a double helping of killer cosmic rarities from legendary miami-based disco label t.k., bringing together two super-obscure cuts from 1979 - queen samanthas amazing progressive electronic disco odyssey >take a chance< and the heavy soul/funk epic >cosmic funk< from the wonderfully-named mad dog fire department. the queen samantha track is eight minutes of slow-burning disco bliss - a bubbling mid- tempo monster with awesome percussion, super-funky bassline and the queens glorious soaring vocals which caused mayhem on the dance&#64258,,,oors at mancusos loft and levans warehouse as well as being a fave on the early ny breakbeat/hiphop scene with afrika bambaata giving it some heavy rotation. flip over for mad dogs extremely hard to &#64257,,,nd >cosmic funk<, a grooving grinding low-slung workout featuring hypnotic chanting vocals and some wild synth action. remastered for top-quality sound, this double a-sider is a must for lovers of that heavy t.k. sound.

justin berkovi delivers 2 heads down mid-tempo techno dance tracks for his art debut. clean, crisp production with thunderous low end characterise both tracks. the title track drive delivers its power via modulating synth stabs, whilst when i throw down commands the dancefloor with its demonic vocal. a classic label debut from one of technos most loved producers.

nice price deal !!! he one and only studio rocker tony thorpe - aka moody boyz, illustrious low end manipulator of some 30 years acclaim - teams up with three of the most exciting and original uk producers in si begg, nuphlo and pempi, to present the first release from his monumental globe stepping project, taking world music atmospheres and giving them a sideways twist to create a new flavoured selection of dancefloor killers and chill-out epics.

limited yellow coloured vinyl!
robosonic return in full effect with the stunning and beautiful >the sweetness<, after a brief hiatus with regards to original releases the berlin duo present this unique track to the masses via jackmode.
j phlip takes the remix duties head on with a great interpretation, the american dj and producer shows her flair for all things bass with a track drenched in low-end loveliness. a tough kick underpins a hypnotic loop that rolls out into a spacious breakdown. the final drop doesnt disappoint, big drums and dark percussion make this new version a surefire dancefloor work out.

with former descent, bas welling (neurobit) is taking his music into a new direction. more than the breakcore, noise and digital hardcore he got know for the last couple of years, you can expect some dancefloor friendly electro experiences, weird dubstep like broken beats, phat acidic basslines and some beautiful ambient to end with. this ep is not for the faint-hearted and shows, once again, that anything could happen on the shipwrec label. highly limited to 200 copies!

2011 was a banner year for borrowed language – both the split 12 inch from jeff pietro & israel vines (blx-2 distance no object) and jeff pietros definitive >still< 10 inch (blx-3) garnered plaudits from all corners of the globe and were charted and played by the likes of surgeon, miles whittaker (of demdike stare fame), peter van hoesen, xhin, and many others. we kick off 2012 with this astonishing 4-track ep from detroits justin ivey, and if this is anything to go by, its going to be a hell of a year… justin ivey has been making uncompromising and challenging electronic music as dj adjust (and lowsh as well as theek) since the nineties, and he is also the founder of the beloved and highly influential cult imprint low res. while low res has always released records that reside somewhere on the extreme end of the electronic music spectrum (i.e. davros and ablecain) ivey isnt a purist - in fact, he is a true enthusiast of all types of electronic music, and it certainly shows on this 4-track ep.
limited edition of 200 copies on white vinyl.

spanish producer bolumar drops the >pressurized ep< on northern england based luna records. support from the likes of slam, dj t, moodymanc, martin eyerer, edu imbernon and coyu.

despite the doors being closed on dissident in 2009, former boss andy blake has been anything but quiet, with his world unknown imprint bringing the acid and ebm sounds of his night of the same name to the world. now hes started another label, in plain sight, which looks set to bring more esoteric house sounds to our ears, with the first release coming from the hitherto unknown youngtee. the first track, >dr chocolate< fuses the kind of oddball low-slung sounds and spoken-word samples that in flagranti have been masters of for years, with jazzy keys and 808 cowbells which hint at a subtle chicago influence. the classic house influence continues of >perfect model<, which combines misty chords with an 80s pop groove, falsetto vocal sample and synth jam solo which comes across as alternate universe michael jackson track. as youd expect from a label curated by blake, its house music, but not quite as you know it.

the moustached disco avengers at sccucci manucci drop their latest missive, featuring more transmissions from the disco underground. argentinean based toomy disco provides >what goes around<, a tightly produced disco-house number with horn snippets woven around low-slung grooves, whilst the glue deliver >without you< a hazy slo-mo looper with vocal teases and hypnotic guitar licks. on the flip, south west seven lock themselves into a fast moving groove with >what have i got to do<, a track that contrasts its fast rhythmic pulse with vocals and guitars that slowly emerge from the filtered ether. aeromaschine close proceedings with >deep champagne<, combining a deep and melodic bassline with improvisational touches and glitchy vocal stutters, it successfully forges its own sound whilst keeping in line with his disco counterparts.

london-based deep house label ornate music come through with another gem in the shape of the latest ep from dubbyman, filled with robust, beatdown grooves. the ep opens with >time & sensibility<, creating an all-enveloping atmosphere with its oven-warm pads and rich analogue bass, punctuated with jazzy chords and vocal murmurings. >kirigi is coming<, meanwhile, showcases dubbymans excellent knack for crafting moodymann style textures with the depth to boot, combining a solid rhythmic snap with drawn out vocal landscapes and detroit-referencing melodies. finally >uuuuhhhh!!!!< closes the ep with its breathy intro and low slung filtered grooves combining with bubbling laser sound effect

focusing on low slung house music full of swing and swagger, jordan peak has a knack for creating raw analogue charm and already encompasses a growing spectrum of sounds. currently in the midst of a speedy ascent through the production ranks, his output already includes an intriguing set of releases, for a uk act, on labels such as robsoul, raum...musik, saved and tsuba. this is quite an introduction to music making, considering that jordan only released his first record in late 2009.

following cuberas 2011 debut with the imperial ep, kyle geiger embraces a new era for 2012 with the mimetic desire ep–further establishing his fresh and uncompromising approach to techno, with his blend of traditional low-end strength and thoughtful melodies. the feature cut, >mimetic desire<, uniquely intertwines thick, defined bass with geigers signature percussion, and most notably, a searing hook that will easily find its place in the rising, peak-time mindset of a twisted dancefloor–while simultaneously providing just enough delicacy to successfully march through the early sunrise hours.

at last - the essential montreal ep tracks mastered properly! comes in a twice hand-stamped brand new printed downwards jacket tracks unavailable on vinyl for some years regis explores the various forms and effects of repetition within this d.a.f. inspired 1995 british underground techno classic. properly mastered for the first time by our very own techno luvvy matt colton - this is truly linear, hypnotic, low-fi machine funk.back in the early days of downwards only the surgeon titles were mastered properly as oconnor didnt think his own productions were worth it(having been transferred direct from tape)features a brand new downwards printed jacket and two hand stamps.

so after the elusive triumph of our first release finally came firmly into our grasp, we at sequencias here in new york thought it was time to take things in a parallel direction without retracing our steps. drafting three top names in underground deep house for a label debut is no mean feat, but how do you follow up on a surprise coup like that? we thought it was time to go even deeper, and we couldnt think of a better way of doing that than getting an experienced player to unveil a new alias for our second offering. things being as they are, weare trying to keep it a bit low here, but what we can let you know is that his discography stretches back to 2005 and that he has appeared on the illustrious bunker records. this should give you a good idea of what to expect: deeper-than-deep, dirty, and gritty house that jacks with the best the movement has to offer. we have to say that orpheus firmly delivers here, and we hope you will be as pleased as we are with the three dark and introspective offerings he unveils for his new project here at sequencias.

after two smoldering releases on figure & spc, roberto bosco is back for his third offering for len fakis spc imprint. a future-classic 4 track techno ep, with more than enough to keep the peak time floors happy, this is big room music at its most intelligent and sensitive. easing us into the thick of it, charming noise takes humming, rumbling bass tones and a metallic clang as its themes. slow burning and readily effective, its a brooding monster for the late hours. i just cant breathe pushes the adrenalin up a few notches in a screaming, white noise attack on the senses. boscos trademark heavy bass rumble and crisp percussion layers hold their own in this reduced killer. were then ready to embark on an emotional voyage as the masterful see the light emerges from the depths with its pushing acid bass and beautiful atmospheric melody. classic strings and synths swirl and build in a tender and heartfelt piece of timeless techno. closing the ep, i was lonely takes the vibe into more reduced, after-hours zones with robertos cool and low-slung take on the smoother sound of futuredeep house.

the opening hits of the percussion stay smooth and relaxed, and the instruments come in one-by-one – first the synth, then the strings, then the brass – to create an experience thats both engaging and relaxing. this is the sort of music i would listen to if i cruised the streets of san francisco in the evenings. as >back to the bay< wraps up and pulls us into his remix of >screw up<, we get a dose of subscapes intensity, but its quickly pulled back into matty gs signature low-bass, hip-hop/dubstep fusion beats. >jam like a tek< adds in some vocal hooks to get the crowd chanting – and you are missing out if you dont add this into your mix. deep kick drums, a snappy snare, big distortion on the scratchy bass wobbles, and the vocals all come together perfectly to create a track thatll get people grinding like mad on the dancefloor.

2 organic feel-good dance tunes come from free magic and jkriv (tortured soul, escort) based on the discovery parties in nyc that blend the lines between house, techno, & disco. both chant and sing are low slung grooves, each with their own live elements that call you to the dancefloor!

from the unlikely bass music hotspot of austin, texas, the mighty vvv returns to fortified audio with his strongest material yet in the form of his – and the labels – debut album. if you slept on the projects ep we released in 2010, nows the time to get acquainted with the dynamic progressive garage thats garnered praise from the likes of martyn and oneman. while still giving nods to the classic sounds of ghost, early tempa and vintage dem-2 productions, across the sea updates these formats with deep and futuristic synth work, subtle but weighty basslines and precision rhythms that mark vvv out as one of the most formidable producers working in the crowded field of bass music. this time around its not only the future sounds of london that are present, but also the ghosts of classic chicago house, richard d james-esque electronica and an ethereal contemporary soul sound. across the sea showcases the strongest work to date from a guy we consider to be one of the best in the game

what a listening pleasure! arsen1computerklub is back with his vinyl ep wont you come. here he does himself proud and provides us with two well balanced but rootical tracks that have a lot to offer. emotionally rousing like a thrilling poem, wont you come is taking us charmingly sexy on a journey into spherical realms that you simply cannot escape from. pressing low-tuned basses together with sharp sound passages - almost hymnic - characterise the groove of his tracks. with bacteria we are allowed to sit back, relax and enjoy the seductive flow. the track bacteria with its driving pace, raw and unpolished, is indeed having its finger firmly on the pulse. labels friend kleinschmageraudio is transforming the track wont you come into a breathtaking remix being in fact a sly old dog. with its stomping rhythm the remix is whooshing into your auditory cannels. marvellous!

next detroit influenced techno - techhouse bomb on thoughtless music incl. huge someone else remix. don not call it a comeback: philadelphia techno legend and 611 records founder nigel richards drops three tracks of abstract late night warehouse music with his debut release on thoughtless. the title track works a chugging low-end and insistent percussion which combine to propel it through a vortex of intergalactic analog textures. taking time out from his busy release schedule for foundsound and little helpers, fellow philadelphian someone else turns in a deeply hypnotic rework that brings reverberant chimes to the foreground atop a bass line that refuses to quit. >deeeep< sees mr. richards exploring further regions of uncharted space by crafting a sleek techno vessel out of thick bass slabs and quicksilver high-hats, pushing forward as all manner of nebula and supernova stream past at light speed. one of the most influential names of east coast techno is back with a vengeance - fasten your space suit for zero-gravity fun...

nice price deal !!! exercise one return to their exone label for the end of 2011 with a low slung slice of electronic indie featuring zach van hoozer of the zulu pearls on the title track you ought to know. exercise one and van hoozer first met when the zulu pearls played with them in berlin and impressed with their melancholic pop melodies and minimal arrangements, coupled with zacs distinctive voice and swagger. peter van hoesen delivers a standout remix, working for the first time with a full vocal arrangement. peter is a long-term friend of the duo, first recording on their lan muzic label when he began producing techno again and having released previously on exone this year.

kowton and tom dicicco, residing in bristol and manchester respectively, make very different music from one another. kowtons seems to come from house, perhaps also electro and garage, often quite slow in tempo and hard to pin down to a specific genre. toms music is techno, bass heavy, melodic, textured and rooted around 125 bpm. with these distinctive styles the idea of a split ep might seem ambitious, but the result is four cohesive but different tracks that show the talents of both artists perfectly in the format of two originals on one side and two remixes of each others originals on the other. tom diciccos original is driven by a low-mid range thick stab and pounding kick drum, littered with intricate but not overbearing hi hat and snare work and some very atmospheric mid range. kowtons is subtle and sparse, low fidelity and plodding, with rattling percusion carrying the tune along. on the other side of the record, kowtons remix of toms original is driven by an enormous bassline, with an off kilter dubby feel to the slow tempo and genre defying tune. toms remix of kowton rounds off the ep with a return to stab driven techno, pulsating, dynamic and trance inducing.

following their recent track on reduxs pick & mix vol. 1, the disco legend that is pete herbert and melbournes golden fleece further cement their collaboration with this full ep on space walker records. >ivory waves< is a 90s influenced cut of uplifting piano-driven balearic house, complete with lush cosmic flourishes, whilst >the bells of hackney< is a more low-slung, but no less powerful production. initially combining a snaking live bassline and spaced-out arpeggios, the track builds to a crescendo as heavily flanged piano and tights guitar licks come into play. the b-side meanwhile serves up two remixes of >ivory waves<, lithuanias downtown party network recompose it as an even more-good time anthem (if such a thing is possible) with their trademark melodic charm, while slovenias sare havlicek takes the track into deeper territory bringing the thick bassline teasing the melody with dubbed out stabs, slowly bringing the huge piano line in before dropping it with force, taking the anthem potential of the original and running with it.

enter the purple maze again with three subtle techno tracks from yør.after some challenging an experimental offerings last time out, secretive musicos purple maze are to release their second offering, the rave ep, in december 2011. it comes from equally low-key producer yor, and is a release that operates a little closer to the dancefloor than maze 001.

phuture shock musik present their 5th release, this time procuring the reliable talent of one of the most slept on producers in the world of bass music - that is simon/off. those in the know will be aware that the austrian native has been simmering in the underground for quite some time now, having laid the groundwork through early releases on haunted audio, a noteworthy ep for immerse records, and further contributions to several other smaller labels. this latest plate by the name of >planetary communication< ep finds simon/off leaning more towards his techno and broken beat side, which has of late began to flourish in his recent productions, and consists of three well crafted afro-tech riddims oozing weighty low-end frequencies, funky drum work and finely detailed percussion. widespread support on sub fm, and increasing support from several other major players in the underground bass scene.

free to be is a monstrous, house-submerged affair, as low-slung as they come and in a classic murk vibe. berliner hunee delivers a spot on remix on the title track and brings it into deeper territory reminiscent of early prescription releases. he is transforming the original mix into something fuller, warmer and almost epic. down to nothing is another slow pumping house nugget. with its soothing and soaring synths, ebb-and-flow arrangement, inviting melody and vocals, this is another bomb fitting every house set. things get even slower with why dont you. a great house tune with a sensuous vibe.

the next llfo comes as a split ep. swedish master of minimal house and argentinian techno veteran franco cinelli gathering to show underground dance musics status quo. franco cinellis da beatz on the a side, is a funky old school composition. the drums are the main plot of the track. twirling snares and classy rides accompanied by a very familiar sample give us a 1995 feeling. pandemonium on the b side, martinez contribution for this wonderful split ep, is his interpretation of modern house in perfection. as usual tight drum patterns, the for to the floor attitude and a low-fi bassline supported by a trippy vocal sample. probably one of his best work of late.

a - side: i aint hiding (heavy disco edit)
ashley gets low down and dirty with the southern rock giants the black crowes. their >i aint hiding< track was a real marmite moment for their fans. ashley (being a fan) turns the stonesy disco rock track (think miss you) inside out to create a psychedelic dancefloor wig out. already a big fave with the horse meat disco crew this has been one of mr beedles most requested edits/reworks over the last couple of years and he has decided to let this one out the vaults. its a monster.

sounds sane / klock ist die perfekte vorabsingle des im april des kommenden jahres erscheinenden zweiten lazer sword albums. als limitierte 10inch im vollcover color vinyl reflektiert sounds sane / klock den typischen lazer sword sound: electro-funked dancefloor hip hop-sound vermischt mit uk funky und uptempo glitchy electronica! fragt man lazer sword nach lazer sword bekommt man folgende antwort: lazer sword sind low limit lando kal. unsere musik ist wie surfen im inneren eines vulkans. catch the wave! uns als record label hat die welle mit voller wucht erfasst. lazer sword sind bindeglied zwischen modeselektor, elan und siriusmo und passen mit ihrem sound perfekt zum label. im oktober und november sind lazer sword auf mini-tour in europa um ihre neue single vorzustellen.

our next release on the kolour mother-ship features rising canadian talent the noodleman. he laces us with an absolute picturesque, low-slung deep house affair that, for us, is one of those sweet-spot tunes.
for remix duties, we leave no stone unturned as we bring back a familiar face & proudly welcome in two new ones.

off we go and leave the cannibals all empty. the skies are lowering into the sea. gently pushed by stones we wonder/wander on. somewhere behind a rainbow, apartment houses quietly suspire their berlin. the cheeky spirit is pinching the nose with zest. watch them trip and do the mashed morale. we dance with them, but not for long. spirits are holding the upper hand again. still we miss a beat with a heart still strong. noisy colors all blending in one blue. i sit with you where the citys down low. we know no wrong in the sound of a song. down tumble waters rise behind our backs. the pointy poets heads hat breaks in two unlike the jesters scepter whos mad with magics saving factor. we wander on, stroll to and fro things weigh us out, no con, no pro, unlike the jesters saving factor we stick around too long a-go. down tumble waters rise behind our backs. the meek musicians heads hat breaks in two unlike the jesters scepter whose magics not an urban factor. strike up the band, play on and on for sweet sage music always wins just like the jesters magic scepter beats up and down, forgives all sins. this is when you come stepping in. a row of tender houses smash your knees. the skies are lowering some more. existences twitching here and there. rain reflects berlins icy glow: a frisking spirit on the tip of your nose. we dance with him for quite some time. no stopping a hand that holds up in a work. no missing a beat for a heart goes on. flamboyant whispers strike a chord back home. you come to me, im not alone, in the sound of a song we know no wrong

following on from releases on manchester based hoya hoya and giles petersons brownswood label, london based producer/dj - eliphino - has found his finest form to date with this new ep >more than me<. low down, deep and dirty house music for the clubs, released on limited edition vinyl via somethinksounds. the full ep features three low slung dancefloor bangers - more than me, devoted and i-played - fuzzy, warm and atmospheric. eliphino switches up the style but never fails to dazzle.

following their remix of ludwig coenen for tlm022 and a string of celebrated releases for nachtstrom schallplatten and perc trax, toronto s frederik hatsav and jamie kidd rejoin the thoughtless fold under their metalogic guise. enlisting new york techno veteran dietrich schoenemann on the title track, the trio delivers a sleek combo of pure analog bass and metallic percussion, resulting in an unrelenting yet stripped-down futuristic club workout. overseeing remix duties is techno legend bryan zentz. his first of two solutions, the empty vessel dub dives deep into late-night territory, employing the irresistible bass line of the original and embellishing it with sparse synth work and echoing atmospheres to stunning effect. as a digital bonus, zentz offers up the kenosis shuffle mix, providing added bounce with a boosted low-end while taking a house-leaning approach in the drum department and adding detroit-style stabs for good measure. on the flip, dark shines is a heady ride, intoxicant atmospheres and dynamic yet subtle arrangements solving as a mystical techno prime. whether exploring the outer reaches of modern techno or twisting up their uniquely abstract take on tech-house, the result is pure quality..

this 7 inch record released by lo fi funk records contains two skweee tracks which are going deeper in the main lines that this artist has been developing in previous productions. poly july is low tempo track with vibrant synth lines built over a minimalist rnb drums base, resulting in an hipnotic beat with pure funky flashes. moon braggin is full of huge sub bass waves, typical of the new club music and crazy, doubled tempo percussion tracks which forms a mental song, with an epic atmosphere made with floatting oriental synthesizers tunes.

nice price deal !!!

as the summer comes to a close, italojohnson releases its fourth release thereby urging party people to get in the dancing swing once again. on the long recorded side, you will find a progressive house track that can be hardly surpassed in any type in its directness. an unfussy arrangement, a straight oppressive subject and a low flying breakdown compose the a-stamped side. the sincerity of the first track of the flipside doesnt come short of any expectations. the concrete in-your-face-drumming, piano lessons and stabbing strings combined with the italojohnson charm becomes the (double a) aa-side. why? because italojohnson doesnt do b-sides. finally, the aa-2 track emotionally rounds up the release with italojohnsons trademark-sound in which all the brothers and sisters are invited to explore. make love!

safeword is an exciting new act comprising of 2 dedicated us-based producers, clint stewart and marc smith. their low slung, warm and sexy sound already gave way to one ep on paso music and now we find them really hitting their stride with their debut for dessous. lead track >you can you will< introduces us to safeword s world, a sleazy, percussive and intricate gel of textures, flavours and audio fetishes. punchy, bright production characterises this modern house jam. the eventual arrival of a deep and spritual melody is surprising and instantly turns the snaking drum tool of the introductory minutes into an anthemic, autumnal beauty. leading dessous and poker flat man phonique turns his hand to the title track with a cheeky, energetic remix. aimed at the floor we find a more uptempo groove at the heart of his mesmerising tech-house re-work. the soft bell tones floating throughout >tangent< are perfectly melancholic, while tough driving beats urge us forward, making the perfect partnership bewteen cinematic sound design and bass-heavy floor dynamics.

once again, erol alkan and boys noize have teamed up, for what has become a stunning re-imagining of last years smash single >avalanche<. determined to avoid a taking an obvious route, the pair originally intended to commision a spoken word interpretation - the natural choice was the melifluous jarvis cocker. on the remix tip the duo enlist the maestro himself ewan pearson, who supplies the deeper underground re-version, that reroutes proceedings to dubbed out berlin basement afterhours to stunning effect. not to be out done, hot talent canblaster interprets the original as a low-slung bleeptastic old-school electro workout that rounds the package off in glorious style.

15 years have passed since alex cortex began to create his own vision of electronic music - timeless and beyond trends, without a buzz or hype, steadily winning the following of djs and home-listeners, collectors and critics worldwide. his style can be described as unpredictable to a certain point, while maintaining high aesthetic standards. playful with quotes and references, always low-key and focused on psychedelic immersion into sound that shifts the attention from the artist to the music. kihon is a very personal effort, as suggested by the self-portrait on the cover that puts ear, eye, and mouth -reception and production- into context. the carefully elaborated design of this gatefold double lp speaks as a whole and in true minimalist fashion about the passing of time, without ever declaring nostalgia to be a means for itself. this also reflects in the music. alex cortex evades large gestures and obvious quotes, but is certainly conscious of locating his album within a framework of references to other works of electronic music that are important for his own musical evolution. in 11 nameless tracks, kihon takes us on a journey through organic worlds of sound that invites us to flow with the music and connect with the feelings contained in it. the title kihon that relates to japanese martial arts translates to basics or fundamentals, the training of which does not even cease when reaching master grades. those basics that are passed on beyond time are also the foundation of this album. by concentrating on the bare essentials, the music begins to speak, turning the album into a harmonic whole. kihon therefore is also a return to listening, away from a utilitarian perception of music as a background sound. this does not mean it would not work perfectly well in a club context -in the right hands it indeed does- but more notably, kihon is a work of art worth your attention and destined to stand the test of time

after their superb release last year with >dinosaurs<, that came backed with two heavy paul woolford mixes, south german stars alex flatner & lopazz return to poker flat with three new essential cuts. >this< may sound like a curious title, yet the addictive low-slung, electronic funk within will have you chanting >i just wanna love you baby…< in no time! smooth, slinky production comes hand in hand with producers as experienced as this pair! the mysterious future-disco-funk magic of >hapbee< keeps the party stomping as a whole host of vintage gear flavours this cosmic beatdown. rolling and driving forward with relaxed, summery intent it is a seriously positive tune for those smiling, warm feeling moments. >its< offers a similarly challenging title but musically there is no messing around, with a shaking, simmering slice of modern funk characterised by tonal synth play, percussive splashes and echoed vocal madness - all dripping with funk!

manchester duo a.n.d. are at the heart of manchesters thriving electronic music community. releases on labels such as horizontal ground, inner surface music and project squared have solidified their reputation for finely honed and darkly swung techno. here they present two weighty cuts for bristols idle hands label.
>hydrothermal< is a stripped back 4/4 excursion with rattling hi-hats and lots of bass. >lights down low< rolls along on a syncopated techno beat, with deadly snares and a droning, almost industrial feel bringing to mind the work of regis and t++.

chris duckenfield has done more than a few laps around the acid house track producing and djing since the late 80s, and achieving success through numerous music projects, rac on warp, as swag with richard brown through the 90s and more recently with his popular peoples front & duckbeats aliases. >i really do believe< joyously straddles the disco & house worlds, a rollicking metalic riff, soaring etta james vocal samples, a healthy dose of acid and a serious low end - constructed for sweaty basements & causing a major stir with a few choice drops at the recent electric elephant festival in croatia. new and super talented producer chicagodamn provides a superb remix on the flip, taking the key elements of the original to a strobe-lit warehouse destination in fine style!

recorded in the immediate aftermath of his last ep >passed me by<, this new doublepack from andy stott features six new productions that are more desolate and exposed than anything on its predecessor. the opening >submission< tumbles into being with layers of washed-out digital revolutions, creating an artificial landscape thats quite at odds with the analogue machinations that follow - yet somehow rendering the alienated feel of this material perfectly. >posers< nudges its way into being abruptly and embeds another squashed funk variant thas all low-lit neon and growling textures, awkwardly shuffling into a more robust 4/4 template suffused with sparkling percussion and disembodied vocals. >bad wires< is the centrepiece of the ep, a relentless percussive cluster*ck that belies its slow tempo with a fearless rhythmic attitude. its as immersive and narcotic as anything ever produced by stott - peeling away one layer after another with each repeated listen. >we stay together< (part one) was the first track written for the ep and offers a more spacious narrative and a more sparkling, hazy palette - culminating in a beautifully frayed central hook thats somehow in keeping with the vhs aesthetic of both jamal moss and ferris bueller. >cherry eye< tumbles deep into a darkened hole before ep closer >cracked< turns up, fuelled by an odd mixture of adrenalin and sorrow to send you on your way.... buzzing and forlorn

>they were from downtown, somewhere in soho and boy did they love that drum machine of theirs...< following the stellar trip down 80s lane with the bicep boys, mystery meat returns with two rip-roaring edits from soho808, another rising duo, but this time from across the pond in nyc. these fine gents have been causing an absolute ruckus over the past few months or so following appearances on soul claps social experiment 002 mix (not to mention doing an awesome podcast for soul claps acclaimed series) as well as jamie jones fabric 59 mix, berlins dikso imprint, and being featured on the wurst music ever compilation due out this fall. big tings a gwan to say the very least! here we see the chaps head into edits territory, well sorta. to call these edits is quite an understatement. soho808 give a serious overhaul to two songs of discos past, adding additional instrumentation and tweaking the arrangement big time. first up to bat is trouble and strife, an amazing, slow-burning take on one of the most famous of songs from the past couple of decades. trust us, you cant resist! flip it over for a loopy counterpart, low-slung, sultry female vox and all. mmmm, well bring our meat to suzys bbq any day!

lando is known for teaming up with low limit as lazer sword, a future hip-hop from group from the bay area. his solo tracks are freaked out juggernauts of electronic music, primarily experimenting with various mutations of house. dense instrumentation, analog synth and drum machine work, complex melodies, and creeping basslines are pooled from his musical obsessions with 90s rnb, classic house, freestyle, garage, detroit techno, early synthesizer music, timbaland, and… to be honest, everything in between.
>maneuver< is a sure shot banger, a futuristic synth piece with heavy garage leanings and even a hint of robin s classic >show me love<. on the flip we find >run it<, a more introvert electro fused b-boy classic from future times.

the cyh remixes vol.1 dont need a long explanation. with dj sneak & ian pooley two of the finest house producers of all time chose their favorite clap your hands track for their own interpretation. we are more than happy and proud to present the dj sneak remix of olene kadars >little miss dynamite feat. d-low< and ian pooleys remix of marcel knopfs >lone gone home<.

fresh up specialise in strictly limited edition 45rpm singles showcasing the finest in new-old-sounding library funk, moog disco and vocoder boogie sounds. fresh up boss ed dmx returns with two low-tempo vocoder funk jams. >funky dancer< on the a side is pitched halfway between zapp and kraftwerk with an ice-cold metronomic electronic backing underpinning some funky vocoder singing and live tambourine. >that wild and freaky robot funk< features more live percussion over a much warmer sleazy funk joint with more soulful vocoder action

wow! what a year the wolf music crew are having. every release gets better and better. each time serving up a unique new offering from a variety of artists all with one thing in common: extremely high standard of production. all too often labels release good but not great music but wolf music is a testament to what searching high and low for the freshest artists with the best skills can really achieve. wolf ep 009 is no different. one often talks about real class produces and labels and buzz names and the next big thing … but only do a handful of labels ever live up to the manufactured hype they seem to receive. wolf music not only lives up to it but indeed outshines it. this ep is a must have for any dj/music connoisseur who truly knows their trade.

the mysterious robotalco serves up four deep house cuts for nycs on the prowl. robos road kicks things off with the right amount of hissing strings and slow drifting vibes that win its a1 spot. next up we have it gets to me, which strips things back a bit with pulsing synths, sparse congas, and perfectly placed vocal snippets. on the b-side we get moon robot, it keeps things rolling with its stompy feel and more of whats becoming robotalcos signiture swirling synth pad sound. rounding up the release for b2 is zuk zuk, with its quirky low slung groove that develops into a latin percussive gem...its really a superb way to round off robotalcos otp debut. well done.