeoning hardware scene, he offers up ‘shape speed’ - a languid, capacious groove that drives thick drums through dense and dubby textures that round off a solid addition to a catalogue continuing to go from strength to strength.

reissue of the 3rd album from legendary brazilian soul singer and composer tim maia.

deleted - with this fifth release, the moonrise hill guardians decided to deliver a vinyl conceived by half of them on the a-side and two friends they decided to invite on the b-side. the first side of the record is the more club oriented one, with two tracks from ethyène & folamour that sums well what made the early moonrise style, between smart soulful sampling to unstoppable groovy beats that will instantly make you burn a dancefloor. the second side starts with one of the two guests of this record, lb aka labat, with a house anthem that gathers all the detroit codes and an undeniable hip-hop influence. toshigi canopy has been asked to end the record, something that he did perfectly well with a more lo-fi track leaving you with a mysterious poetic taste that the moonrise hill guardians have always been defending.

mark rae is the man behind one of the key uk music movements of the last 25 years. as a founder of the shop fat city records and the label grand central, mark worked with some of the worlds biggest artists going on to earn several platinumm discs with his work as one half of the highly respected production duo rae & christian. this project is a worlds first autobiography and album, the release is packaged as a gatefold 10 inch which opens out to the book held within. the 40 000 word book covers the author mark rae s journey through the music industry. it follows the creation and dissolution of fat city and grand central records, rae & christian and yesking. the underground club scenes of manchester, gang wars, success, failure, working with bobby womack, jay z and the pharcyde. the project has been supported by whosampled, dj magazine, vice and the tate modern. the artwork is exceptional featuring an historical montage throughout the inner gatefold sleeve. the music features guest vocals from tony d who was a big influence in the original grand central records sound, soul king pete simpson, multi instrumentalist shawn lee and kate rogers.

up next on good company records is tourist kid s under armour suite , a power ambient head cleaner in four parts, built for the club, and best enjoyed at high volume. originally recorded in a sweltering bedroom in hawaii, the a-side pits rolling virtual piano against heavyweight clouds of crisp dsp that jitter and jostle at 125 bpm for this, local audio/visual artist rory glacken s first vinyl release. on the flip, the suite is reworked by basic mind, one half of gcr alumni long body, who lures a blowfly house stomper from the original s minimal, digital dusk. packaged in a disarmingly plain black sleeve !

the new york-based (u)nity is made up of michael valeanu, axel tosca laugart, chris smith, max cudworth and amaury acosta. they formed the band in 2006 as a project to explore afro-cuban jazz, funk, soul and contemporary electronica. they say they ve been influenced by everyone from chucho valdes to art blakey to led zeppelin to kendrick lamar, and you can definitely hear all of that in this jawdropping work. guarapachanga is special in that it was the first song written by the band back in their days as music students at the new school. it s derived from the style known as guarapachangeo the most advanced form of cuban rumba, heavily improvisational and based on very complex rhythms and melodies. on this recording, (u)nity is graced with a guest performance by grammy award winner pedrito martinez, a master rumbero, one of the greatest conga players ever, an innovator who has left a permanent mark on cuban music. martinez is also a priest in the yoruba religion and a historian of cuban culture. over its eight and a half minutes, guarapachanga twists and turns and journeys through a mind bending array of different tempos and modes, from latin jazz to hip hop, ultimately ending with a trippy ambient soundscape. the whole thing is overlaid with free spirited melody, soul and the afro-cuban essence that is the bands lifeblood. the white-hot live playing gives it the feel of the best early-morning jam session, yet it packs a sonic punch that will make it sound incredible on a good sound system in the hands of adventurous djs in the world-beat or spiritual-house vein. if you didnt know guarapachanga was a contemporary work you might mistake it for a loft classic, yet it s also as fresh and exciting as anything you ll hear this year.

luciano continue his newly launched basaec imprint with * saved & slaved*, a two-track release featuring collaboration with argenis brito. swiss-chilean producer and dj luciano has been at the forefront of underground electronic music for quite some time now, heading up the infamous cadenza imprint and releasing material for some of the industry’s leading labels such as perlon, desolat, cocoon and poker flat amongst many others. here we see luciano back on his recently launched basaec label, delivering some of his signature stripped-back, dynamic and emotive material ‘lost in lymbo’ takes the lead and sees luciano offer up a typically intricate twelve-minute excursion with subtly modulating and evolving percussion, spiralling synth swells, sporadic vocal chants and a smoothly unfolding aesthetic resulting in an archetypal and intriguing production from this forever forward-thinking artist. the latter half sees luciano paired with fellow cadenza artist argenis for ‘pato’s track’, stripping back the vibe to a raw cowbell and rim shot percussive-led state whilst lumpy subs, vocal murmurs and subtly unfolding flute like melodies ebb and flow throughout the composition.

hot on the heals of his ethereal, raw & scrunchy ep for the lobster theremin main label, stu robinson aka asok returns with a quick fire reply via lt sub-label mörk.
applying a similar template of contradictory elements, cobbled into a melded, half-melted mass of aquatic techno, proto-rave and depth-charged deep house, inner circle is the transformation complete. a step into the unknown without a shadow of doubt.

konstrukt 005. the gravitational pull of the moon lets the water flow gracefully. way off past awareness, in and out of reach like a half remembered dream.

we are proud to announce that andreas tilliander is back on echocord after 15 years. this march sees echocord release the ofog ep comprising three original productions from swedens andreas tilliander. stockholm based andreas tilliander is a name thats been synonymous with the underground electronic music scene for a while now, from his contribution to the glitch genre in the early 1990s through to winning a swedish grammy and producing under various monikers creating a variety of sonic art. this includes his previous echocord released lowfour alias, the raster.noton seminal moikra cliphop album and his more recently explored tm404 project which has seen him release on skudge and kontra-musik. tillianders ofog ep kicks off with an upfront and club leaning track entitled storet, which is driven by deep kicks and crisp hats that both sit tightly at each end of the mix, leaving room for twisted chords and delayed synth swells to fill the gap. next up comes the fine dub-tinged and spacious aesthetic of oliveros, where ethereal textures glide freely alongside the live-sounding tape delayed drums, accompanied by a deep, weaving sub. closing the package is risset, in which a half time bass line chugs alongside vibrantly saturated percussion escorted by dubby chords and glitchy atmospherics.

days of being wild continues their collaboration with berlin based french producer franz matthews, releasing his first solo ep, the spacey, cosmic ostkreuz. half of the duo languages, whose 1st ep the label released at the end of last year, franz matthews explores a very different sound on his first solo effort, all space disco, retro synths and funky guitars out. title track ostkreuz has been road tested by the days of being wild crew on dance floors all around europe all of last year and has created euphoria and anticipation in equal measure. this is a cosmic hit from outer space, all constructed around well known ingredients that thanks to franz matthews musical and melodic talent rise here to epic heights. the b-side guns of rixdorf is another devastating peak time tune. while remaining in the same vein as ostkreuz, it feels more high energy with its irresistible funky guitars calling and responding over a driving bass. days of being wild always try to pair producers with remixers that will shed a new light on their work. its no exception with ostkreuz, who gets the reinvention treatment from no other than moscoman and rodion aka the claydermans. the cosmic vibe is still here hovering on top in the opening chords of the remix, but soon enough a sub, housier bass makes its way in the mix and wont let you go until the end. carried by shuffling claps and a bouncier beat, the groove here is totally re-invented, taking ostkreuz from peak time to the darker edges of after land.

“fleischberg” is the 2nd vinyl iteration of berlin’s body focused fleisch collective, following hot on the heels of last year’s highly acclaimed release by schwefelgelb. this 12” starts with a relentless six and a half minute assault by australian native and berlin based halv drøm, a fitting vinyl debut for the talented producer. dsx follows up with a finely tuned ebm track tactfully layered with obscure vocal samples and paired with piercing, frenetic drum programming.
the b side starts with a slightly different approach, recalling a more classic techno and electro tone without losing sight of the release’s progressive focus, privacy’s catchy “work” recalls late 80s chicago masterpieces without becoming overly nostalgic. sekunde rounds out the compilation fully with a plodding and minimal piece that would be best appreciated while being blasted driving 300 km/h down a moonlit back road somewhere in the black forest.

22.02.85 is the new album from bastien keb. initially conceived as a concept album about a stripper lost in the city (like a straight-to-video follow up to showgirls), 22.02.85 has a distinctly nocturnal edge to it. the city at night, lost in a crowd, abandoned petrol stations, empty kebab shops, broken florescent lights. like a half-forgotten dream, familiar yet unnerving. he says all the songs are all about girls apart from two about a big lug. you may catch a phrase here and there but the context is all in the feel: there s a melancholy edge, but i don t wanna depress people. sad but hopeful? if that s possible.

this release journeys to mid-80s argentina and the highly sought after 2nd solo album of carlos cutaia. inspired by the new electronic sounds emanating from europe, this multi instrumentalist offers more than a pastiche, embedding his own melancholy in a unique and classic nueva wave-album. classically trained, carlos cutaia started as a composer for dance and theatre, before spending much of the 1970s as a member of a number heavy rock, prog rock and rock-fusion bands of some note, before finally going solo with the city of distant tones album in 1983. however, by the time of his 2nd solo album in 1985, as his country finally left behind a long period of military control and enjoyed greater freedoms, carlos was fully immersed in the new electronic pop sounds imported with hungry ears from europe. teaming up with fellow composer, keyboardist and producer, daniel melero and alejandro oucinde, the futurism of kraftwerk and gary numan s tubeway army was embraced, but also adapted to fit their native land, just as it was understand a new modernity. starting with the swagger of visiones incomunicadas, the template is set. sharp drum machines, semi-nonchalant, half spoken vocals set the scene, while chopped guitar and smart synth lines fit the over riding feeling of an intelligent nonchalance. things however, do go beyond the straightjacket of euro-pop as heard on the anthemic programacion and avant twist of the first of two piano-ambient pieces aproximacion dos and its companion piece uno found on the b side). eric satie and minimalism are clearly not far away. however, it is side b opener sensacion melancolica that captures the sound to perfection. a balearic masterpiece, capturing in it s title the over-riding atmospheric of a unexplained sadness, a loss. operativo and the poem humanos de america bring things to an end of a feeling melancolica.

one half of laszlo dancehall with leon vynehall, christian piers returns to duskys 17 steps with three tracks of machine driven music aimed at the dancefloor. leading with the heavyweight techno of detachment, the package also includes the dark mechanical rhythms of expanse and drum workout strain, as well as trevinos stripped back dub techno interpretation of detachment.

"all djs and producers around have at least one secret weapon to play. this series curated by marvin & guy is the equation that joins together very special edits from very special artists. it will be out in three volumes in different colours: first black, second grey and third white. the equation series are being released exclusively on vinyl, a limited edition of 300 copies; no digital formats will be released, and distributed by kompakt. with equation 2 the a-team is back and they have changed players for this second half. this time they bring along the mexican outlaw hippie, a danish who learnt how to build beats better than lego, as well as the only irish keener on music than in beer. and the last player is a man who abandoned the euro dance hits of the 90’s to play basketball in peru."

hannulelauri have lain silent for more than half a decade, the finnish duo seeming to have disappeared into musical memory. but thankfully this is not the case. resurrected, the pair return with a quartet of space inspired disco from their vaults. starting off with the warming plinks of -earth-, the duo then dazzle with the laser show of -crossing-. the flip keeps the goodness flowing. -blinds- strips back basslines to let bright bars and strings shine before the playful whimsy of -dream- closes. tracks from a decade ago and still sounding as fresh as ever.

the ivy lab trio return to critical for their first full solo ep release since ‘20 questions’ back in 2015. since then the lab sound has been breaking down even more doors across the globe. they prove why with a new ep full of cuts of proper half-time groove.

this collection of demos and live recordings from amsterdam/dutch post-punk bands capture the early 80s sound and offer a unique insight into the spontaneous, diy music style of the time. wide representation of styles on here - from driving guitar punk to weird minimal synth, deluxe 180 grams vinyl edition w/ two page insert with info & pics of the bands.big tip for the nl punk collectors and beyond!

the legacy goes on, after blowing minds of half of the world with his debut, the mysterious judas is back in the game. this ep shows to the world that simplicity is the key to creativity.

dark and irregular techno release, with deep bass, distorted rhythm and gloomy pads. lucy s remix is an insane revisitation with a phase war between loudness and rhythm. the original tracks by laertes (gianluca meloni already known as the second half of modern heads with dino sabatini) are focused on the deeper and mental dancefloor. limited to 300 copies on translucent coloured vinyl.

a year after his first release on the label, german deepsmith sven weisemann is back on delsin with a sophomore effort entitled separate paths. down for his moody outings on labels like mojuba and telrae, this new four track affair continues to mark out the man behind it as a master of atmosphere. grooves floating in mid air and subtle melodies drift by like half remembered thoughts. head music that also makes your body move. it may only be four tracks long, but this ep truly takes you on a journey somewhere far away from this world.

after the success of the broad and powerful second lp alone in time?, Ø phase continues his ongoing connection to token with the submerged metropolitan ep. the title track enters with burchett s own brand of unease, the lead is tense and discordant, moving over a bumpy, rolling kick. brushing off-beat hats rush overhead and play delicately with this unease above the thunder. a vague spoken word sample adds texture and contributes to the cerebral edge. ethereal swells and intense rhythmic play introduce fallen columns, which delves into atonality with keys that add a controlled recklessness to the composition. this absent mind takes on a hypnotic, dubby form with a confidence that belies its complexity. a sublime breakdown introduces the heavier second half of the track, which enters impressively and batters on to the end.

public releases hits the lab for some aural alchemy and to turn out its first release of 2017. a four-tracker from moscow’s phil gerus, scenes—or, in the producer’s native russian, &#1089,&#1094,&#1077,&#1085,&#1099,—manages to have a makeup that’s both peculiar and magnetic. the title’s a fitting one, every track feels like a vignette in a collection of short stories. separately, they’re self-contained, but a rich narrative arch is added when they’re sewn together. if there is a theme here, it’s of viewing the future through the dusty lens of the past, and each of the songs explores this in its own fashion. the kick-off, “ohashi sky garden,” starts as a hyped-up italo space epic, pumped full of swirling synth licks and sharp, tight drums, but it mutates into something completely its own when vocal samples (90s r&b?) and warm keys (prog rock rhodes?) enter. after the original’s brisk five minutes, the legendary richard sen—graffiti guy, breaks guy, house guy, disco guy, half-of-padded-cell guy—steps in to give it a trance-y tinge while doubling its runtime and adding a dancefloor-destroying hi-nrg coloration. the b begins with “naha swim,” a crunchy funk foot-stomper that might as well be an unreleased idjut boys or ray mang ditty dug up from the noid catacombs. fiery and furious, yet utterly cheeky. serving as a sort of coda to “naha” is “kiss of a kind,” a gerus take on 80s adult contemporary, replete with sleazy sax and sensual pads. a gentle nightcap to a zigzagging, antic 12-inch

ahead of the release of a full length album by the same title, honey soundsystem records presents 3 breakout tracks on 12- vinyl from octo octa s -where are we going?-. side a features the -new school- breaks pumper -move on (let go) (de-stress mix) and the peak-time synth heavy tear jerker -on your lips.- on the flip we share the 9 and a half minute aquatic house opus -where are we going? pt. 2- “do you feel better?” — is the line maya bouldry-morrison aka octo octa repeats like a mantra on the final track of “where are we going?” her newest and second studio lp. “it was the question every single person asked me after coming out as transgender,” she told us “overall i do, but no, i don’t feel better at every moment, which is why the track slips out with a dour bass drone in addition to a beautiful pad. these days, both emotions are ever-present for me.” it is precisely this candor and intensity that immediately drew us in when maya sent over the lp to consider for the honey soundsystem label. as djs we are always looking for music that can speak in our sets, not just the highest caliber productions, but songs that represent the changing landscape of the queer dance-floor. “where are we going?” reads like a diary. with track titles like “no more pain (promises to a younger self)” and “move on (let go) (de-stress mix)” you can’t avoid the autobiographical messages of these songs, but maya leaves no booty un-shaken - this is still 9 four-to-the-floor house and techno beauties to rock your body. her willingness to even model for the cover art of this lp, proved this is a side to octo octa we ve never seen or heard before, an artist ready to let her fans experience an intimacy as deep as the synths and lead lines she has gained notoriety for. applying her years of international dj’ing, this album flows with intention and has effortlessly found its way back into our headphones and home stereo systems repeatedly - pro-tip: you can even have sex to it. needless to say this is the first time in a decade honey soundsystem has thrown itself at a contemporary lp and we know once you hear it, you will know where we are goin

steinzeit concludes the mrt grey series. the duo is comprised of hansruedi schnuriger, one half of echo 106, and bjorn magnusson. they recorded these three tracks in a weekend s time inside magnusson studio, which is an abandoned factory in the middle of nowhere, in switzerland, using bare concrete walls as an echo chamber. the pace is slow, atmosphere is bleak, tone is melancholic, drums are evil. it reflects how switzerland feels in winter. lonely, and this is true, like the name of the tracks.

tiga is back to tell you what youve always needed to hear with his new single eye luv u. co-produced by one half of paranoid london, the new single harnesses all the pure source energy of what enlightened club-goers often describe as their favourite emotion. the title came to me while i was playing a pyramid that had been converted into a multi-purpose event space, says the canadian dj/producer. the hieroglyphics over what is now the coat check made me imagine a world in which pictures could mean words and words could mean anything. the thing about wordplay is that its fascinating to conceive of different realities informed by different systems of meaning, and how each reality would invariably bend to vault me to the pinnacle of all possible worlds. its humbling, really.

jamie paton, one half of the duo cage and aviary has in interviews expressed his thoughts about if slouchy techno can be viewed as an own genre. the answer lies in this 7” - “telefuture / blind summit” - released on hoga nord rekords, on which the label above is highly appropriate to sum up the sound. the tracks contain elements from your techno favorites dating three decades back, but the tempo and the production creates a slouchy (in the words most positive sense) feeling clearly influenced by the slow motion house of cage and aviary.

next up on deep distance (following the sold-out-in-a-day sula bassana lp) is a fabulous newly expanded first time on vinyl double lp set of colin potter’s seminal 1980 cassette only release “the ghost office”.
the label is gradually working through colin’s revered back catalogue of cassette only releases, with previous titles the scythe and two nights selling out instantly. his run of half of a dozen home recorded, diy / minimal synth cassettes between 1980 and 1982 is rightly granted legendary status, influencing a slew of home produced diy experimental electronic artists and all attaining high collectors prices online for original copies. so these lp sets filled out with all manner of unreleased cuts, demos and excluded tracks truly are a treat.

shaun reeves & tuccillo mark visionquest’s first release of 2017 with their ‘origin 99’ ep, comprising four collaborative original tracks from the pair. individually shaun reeves and tuccillo have been driving forces in the realms of underground house for quite some time, collectively releasing on labels such as raum, 2020 vision, circus company and more. this time round though the pair’s material finds a home with visionquest, label co-founder shaun reeves joins forces with tuccillo, following his solo ‘full time’ ep on the imprint in 2016, for a new synergistic release. up first is title track ‘origin 99’ which sees the pair deliver a smooth understated house style via organic percussion, winding dub stabs and tension building atmospheric to create a subtly evolving six and a half minute cut. ‘one two five’ follows and lays focus on a more stripped-back aesthetic with sparse rhythmic hits, tumbling sub hits and a dreamy bell chime melody. ‘prowler’ opens the latter half of the package with soft chord sequences and wandering delayed synth lines running alongside 303 bass and shuffled snares before ‘blood moon’ closes the package on a raw minimalistic vibe with swirling dub echoes and intricately evolving percussion.

two years on from his critically acclaimed self-titled debut lp and 2016’s similarly transcendent club hit safe/multiply, ghost culture is pleased to announce his new ep nucleus. due for release on phantasy, nucleus, captures the enigmatic london artist’s signature sound in the reflection of unexpected, vibrant new lights. leading with the understated groove of ‘coma’, ghost culture quickly reaffirms his unwavering ability to hold the collective energy of a dancefloor, yet colours his latest work with a sense of intimacy and experimentation that resonates stronger than ever. ‘ico130’ explores almost every facet of ghost culture’s electronic form, as gasping synths and stuttering drum patterns flirt with an aching, unfurling emotional vocal sample, acknowledging both classic idm influences such as aphex twin and authechre, while subtly nodding towards contemporary, crystalline rnb. the ep’s centrepiece, ‘ngc1275’ adds flavour to a stirring, reflective acid line, amid a complex flurry of minor deconstructions and distortions, highlighting ghost culture’s unique, contrarian ability to inspire both beckoning darkness and escapist fantasy through his work. while the opening half of the five track ep is more primed for the night, nucleus’ leads to an introspective denouement. ‘perseus’ pits raw electronics against a framework of loose, lucid drums, before ‘ngc1265’ delivers a wistful, brooding conclusion that makes an emotive case that impacts powerfully across just a short sketch.

mistyc e.p. - the second part of twig 3 comes on a 10- record, straight from the other half of the offenback imprint -pager-, markus sommer.

optimo music are delighted to present the second full-length from the golden filter, still / alone. after relocating to london and playing shows around europe for a year and a half, self-imposed pariahs penelope trappes and stephen hindman delved into creating a two-sided existential opus by renting out old studio spaces around the uk and using mostly analog 80 s instruments, machines and effects. an album about being in love with pure solitude, when still // alone is separated into two distinct sides, record one, still, is a hypnotic meditation for the nightclub. wavy patterns of sound and light bounce off of penelope’s literary vocal bursts, layered over the ominous deep synths and arpeggiators, held together only by a strict 4/4 beat. the rhythm, ironically forcing the body to move, however internally focused and mindful, still. record two, alone, takes the club offline and into the fringes of raw, odd pop.

rooted series is back with another various artists release. side a comes with rainer from half baked and bodyparts records and a collaboration between label boss bolumar and pablo marco from cadenza and fathers & sons. side b comes with dakpa from mulen and usual in the label and the talent jam on from newfact music as always vinyl only!

speed boat is eden burns, one half of dunedin house duo sandboards, who brightened up 2016 with heavyweight releases on feel my bicep and cold tonic. splitting off for the first release under his solo moniker, speed boat applies the base coat to new label the nail shop with a gliding four track ep for the imprint’s debut release, that makes the foot-tapping accompaniment to an afternoon waiting for your nails to dry.
the vibe is in the name, as ‘speed tools’ packs a mighty punch, featuring skittering percussion, steady-movin’ bass and infectiously sensual pads that effortless take the forefront. just don’t be surprised if it swoops you straight from the salon onto the dancefloor.

like a slug persistently stuck to the bottom of a half-pipe in the community park over which there has been much debate, grey people has long been making tracks within proximity of the teenage forbidden zone from the detached, elemental perspective of a dark, moist creature. cryogenically frozen should we be? schwarzenegger cries liquid nitrogen teardrops but allows you entree to the dance floor, filled with the icy carved physiques of electro snowmen. coma tunnel makes going flatline sound beautiful and sad. the fluorescent hum of the bulbs lighting the conical ceramic passage to oblivion provides a nostalgic pillow to press our face into. on the b side, the tornhawk squad mess-up of coma tunnel begins with toddler-techno thuggery. then guitar chews grape nuts cereal all loud in the ear of your high school principal. then some screechy, finally soothing greeting from the angels that escort you to afterlife s beanbag chair.