instincts just a feeling is the pure embodiment of an early 90s detroit techno record. originally released in 1992 on instincts decisive record , not many copies managed to get outside of the city of detroit. within the melodic strings, 808s, and loosely swung samples - you can feel the spirit of these early days and of this young producer finding his sound. meticulously remastered by josh bonati from the master tapes for this 2018 issue.

ryan parks is a mixed media artist, music producer/performer, and ceo/founder of critically robust cassette tape label, harsh riddims. he was born in college park, ga and grew up skating all around atlanta, soaking up the dense kaleidoscopic cultural ooze found both in and outside the perimeter of atlanta. aside from his visual practice which usually takes shape as mixed media (jacob lawrence/matisse inspired in my opinion!) collage, he has been releasing music as fit of body for seven years. fit of body crafts soulful house ballads that draw on freestyle, bell hooks, old school detroit techno, jazz, and southern rap passed through a no wave paradigm. fit of body has previously released work on cgi, dka, ransom note, and his own label, harsh riddims. “black box no cops” is fit of body’s debut 2mr release, named for atlanta hallowed skate grounds, black box. the vinyl release includes a download code.

dutch label field records is back with another special album project, this time from japanese producer ena aka yu asaeda. bridge is an introspective soundtrack for a documentary also called bridge - out this spring - which is about the dejima bridge, a reconstructed symbol of the dutch-japanese trading history in nagasaki, japan. the album finds the producer stepping outside of his usual remit of dark ambient and experimental music, and instead comprises ten shorter tracks that touch on abstract and rhythmic sounds that define the essence of japanese culture. although he has worked with the director before, this is ena s first original sound track and finds him freely inspired by the movie and heading in exciting and unknown directions. hugely atmospheric throughout, there is hypnotic repetition of sounds, strange audio design and a mixture of melancholic moods with more dreamy synths. sometimes gloopy rhythms gently ripple beneath soothing harmonies and at others times a micro-rhythm appears through the constantly shifting and evolving found sound loops. it s a compelling and unusual album that seamlessly mixes human emotions with a mechanical sense of industry.

joe powers is from edinburgh, far outside the network of the grime capital of london. his caffeinated productions as proc fiskal are faster than usual, with many clocking in at 160bpm. ‘the highland mob’, his 2017 debut ep, opened up his music to open-eared footwork and drum’n’bass fans as well as the grime crowd. after following that up with a jungle-inflected ep on cosmic bridge, ‘insula’ switches the feel and intention towards a personal, and melodic music with one foot in grime, infused with often comic, often wistful recorded moments from his environment. he says ‘i wanted to be aware of where the music is coming from, referencing things i’m presently experiencing, like making grime, my radar radio show, phone addiction, alcohol, my surroundings, girls, depression, positivity, being unemployed, being employed and hating it, my friends etc. trying to be true to myself instead of relying on other peoples’ nostalgia, and focusing on now.’ the record is a huge leap in vision, with delicate, pointillist melodies and intricate edits reminiscent of grime producers such as terror danjah. it also resonates with japanese video game music like that recently explored on the ‘diggin in the carts’ compilation. ‘i think i probably make tunes to get out emotions i don’t express in day-to-day life. i used clips of my friends talking, drunk folk, and general scottish life to preserve and represent what my experience is like right now, like a time capsule. social media notification sounds are designed to release serotonin, which is what i’d like my music to do, to make me, and other people happy, and in using these manipulative noises in a positive way, i like to think i’m taking back the power of the manipulation.’ proc fiskal is adventurous and thoughtful as a producer, and at the young age of 21, his debut album is very advanced in its ideas and execution

ltd 7 - release of the house music classic --
by the time the jungle brothers rapped about it in 1988, house music had been bumping in nyc clubs for years. even though the genre would go on to become a global phenomenon, house music had humble beginnings in predominantly gay and black clubs in chicago. musically, house music was inspired by the eclectic dance records played by djs frankie knuckles and ron hardy at clubs like “the warehouse” and “muzik box”. with a growing club scene, labels like trax records and dj international played a major role in the development of the genre. founded in 1984, trax was an important outlet for house music in its early days, releasing many classics including -no way back- by adonis, larry heard s -can you feel it,- and the first so-called house anthem in 1986, -move your body- by marshall jefferson. this latter tune gave a massive boost to house music, extending recognition of the genre outside of chicago.

ltd 7 - release with two chicago house classics ....
by the time the jungle brothers rapped about it in 1988, house music had been bumping in nyc clubs for years. even though the genre would go on to become a global phenomenon, house music had humble beginnings in predominantly gay and black clubs in chicago. musically, house music was inspired by the eclectic dance records played by djs frankie knuckles and ron hardy at clubs like “the warehouse” and “muzik box”. with a growing club scene, labels like trax records and dj international played a major role in the development of the genre. founded in 1984, trax was an important outlet for house music in its early days, releasing many classics including -no way back- by adonis, larry heard s -can you feel it,- and the first so-called house anthem in 1986, -move your body- by marshall jefferson. this latter tune gave a massive boost to house music, extending recognition of the genre outside of chicago.

the ep -a form of travel unknown to humans- is chasing us. guiding and forcing a way simultaneously. the sound is harsh but has an immaculate precision to it –void of air- compelling the listener toward a light, seducing us to tear through the night. we enter with „s.m.o.d. – sticks- a deep and magnetic sound opening up slowly, starting to breathe and to merge into -s.m.o.d. – cell culture- which gives a much more metallic flavour but never the less beat driven – fast and strident- maybe even hasty, pushing to skip a beat of the heart. to finish off with -s.m.o.d – pulse- carrying an unsettling almost disturbing quality, formulating a mechanical sound alienated from the human experience. the ep creates a seductive space outside our comfort zone, inviting to explore a space and travel unknown to humans. gimme more.

sami baha is a turkish producer based in south east london. his music was introduced to the world via his 2016 ep “mavericks” (planet mu), recorded while he was moving from istanbul to london where he’s now been living the last 3 years. sami got into producing through being a rapper himself, working with local rappers in turkey and producing beats for them, before setting his sights outside the country.
while his first record was focused around a more familiar trap based hiphop sound, “free for all” expands its range into more unfamiliar territory and also brings his production into focus by featuring a number of mcs from all corners of the globe: uk drill squad 67’s dimzy, stockholm’s yung lean and chicago rapper and singer dj nate (aka flexxbabii) who’s previously recorded on planet mu as a footwork producer. the record also features the rowdy sing-song of egyptian mcs dawsha and abanob from cairo whom sami met while on tour in egypt.

max loderbauer, who has so far made consistently engaging contributions to the arjunamusic family, is back to lend his unique interpretive skills to the master recordings for the brightbird album by joão paulo esteves da silva, mário franco and samuel rohrer. loderbauer has set himself up for a challenge, since the original album’s completely improvised flow of small-ensemble, conversational jazz feels complete enough without outside intervention. however, loderbauer’s role as electronics operator in the similarly attuned ambiq trio has already shown that, through his mastery of tone color, he has a talent for teasing out the additional hidden details within an apparently ‘complete’ sonic environment. it’s a task he manages to accomplish without ever overriding or contradicting the cohesive message provided by his collaborators.

those who preordered, do not have to do so again - we will contact you when we have stock! recorded in the autumn of 2017 at their studio in vancouvers deep blue, mvx / u41a is the first new music from minimal violence to be released on ninja tunes technicolor imprint and the first to be recorded outside their usual home production space. the result is a record that intends to reduce pop music to its emotive qualities and apply that abstract nostalgia back into dance tracks. their penchant for the heavier and more aggressive side of dance music is most evident in its infiltration of the duo’s often raw and disorientating live set. formed in 2015 the duo, consisting of ashlee luk and lida p, have a string of releases to date with labels such as lobster theremin, 1080p and jungle gym records. drawing on luks years of experience playing in punk bands, they combine hardware sequencers, drum machines and synths, to weave together acid tinged compositions that derive inspiration from early electronic and minimal synth through to heavier uk rave and hardcore.

vinyl only – after a few releases outside of his homebase okain is back on talman with a 4 tracker. from the floorshaker « eurostep » to the melancholic texture of « stay true» you ll get a direct connection to his mind flow.

after 7 releases, rivulet records says goodbye. the very last release comes from cofounder stanley schmidt in collaboration with his long time friend hobor. the two leipzig based artists had the idea to release an album together for years and to finally bring the work to an end as well as to the label felt just right. the album itself ranges from eerie and otherworldy ambient tracks to banging lofi-jungle sounds. it mirrors the musical taste and exchange of the two artists. listen to it at home in full length, or play it in the club when the time is right – it works both. rivulet records says thank you to all the artists, dancers, listeners and friends. it has been great. leipzig, 2018

a native of the caribbean coast of colombia, abelardo carbono achieved legendary status in his country’s storied ranks of musical icons by combining the homegrown sounds of cumbia with the chiming guitars of west african soukous, enormously popular with the local tropical sound systems, and drenching the whole thing in his off-kilter, surreal and slightly psychedelic sensibility.
with the exception of a well-received compilation of songs from his 1980s heyday, carbono has been rarely heard from outside the sweaty dancehalls he still commands in his hometown of barranquilla. now, names you can trust has welcomed the reclusive guitarist and singer back to the vinyl format with a simmering afro-carib beast of a cut, recorded with the assistance of will -quantic- holland on rhythm guitar and mario galeano frente cumbiero, ondatropica on keys and in conjunction with lucas silva of palenque records & polen records. it’s a true cross-generational and international collaboration that is uniquely possible via colombia. the first release of this expansive & power packed studio session is a cover of vallenato pioneer guillermo buitrago’s la piña madura. this updated take veers heavily towards africa on a rock solid foundation of bass and drums, with abelardo’s trademark guitar and quirky vocals leading the way.

since the release of their critically acclaimed debut album in 2013 on names you can trust, la mecánica popular has quietly been contemplating the evolution of the group s sound, philosophy, and overall approach to making music. band leader efraín rozas experimental nature has continually pushed the boundaries of his own definition of not only latin american music, but its broader relationship with music s global culture and history. the sound of -psychedelic salsa- that lmp helped capture in their debut was destined for further outside-the-box interpretations, and with the formation of a new quintet lineup over the last few years, lmp began to incorporate a more free, improvised and instrumental-focused performance of rozas increasingly radical compositions. the band subsequently took this liberated approach directly into the studio, recording roza cruz live, in its entirety. it was a cathartic experience, a necessary methodology for the new album s concept that embraced the intimate performance of its players and did away with standard techniques of isolation and overdubs. the evolution of the band s sound on roza cruz brings forth a blend of styles rarely heard together, a touch reminiscent of electric-era miles davis or eddie palmieri at his most experimental, as the driving force of timbales and congas provide a bed for a wave of lush, analog amplification that mirrors the dueling leads of fuzz guitar and electric piano. but as far out as those instruments take the listener, the raw rhythm the clave always keeps it tethered to the earth and the dance, a cerebral yet visceral gift for the mind and feet.

ayuune sule brings the soul into kologo power. in kumasi, the second city of ghana and capitol of the ashanti region, ayuune sule is the main kologo star. the most famous kologo player these days in the whole of ghana and abroad is king ayisoba. together with king ayisoba, guy one, atongo zimba and sambo, he represents the generation that broke kologo music outside of the north east region of ghana. in europe we know ayuune sule as a member of king ayisoba’s band and as a solo artist who often opens up for his shows.

as a logical next step after big crown’s excellent (and sunny-approved) mr. brown eyed soul compilation from september, the label has started digging into the vaults of sunny’s key-loc records label to unearth some legit soul classics – which are hard to find even in san antonio, and clean originals will cost you a pretty penny if you ever luck into one. the album has been remastered and includes original album art.
the band is tight, the sound is honest, the vocals are dusky and deep, and the album is an undeniable soul and texas music classic, ready to be discovered by a whole new generation of music fans. dive in and be ready for a permasmile, thanks to that patented sunny sound.

the 30d records machinery does not stop. a new stylistic adventure has been concretized in the new label’s series “eyes have it”, which will be conducted by the well-known sonar and 30d’s resident dj, angel molina, as a&r. the lucio fulci’s movies iconic scary-eyes synthesizes the series essence perfectly. “eyes have it” builds the fundamentals for the boundless experimentation, lightlessness, cold and mechanical dynamics. the ep “shelter” is the very first result of this new proposal, an incontestable work signed by isolated lines. the swiss artist has a solid background in underground music throughout various projects, in and outside of electronics. that means a wider creative resources that can be easily noticeable, for instance, in the music harmonies. avant-garde, solid sound and savoir-faire, that is what defines the isolated lines production. “shelter” ep stylistic codes are crystal clear, brazen obstinacy of the rhythm base which sets the basis for epic distorted textures, that may become deeply emotional, like in the cases of “onshore” and “landfall”. steadfast rhythmic cycles on slamming sound mantras. furthermore, the ep includes an industrially nervous revision of “onshore” constructed by 30drop. isolated lines’ “shelter” ep is an utterly flawless starting point for this strongly promising new 30d series. so henceforth, keep always an eye on “eyes have it”!

sth. notional was a short-lived project that manifested in one album back in 1992, originally released on japanese label zero corporation. yawn yawn yawn focused primarily on various balearic-friendly mixes of the title track and some other scattered pieces, and now they ve received a much-needed spruce up from archeo recordings. the dream. another reality versions of yawn yawn yawn are laid back to the extreme, revolving around delicate instrumentation and occasional threads of speech and singing. there s a mellow beat behind the g-tar cannyon mix, and the thankful mix brings a weightier groove to the table. with the other tracks adding to this utterly smooth, early 90s shake, and spread across three discs, this is the holy grail reissue collectors have been waiting for.

limited box edition, incl
2lp + 7 inch
a2 poster
12 inch lp mit instrumental tracks
10 inch vinyl mit 3 excl. tracks
cd
like all dj koze records, knock knock exists outside of trend and influence. in fact, it s a step further beyond: absolutely every single thing here, from grooves to voices to handclaps, is otherworldly and unique. which is not to say it is utterly alien abstraction, mind. there is still disco, there is still soul, there is still techno, there is still hip hop, there is still psychedelia – there are even wafts of easy listening, lost crackly thriftstore record memories and... sort of... indie rock – but though it may sound familiar, it never does what your brain thinks it s going to do.

2x 12 inch album + 7inch + download voucher !!
like all dj koze records, knock knock exists outside of trend and influence. in fact, it s a step further beyond: absolutely every single thing here, from grooves to voices to handclaps, is otherworldly and unique. which is not to say it is utterly alien abstraction, mind. there is still disco, there is still soul, there is still techno, there is still hip hop, there is still psychedelia – there are even wafts of easy listening, lost crackly thriftstore record memories and... sort of... indie rock – but though it may sound familiar, it never does what your brain thinks it s going to do.

banoffee pies drop their annual record store day release with bprsd003. the a side brings re decoration from bristol local lord leopard with an edit on kadidiatou samakes - eyaye. a head nodding afro jam as spring sets upon us. smell the flowers. the flip sees an 11 minute hansel! edit of the nuyorican soul classic its alright, i feel it! killer dance floor track with it’s well known sing along vocal. music in my life has kept me me through. all of the changes, the world has put me through. its alright i feel it. support the music, support local artists, buy from your record stores. think outside the box. try something else. check a new sound. try a new party. go a different direction. drifting into oblivion, what to believe, where to read. 2018 is moving

optimo music is thrilled to release the new album from jacob yates. not only is he one of our all-time favourite artists from glasgow, but he is one of our favourite artists from anywhere. criminally unknown except to a few who have been long transfixed by his recordings and performances, we hope this release will open a few more ears to his wondrous musical world.

after more than 30 years, halfway ritmo in collaboration with early sounds, will release unpublished recordings (1982-1989) from former tangerine dream and iggy pop s drummer klaus krüger. advanced dance combines a sweeping mix of krüger s handcrafted acoustic drums and distinctive electronic sounds of the late berlin- school years, creating a unique blend of advanced polyrhythms. krüger achieved a balance between creativity and classic drum patterns giving birth to an unconventional and avant-garde type of music that could be easily defined as a precursor of techno. his progressive mentality led him to delve further into the tape collage technique and unique ways of triggering his drums. it was a whole new world of music - sustained by his artistic surroundings, which included collaborations as well as friendships with other influential artists such as david bowie, martin kippenberger and helmut newton. in the time of german division, the pulsating west berlin became a melting pot of creativity and international encounters. advanced dance is the result of the blazing heat feeding the unstoppable thirst of discovery which characterized that generation, creating tunes that transform the listener s experience into one blissful moment amidst beautiful confusion.

following his work with swedish label comorbid records, stockholm native bård ericson aka boerd has signed with anjunadeep to release his latest mini-album, ‘static’. an accomplished musician, bård’s boerd project aims to reflect his own personal emotions and atmosphere. with a deft and delicate approach to composition, his music draws you in whilst shutting out the outside world. cutting his teeth from age 15 in the world of chiptune (composing via the means of 16-bit videogame consoles), bård quickly developed a taste for creating abstract music. and after a handful of eps and live shows across europe, he transitioned focus towards music that he felt better expressed his own place in the world. enter ‘boerd’. with influences ranging from burial, bibio and even aphex twin, the 26-year-old has developed a style that pushes the boundaries of atmospheric electronica with stunning attention to detail. building his sound from samples he records himself, ericson conjures a euphoric mix of subtle soundscapes that simultaneously breathe and play in awe.

up next on trouble maker we have got some intergalactic riddims courtesy of newcomer cosmic weirdos - extra terrestrial. the aptly named >renegade< keeps things cool on the inside and rowdy on the outside....somewhere between electro & techno this is the track nasa have been trying to discover for the past decade. >satisfaction< takes us on a trip around jupiter and finds itself disco dancing with unidentified alien lifeforms. on the remix we have got someone who definitely knows a thing or two about inter-dimensional space travel - mr carl finlow aka random factor aka silicon scally - who serves up exactly the kind of quality you would expect from the captain of the starship enterprise. the truth is out there...

by day he guides lasers into position using precision equipment, at night he crafts raw house music. welcome to the unusual world of reflection port assembly. we got to know one another through a few brief, slurred encounters in the smoking area during the fabled forza italo night or at the aptly named gary’s gang. pretty soon it was clear that he had impeccable taste, like that record that featured coil and ice t. one sunny friday afternoon in june, he tore himself away from guiding the lasers and we met up in the city centre. the light breeze did nothing to dissuade the office workers from gathering outside the pub for sneaky post-work pints. surrounded a sea of grey and blue business attire, we agreed to make ‘retribution’ the second release on first cut. featuring three cuts, it spans house, electro, boogie and even some detroit techno influences. but ’retribution’ is more than the sum of these parts. unlike his precision-based day job it’s rough and imperfect, flawed but warm, messy and charming - like a snapshot of every day life in dublin.

its almost 20 years ago that hector left mexico to pursue his dream of dj-ing. on this journey, he has learnt that there is no room for complacency, and to stay sharp you need to test your skills. vlack is a new imprint created by hector for techno focused releases, that he also enjoys playing and producing, outside of those deeper more minimal grooves.

over the past few years orchestral instrumental music from outside the classical establishment has become huge, and neil leiter and margaret hermant of the belgian echo collective have witnessed the evolution and extraordinary rise of this movement right up close. they ve worked with some of the most important players, including stars of the lid, dustin o’halloran and adam wiltze’s a winged victory for the sullen and o’halloran’s solo projects, as well as jóhann jóhannsson. and though the echo collective members themselves very much do come from within the classical music establishment, they don t care which side of the fence they are seen to be on.

molten moods releases another finely curated various artists record with tracks by skee mask, kessel vale, jonas yamer and konrad wehrmeister. kessel vales opening track -voguing geisha- is an unconventional breakbeat masterpiece following his sense of harmony and rhythm already shown through previous releases on tanstaafl records and rhythm nation. as the track unfolds it reveals musical storytelling by integrating a technoid polyrhythmic loop structure into melodic synth figures, slowly deconstructing in the end. skee mask collaborated with molten moods labelhead and carl gari member jonas yamer on -fanta ocean-, it being the first release ever outside of his ilian tape homebase. the outcome is a moody idm piece with cinematic qualities, complex but soothing. the b-side begins with -xenomorph- by konrad wehrmeister, who is known by his releases on public possession and svs records. this trancy yet distorted and detailed electro banger surely takes on the role of the records dancefloor highlight. the closing track -insgeheim- is delivered by molten moods head honcho jonas yamer. here groovy kicks, distorted chords and a psychedelic pad are woven into one compelling 10 am techno track. the common thread of molten moods 4 is four young munich artists going on a joint trip into idiosyncratic electronic music. the resulting tracks intertwine as one modern and diverse techno record. out on 12&#8243,, vinyl and wav by the end of march 2018. in the tradition of molten moods cost-conscious design strategies by paul bernhard, the record comes with a xeroxed low budget sticker set. mastered by manmade.

tartelet records is 10. to celebrate a decade in the cut, they re out a home run of new material from label mainstays & fresh signings in 2018. to kick things off, the label is enormously proud to set free endless light –– a new record from oakland newcomer space ghost.
coming on like a brainchild to dam funk & mutant beat dance, ghost s sound falls off the shelf between a number of distinct reference points: lone s early tropical synaesthetics, the modern funk of funkosphere, the intimate tapes out of ppu. in a sea of soundcloud copycats, he s a revelation.
endless light is a record with an open hand: an instantly appealing sound from a new producer with a highly-tuned ear. born of his collection of antique synths & drum machines, the space ghost experience channels a deep heritage of 1980s funk minimalism & analogue boogie. velvet pads, hood-rat sleaze & heaped spoonfuls of soul.

leonardo arrives as a new artist in 2018 having been promptly picked up by alan fitzpatrick for his we are the brave label project. a string of releases are planned and in place for 2018 on watb with offerings also coming here on his own imprint etheric, which serves as an outlet for leonardo s music outside of his ongoing relationship with we are the brave. the origin ep is a collection of four tracks that draw on primitive feelings, heavily influenced by recent trips travelling through peru and south america. the ep has a trippy hedonistic feel and represents leonardo s take on a tribal rave in the depths on the amazonian rainforest, while still drawing on futuristic and electronic elements.

baptiste letertre is ringard and comes from rennes, britanny s biggest city with a strong electronic music culture. ringard has a label called dance around 88 because he was born in 1988. ringard released 8 vinyl records. -lacrima rossa- is his first 12- outside his own label so it s a great pleasure for us to have him on board. ringard music is deep but raw, woolly, melancholic yet emotional. think soulful techno, steamroom slo-mo, warehouse heat and euphoric minimal. morphine electronics at its best with amazing strings and killer frequencies like lobster theremin meeting boards of canada in a fantasy balearic island. in french, ringard means tacky or outdated. it has never sound so cool being ringard!

emanton (dann abala) is an argentinian producer, electronic musician and thereminist. after studying with synth maestro ernesto romeo, dann began producing under emanton and also has an experimental alias as turvia. here we have what emanton perfectly describes as hard esoteric/mystical/ mega darkness sound. four dark and pounding tracks with leanings toward industrial in uences and maintaining a consistently propulsive sound-design techno vibe. carefully crafted with a diverse spread of analog gear/synths and modular instruments. absolutely perfect example of the transfusions aesthetic.

one of the most mysterious and outsider soca 45s out there by h.m. these eyes timothy. the a-side let me love sounds like doo wop recorded with oluko imo s gear. and the b-side soca hustle sounds like the residents jamming a marvin whoremonger song with augustus pablo. the original 45 is so obscure that even his siblings didnt know that he made music. and rumour has it that, frustrated by its lack of success, michael threw most of the copies of the 45 in the valley beside his family s house in the hills just outside port of spain. one-time pressing of 500 copies

fockewulf 190 was a new wave group from milan formed in 1980 by vittorio barozzi aka victor life and dario dell aere. in 1979 the duo met outside a cinema and began a lifelong collaboration of projects: diamond dogs, ice eyes, demode boulevard and fockewulf 190, named after the model jet planes dario fanatically built. musically, the duo were inspired by the human leagues reproduction and john foxxs metamatic, while they took visual cues from the new romantics visage and ultravox. with the fockewulf 190 moniker, they created their own dark blend of italo disco and new wave, and released two singles in 1984 and recorded an album?s worth of music that eventually saw the light of day in 2010.

the 1st of 3 eps that make up will long’s new album “long trax 2”. as much as is said of our current times being new lows, where things have changed for the worse and we’re unsure of the future, it’s worth returning to study the past to understand how steadily low we remain. “nothing’s changed”, says a younger barack obama in a sample for the opening track. “long trax 2” is the second album from will long after his 2016 “long trax” debut on comatonse recordings. the album presents as an ongoing criticism of cultural stasis, conveyed via minimal synthesizers, sampler, and rhythm machine. dancefloors are widely perceived by the masses as safe zones, but few can imagine how to apply notions of safety and equality to other aspects of society. we shouldn’t need clubs to hide from our fears and differences in the outside world. looking ahead, we should look not so optimistically upon what we have accomplished, but with urgency and empathy upon what we haven’t.

the 2nd of 3 eps that make up will long’s new album “long trax 2”. as much as is said of our current times being new lows, where things have changed for the worse and we’re unsure of the future, it’s worth returning to study the past to understand how steadily low we remain. “nothing’s changed”, says a younger barack obama in a sample for the opening track. “long trax 2” is the second album from will long after his 2016 “long trax” debut on comatonse recordings. the album presents as an ongoing criticism of cultural stasis, conveyed via minimal synthesizers, sampler, and rhythm machine. dancefloors are widely perceived by the masses as safe zones, but few can imagine how to apply notions of safety and equality to other aspects of society. we shouldn’t need clubs to hide from our fears and differences in the outside world. looking ahead, we should look not so optimistically upon what we have accomplished, but with urgency and empathy upon what we haven’t.

the 3rd of 3 eps that make up will long’s new album “long trax 2”. as much as is said of our current times being new lows, where things have changed for the worse and we’re unsure of the future, it’s worth returning to study the past to understand how steadily low we remain. “nothing’s changed”, says a younger barack obama in a sample for the opening track. “long trax 2” is the second album from will long after his 2016 “long trax” debut on comatonse recordings. the album presents as an ongoing criticism of cultural stasis, conveyed via minimal synthesizers, sampler, and rhythm machine. dancefloors are widely perceived by the masses as safe zones, but few can imagine how to apply notions of safety and equality to other aspects of society. we shouldn’t need clubs to hide from our fears and differences in the outside world. looking ahead, we should look not so optimistically upon what we have accomplished, but with urgency and empathy upon what we haven’t.

paper tree sneaked out into the world for a moment a few years back and then vanished. lee burridge loved the track so much that he continued to harass rebelski, sometimes standing outside his window in the flower bed, for weeks on end until he finally agreed to let lee release it on all day i dream. not content with a single track lee went back to rebelskis garden and tapped on the window repeatedly until he agreed to make some more beautiful tracks. obviously pestering producers in this manner bares fruit. the paper tree ep ranges from a beautiful solitary solo piano piece that wouldn t be amiss in a british period piece drama where someone dies unexpectedly leaving the survivors to deal with it, all the while maintaining their stiff upper lip. fly the kite made us want to go outside and do just that. so we did. it was epic. circles and squares joins paper tree as one of those dance floor moments best experienced with ones eyes closed. myriad is the sound of a young lady robots jewelry box (yes, we predict robots will be wearing jewelry in the future) that she(bot) pines to hear when she s all grown up and rusty. omoshiroi is, well, its just so damn pretty. good work rebelski. good work.

inside out is a brand new series that invites djs and producers to blur the boundaries between traditional artist albums and mix compilations. coming from aus music label head and dj-kicks curator will saul, the concept encourages artists to showcase their own music and or the music of those in their own individual circles. the mix will be release digitally and on cd, while a selection of the tracks will also be available on double gatefold vinyl. each instalment will feature 100% new and unreleased music. it is a chance for artists to take sole creative charge, a&r as they see fit and then commission brand new music specifically for the cause. depending on who is at the helm, inside out will take different forms: producers may wish to represent their own sound with only music they have made themselves or with close collaborators, while djs and label heads may wish to reflect the sounds and scenes that surround them. the results will be a window into an artists world that works as a coherent mix, but also as a treasure trove of fresh new music that steps outside the usual lines of a dance album. the idea stems from will sauls own approach in the club, which often finds him seeking out brand new and unheard music to play for the first time. that feeling of taking people into the unknown is one that reminds him of the energy and excitement of his early days as a dancer.

dimensions recordings fifth release sees the label step into the world of the long player with istanbul native, kerem akdag s self-titled debut album. kerem has already been winning fans of the ilk of gilles peterson through his previous output of dusty house and tripped out beats in the last few years, and of course via his getdownsoclose offering on dimensions debut release. his debut album however, sees kerem deliver a mature piece of work, bright and timeless, equally effective in the club as it is at home and brimming with ideas, hooks and must have songs. across eight tracks kerem demonstrates a breadth of skills that most artists would work a lifetime to achieve. from the stepping beats of when i think of you to his subtle vocal layers on isolated and from the woozy beach vibes of sultan to the squelching, rasping synths of unite it s clear that there s very little that s outside of kerem s arsenal. the album rounds out fittingly with drums please, which perfectly displays kerem s jazz tendencies, a slow grooving track whose crescendo of stabs and drums create a song that s more powerful than its parts. kerem akdag s debut album clearly sets out the stall for a man who has a lot to say and has the capability to say it loud!listen up! pressed on clear vinyl with a metallic sticker insert.

a mysterious new label launches with a double lp that ranges from ambient, house, 2-step, breaks and techno. this idea originated from collaborations that the artist had with musicians from different spectrums of the universe but by keeping an open mind and a positive attitude they were able to create music and a deeper respect and understanding for the others art form, opening themselves up to infinite possibilities outside the normal realm of the comfort zone. the relative positivity project will consist of solo projects as well as collaborations with people that have had a positive impact on the life of the artist.

this initial release on the new futurepast label marks davy’s first output as a producer, crystallizing his endeavours in the studio and bearing witness to his long-standing experiments in electronic music. built between london and berlin over the last four years, the long now lays down the blueprints for following ventures on the label: using old and new gear to create unique, obscure soundscapes both outside of memory and away from nostalgic projections of lost futures. in a timeless and precise collaboration, davy has brought together two historical figures for this release: 1990s r&s records associate david morley mixed the tracks, while simon davey of the exchange lent his renownedmastering skills to the project. temporality, time travel and perception are key concepts for davy, and not only in the ep’s title. the four stripped-down tracks move forwards, sidewards and backwards in a bid to get us lost – not in space but in what time might sound like should we be swimming through it. mysterious and ageless synths mesh with the beats of an unnamed drum machine under davy’s control. we move through a non-linear story told by three distinct forward-thinking techno titles: no memories planned, circular weeks and causal loop. finally, the titular ambient track pans out cinematically over the images left in our heads: an invitation to begin it all again in the long now...

following our first release with opal, which aimed at the dance and the bodies, we wanted with this second ep to reach to people’s mind. as a geneva-based techno label, it was fundamental to work with our local hero: opuswerk. he’s already been working outside of the country with artists like francois x and labels such as arts, semantica or dement3d. it was time we involved him in our project. through this ep, opuswerk clearly shows what he knows and does best. much like his dj sets, he connects dots and layers in unexpected ways, like a rhizome connecting different multiplicities. inspiration for the original tracks came from designing systems of independent yet connected sounds, where events are triggered, un-triggered and alter other events, each behaving on their own. as one of those elements, the artist acts as a guide, directing them from one place to the next acting as and with the machines. the -mot d’ordre- is about becoming one of the machines, blending techniques with vibes and catching them like ever escaping dreams. the result is two uniquely sounding spaces, either filled with raw energy like on extensum or with subtle and serene ever-evolving bleeps on spatium. those two extremes are fitting to how we want present the multiple dimensions of our artists works to the world. the same logic went into choosing the remixers, with whom opuswerk had a human connection with. inland and antigone need no introductions, having both established their sound on labels like countercharge or token. each brought their own re-interpretations of the original tracks bringing them closer to the dancefloors.

these things take time keep it close to home on their 3rd release to wax. the split ep with b. hayes and the enigmatic dj dre debuting what the flora sound truly means.
a1 leaves no further introduction with dance floor stomper with abnormal percussion that keeps it outside the box. following in the shared a side comes b. hayes’s wax debut with ‘inside the outside’ delivering wavey synth line splashing over a relentless electro pattern leaving just enough room for the bright, refreshing female vocal. dre’s ‘215’ kicks off the flip keeping the determined drum vibe present around smooth glittery 808 patterns.
‘flora’ closes out the ep with deep hearty kick blending truthfully under a kinky nonstop bassline moving through each threshold. true to tha philly sound, true to tha flora sound.

swiss artist and veteran producer ripperton contacted the esp institute out of the blue mid-2017 to share a gorgeous mix of self-produced material, a collection of pieces made without any agenda outside of representing the self, not geared toward the dancefloor or a specific environment but simply a bi-product of introspective exploration. we were floored, the mix was on constant repeat in our world for weeks, then was subsequently pulled apart into separate titles to form this beautiful double lp, ripperton’s debut with the label. the title sight seeing speaks of someone stepping outside their current reality to look in the mirror, as if to ground themselves and keep sight of who they are in a world of extreme highs and lows. inspired greatly by expansive landscapes and views from airplane windows (imagine your commute flying over the alps every weekend), ripperton describes this collection as postcards to himself, messages from his subconscious recorded on tape (both conceptually and literally), melancholy soundtracks to the mondays that follow weekend journeys. while musical genres tend to cycle through bandwagon moments, the esp institute strives to operate independently of these, and while sight seeing is undoubtably an ambient album, we’re simply proud to revel in the chance moment where an esteemed artist such as ripperton spreads his wings in a beautifully unexpected mode of expression.

spacetalk is proud to reveal its most exciting release to date: a collection of long-lost recordings from forgotten californian duo morrison kincannon, rescued from the dusty tape archives of the pair’s lead songwriter, norman morrison... with only a handful of sought-after private press 7” singles to their name, morrison kincannon are all but unknown outside record collecting circles. yet norman morrison and terry kincannon wrote and recorded some superb songs during the 1970s and early ‘80s, desperately hoping for the break that would see them released on vinyl. now, at last, their time has finally come.

a compilation dedicated to the early 80s spanish synth wave and post punk scene! first to be published outside spain, this anthology explores the electronic music side of the independent music produced in the days in the iberian peninsula: synthetic pop music with industrial sounds including futurist art rock, dance-floor productions and low-fi experiments on cassettes. classics or true hidden treasures, this selection of nineteen songs is symbolic of the musical dawn that spain experienced during the decade marked by the return of democracy and by the creative freedom initiated by punk music.

the album is titled timespan and is by the veteran pittsburgh artist shawn rudiman and will be released on november 24th worldwide on 2xlp and digital. the album is a carefully curated journey through almost 20 years of shawn s music productions. the tracks collected here--the majority of which have not been heard outside of shawn s studio--showcase a producer with seldom matched knowledge of studio techniques, while also hinting at his world renowned live performances. having access to a vault of hundreds of unreleased compositions, we believe this is an important step in documenting shawn s contribution to pittsburgh and american dance music. * artist statement: -all of these tracks are simply snapshots of my life moments. they go from base-level warehouse to more cerebral sophistication. so, take them as such. timespan sums it up well. some songs are almost 2 decades old, some are fresh. it s a paragraph written with words that have years between them. somehow they still all sort of make sense together.- - shawn rudiman