drumcode returns with its 6th installment of the internationally celebrated a-sides series. renowned for fostering a shared space between industry tastemakers and rising talent alike, the careful curation that goes into each volume is a fine example of why beyer s brand continues to go from strength to strength. techno titan adam beyer has grown drumcode into a force to be reckoned with, the label has become synonymous with forward-thinking, functional techno and even after 20 years, drumcode continues to find new boundaries to push, and ways to solidify its legacy as the world s number one techno label. 2017 is no exception, with beyer s imprint hosting it s first stage at tomorrowland, not to mention the expansion of the critically acclaimed junction 2 where the drumcode stage is the centrepiece and adam plays the key role of festival director. the drumcode phenomenon continues to grow each week, chiefly fuelled by drumcode radio, adam s radio show thats broadcast in 57 countries via 86 stations and to a global audience of 16 million techno fans per week. the a-sides series acts as a perfect vignette of drumcode s cutting-edge sound, functional yet inspired techno, all tracks tried and tested by beyer himself. vol. 6 continues this tradition with a collection of 16 multi-faceted cuts from a mixture of both emerging artists and experienced label friends. the heart-throbbing bass in amelie lens electrifying piece in silence sets the tone for the dark and dance-floor-ready energy that vol.6 carries the whole way through. other standouts include mars bill s rough n ready mohave. pulsating and precise, mohave has highlighted many of beyer s sets recently as has wehbba s monster track fake , which fans have been anticipating the release of all year. label-favourites dense & pika also feature on a-sides vol. 6 with their hard-hitting just a beat and a huge track from beyer himself who has joined forces with enrico sangiuliano to bring us their undeniably infectious preset heaven. with many more notable selections from the likes of julian jewell, timmo, tiger stripes and pig&dan, a-sides vol. 6 is another impressive addition to the label s prolific release roster and a testament to why drumcode remains at the forefront of the electronic world.

drumcode returns with its 6th installment of the internationally celebrated a-sides series. renowned for fostering a shared space between industry tastemakers and rising talent alike, the careful curation that goes into each volume is a fine example of why beyer s brand continues to go from strength to strength. techno titan adam beyer has grown drumcode into a force to be reckoned with, the label has become synonymous with forward-thinking, functional techno and even after 20 years, drumcode continues to find new boundaries to push, and ways to solidify its legacy as the worlds number one techno label. 2017 is no exception, with beyers imprint hosting it s first stage at tomorrowland, not to mention the expansion of the critically acclaimed junction 2 where the drumcode stage is the centrepiece and adam plays the key role of festival director. the drumcode phenomenon continues to grow each week, chiefly fuelled by drumcode radio, adam s radio show that s broadcast in 57 countries via 86 stations and to a global audience of 16 million techno fans per week. the a-sides series acts as a perfect vignette of drumcode s cutting-edge sound, functional yet inspired techno, all tracks tried and tested by beyer himself. vol. 6 continues this tradition with a collection of 16 multi-faceted cuts from a mixture of both emerging artists and experienced label friends. the heart-throbbing bass in amelie lens electrifying piece in silence sets the tone for the dark and dance-floor-ready energy that vol.6 carries the whole way through. other standouts include mars bill s rough n ready mohave. pulsating and precise, mohave has highlighted many of beyer s sets recently as has wehbba s monster track fake, which fans have been anticipating the release of all year. label-favourites dense & pika also feature on a-sides vol. 6 with their hard-hitting just a beat and a huge track from beyer himself who has joined forces with enrico sangiuliano to bring us their undeniably infectious preset heaven . with many more notable selections from the likes of julian jewell, timmo, tiger stripes and pig&dan, a-sides vol. 6 is another impressive addition to the label s prolific release roster and a testament to why drumcode remains at the forefront of the electronic world.

phonica is proud to present the song for mr. lewis , a new record from austin ato! austin ato may be an unfamiliar name to most right now but you will have undoubtedly heard his music before. the man behind the mask colin bailey - has a decade of music production experience under his belt using aliases such as drums of death, frankie dreams and the slumberjack. following on from his recent 12inch on futureboogie, phonica white unveils the fantastic song for mr.lewis ep. when it comes to producing electronic music, colin proves to be a dab hand at a variety of styles. his work as austin ato updates the classic house sound utilising live instruments drums, percussion and keys alongside electronic elements. at the core of song for mr lewis is a moving speech from civil rights activist representative john lewis on gun control in the united states, a message that sadly remains just as important to this day. on the flip, the dub versions strips everything back to the drums, a raw counterpoint to the deeper original, perfect as a dj tool but a powerful bare-bones track in itself. finally, the blissful morning closes the ep in style, with colin laying keys over the top of a dubbed out drum machine and bass loop that could just keep going and going. oh yeah! artwork as always is supplied by the talented pedro carvalho de almeida.

known for housing a famous beastie boys sample, the reissue of the 1975 funk and fusion classic funk factory brings peerless polish and american players together for a groovy, eccentric journey. it was an album cut from this lp that captured a particular corner of the music-geek imagination for more than 40 years: “rien ne va plus,” from the self-titled 1975 album, had its reckoning with the canon when the dust brothers sampled major chunks of it for beastie boys’ “car thief.” “rien ne va plus” is a banger, all post-head hunters springy synth-bass. as for the rest of the album, funk factory can stray pretty far into the cheerier excesses of prog-jazz. it emphasizes the alluring strangeness of its more experimental moments, like the hallucinogenic haunted-house tour of “lilliput” or the banshee james brown vocal riffs on “horsing around.” “rien ne va plus” remains the top highlight. this album is proof that a core of musicians schooled in jazz but culturally steeped in the folk and classical traditions of eastern europe could, at least once, put out something that fit well with the crossover sound of the times while being unafraid to dive into freeform weirdness.
pressing on 180 gram audiophile vinyl.

following a series of standout releases on stateside imprint, astral plane, e.m.m.a returns to coyote records for the first time proper with new 12-, mindmaze / pumpkin emoji . having first provided a remix on spokes inaugural ep ( green eyes ) for the label back in 2015, e.m.m.a has since kick-started her angel food radio show on nts alongside aimee cliff, and also established producer girls — a nationwide workshop initiative aimed at helping aspiring women get into music production. on mindmaze , described by e.m.m.a. herself as medieval funky and originally made as a special for mumdance on rinse fm, she pokes fun at the club, going in sample-heavy and re-fixing anthemic windows 95-era melodies over a stampeding, heavyset 4x4 beat. -this tune is a homage to the encarta 95 cd rom-, she explains. on the flip meanwhile, pumpkin emoji references the glossy, crystalline textures and lo-slung 808 bass of early e.m.m.a. gems like 2014 s light years , a potent reminder of why she remains one of the uk s most innovative and quietly rebellious club producers. tracklist: 1. mindmaze, 2. pumpkin emoji.

in early 2017, the young australians from parcels may have only released a couple of tracks and yet they are already being compared to »humanized daft punk who would decide to jam along with steely dan and frank ocean.«
the self-produced hideout ep was created over two years. what remains in early 2017 is a unified piece, an ep that is essentially pop but which shines in a unique, exciting and down right groovy light. as a first completed release from parcels, the hideout ep covers a lot of ground.
tracks range from driving electro thumps to softer pop taps. but what is clear in the end is that parcels bring a unique brand of pop music and deliver it with infectious and emotive dance: »already the musicians have made a statement with their harmonious feel-good funk-pop.« (the 405)

bugsy hails from milan where he is resident and co-host of the brilliant take it easy club night which brings many of the finest house dj’s to the city and remains packed week in and week out. with his featured producers astroloop at his side bugsy has come up with a quality debut loaded with fat, low-slung deep beats and detroit-inspired grooves for freerange entitled the svegsy ep.

much may have changed over a two-decade period, but drumcode s commitment to releasing the scene s most cutting-edge and refined techno remains resolute. 2017 has already seen releases from adam beyer vs pig&dan, alan fitzpatrick, ilario alicante, julian jeweil, as well as a debut album from layton giordani. the label continues push forwards, bringing fail-safe, club-ready music to the techno community. perennial pushers of the techno envelope, dense & pika are renowned for their standout studio output that seems to constantly conjure up a particularly unique take on their distinct sound, d&p have rather outdone themselves in 2017. kicking off the year with a selection of back catalogue remixes from the likes of danny daze, scuba, slam and yotam avni that illustrated the high esteem in which d&p are held by their peers right across the spectrum, from heritage acts to current headliners and cutting edge talent, the duo have gone on to drop bomb after bomb after bomb. their universally lauded remix of tiga s louder than a bomb was the first of a run of chart topping cuts, with a remix of me & her s wild rage on jamie jones hottrax imprint and their own casino single both challenging the norm of what techno sounds like in the here and now. cooked up with a more melodic vibe and fusing elements of house and techno, dense & pika s latest outing on drumcode offers something different compared to their previous work. there is still that vintage feel to each of the tracks with analogue sounds and arrangements born and developed from experimental studio jams. indeed, suki heavily utilizes the distinct harmonic tones of the dave smith prophet 8 keyboard. while little sun - a staple of d&p performances over the last three months - delivers a more classic drumcode sound. lanky closes out the release with an infectious slab of wonderfully wonked-out raw funk

dive-bar turned record label paradise palms presents a brand new 7inch from veteran producer justin robertson, a man with over 23 years experience as an innovator and restless proponent of fascinating forward-thinking music. his tireless work ethic has ensured that he remains one of the most relevant and exciting dj/producers around, as a whole new generation of electronic enthusiasts will sweatily testify. justin s latest incarnation as the deadstock 33s has been garnishing lavish praise from figureheads such as andrew weatherall and erol alkan, as well as a diverse cross-section of fresh talent, from daniel avery to eats everything. cyborg holiday snaps is a double-whammy 7inch of alien machine funk crafted by the rave pilot himself. the titular track launches head&#64257,,,,rst into hissing electro territory with pounding rhythms and detroit-strength bass stabs, while numerical discord is a low-slung 110bpm acid weapon.

you may know aretha franklins scintillating one step ahead from its vital role in the oscar-winning movie moonlight. you may also know it as providing the beautifully melancholic backdrop for mos defs 1999 hit ms fat booty. the inaugural be with 7inch is a special one indeed, containing the first ever officially licensed reissue of arethas all-time deep soul classic. one step ahead was not included on any of her columbia studio albums, and remains one of her rarest releases. on the flip, i cant wait until i see my babys face is a thrilling, goosebump-inducing killer and an unfairly slept-on rendition of this eternal track. the single comes housed in a custom printed full-colour company sleeve and is limited to just 1000 copies

waxwork records presents the deluxe soundtrack vinyl re-issue of the excorcist. directed by the legendary and prolific william friedkin (the french connection, sorcerer, cruising, to live and die in la) and starring linda blair, the excorcist remains one of the most important, and scariest films in cinematic history. . deluxe features include exclusive liner notes from director william friedkin, re-mastered audio, old style tip-on gatefold jackets with soft touch coating, a 12-x12inch booklet, 180 gram colored vinyl, and all new artwork by justin erickson of phantom city creative.

1987s kick lifted inxs to an new level and firmly established the band as a force to be reckoned with, sending 4 singles - >new sensation<, >devil inside<, >need you tonight< and the timeless ballad >never tear us apart< - straight to the charts. the rest of kick, especially >guns in the sky< and the groove filled >wild life< remain ever popular with fans.
this 6 x platinum selling album a remains a classic, with artists covering tracks from the record to this day. kick is released as 180 gram heavyweight vinyl lp in gatefold cover

along with his rival, cornell campbell, johnny clarke was one of the most esteemed singers of the roots reggae era. having grown up next door to a popular sound system on waltham park road in western kingston, clarke s early fascination with music led him to hang out at studio one with jacob miller while still at school. he then made the rounds of talent shows with barry brown, sugar minott and the diamonds, which led to a debut recording in 1973, for the pianist glen stair, which remains unreleased. an early effort for clancy eccles, ‘god made the sea and sun,’ was not promoted properly, though ‘everyday wondering,’ for rupie edwards, impacted in britain, ‘golden snake’ for stamma houghton and a cover of smokey robinson’s ‘you really got a hold on me’ for glen brown were also false starts. the breakthrough finally came in 1975 when clarke linked with bunny lee, who had him voice the rastafari landmark ‘none shall escape the judgement’ (written by earl zero, who failed to muster a credible take), which kick-started the ‘flying cymbal’ craze. clarke’s resultant debut album, enter into his gates with praise, mixed hard-hitting rastafari devotional material with sympathetic cover versions of classics by the likes of the paragons, slim smith and delroy wilson, along with a few reggae renditions of some vintage american r&b.

der soundtrack des renommierten filmkomponisten cristobal tapia de veer zum britisch-amerikanischen thriller the girl with all the gifts (2016) von regisseur colm mccarthy, nach der dystopischen romanvorlage von mike carey, der auch das drehbuch schrieb. der kinostart in deutschland erfolgte anfang februar 2017.
schwarzes 180g doppelvinyl im gestanzten gatefold.

during the 1970s, innovative musicians redefined the sound of jazz, funk, and soul music, digging deeper than ever before to unearth powerful new sonic textures. one such pioneer was keyboardist weldon irvine, a jazz-funk luminary who released some of the most revered recordings of the era. irvine’s 1975 album “spirit man” is a true masterpiece, full of infectious grooves and otherworldly electronic elements. entirely composed, arranged, conducted, and produced by irvine himself, the album remains a potent artistic statement, both deeply spiritual and intensely funky. crate diggers may recognize the opening track “we gettin’ down”, which was sampled by a tribe called quest for their classic single “award tour”. now, “spirit man” is back in print on limited-edition vinyl, complete with updated artwork. order this official deluxe reissue now!

in the field of minimal house reissues, this is a big deal. perlon main man dimbiman doesn’t appear on wax often, but when he does he makes it count. this early release on baby ford s seminal pal sl was originally out in 1998, when minimal house was a vague concept at best on the most outer reaches of dance music. -iso grifo- itself remains a masterclass of spine-chilling space and perfectly strange sonic matter, while -lava- pushes the notion of reduction dance music to its absolute limit. -round- is an even more immersive affair that hides many subtle layers within its seemingly simple construct. quite simply groundbreaking stuff, and highly sought after so don’t sleep on it.

hand numbered vinyl only! frits wentink s next release on his own bobby donny label finds him editing some tracks he has been playing on his radio show for a while. they are originally by vertiqua, a german lo-fi hip hop producer that remains unknown. the vinyl only record is limited to 500 copies. all four of these tracks have been edited to make them more suited to the dance floor. the a side comes as an edit that is all about woozy chords and loose, bumpy drums with a rapped vocal stitched deep into the arrangement. it s warm and intake for cosy dance floors. the b1 has organic boom bap drums and kicks, more tape delayed chords and a nice analogue feel all finished with a wordless but beautifully soul-infused vocal. last of all, the louche drums of on b2 are coated in vinyl crackle and laced up with more intoxicating and imperfect chords. this is a perfectly aged combination of hip hop and house that will get any floor bouncing.

oosterwal is digging deep into the foundations right now.hot on the heels of dance mania homage ‘bleep, the rejected co-boss remains focused on the roots with two more chicago-esque floor-heaters that nod to the seminal indelible legacy of trax in their stark, direct ways.

litüus returns to avian.
sparse and reflective, the chicago native’s work occupies a curious space on the periphery of the techno genre. by stripping back the music to all but its most vital elements - most notably the sequence, but at the same time maintaining a sense of urgency in its articulation, litüus crafts exquisite, ghostly shadows of busier, more fleshed out material. neither intro nor outro, but rather suspended in some middling point of formation - what remains is a remarkably pure examination of minimalist, experimental synthesis.

poker flat label boss and genuine dance music legend steve bug teams up with langenberg for this excellent two track ep. langenberg has released an unfathomable number of dancefloor fillers under various monikers on labels such as drumpoet community, mule, ovum or styrax leaves and recently released his debut album central heated house on dessous. langenberg is also one half of the project ribn. chord cluster has summer anthem written all over deep yet euphoric, spacy yet danceable, and ultimately a deeply emotive piece of house music that will bring smiles to faces all year. the rhythm track is tight yet remains loose and funky, while the pads and synths dip into just the right amount of acid to keep the ravers lost in the moment. the teaze treads similar ground arpeggiated pulses lead the arrangement, while a chicago influenced groove brings a shuffle to proceedings the joy in the track is evident it s clear the guys were having a lot of fun in the studio.

somne debuts on just this. the italian producer, whose real name is federico maccherone, presents his first release of 2017 – a solo ep marrying the same ethereal, wide-angle synthesis and intricate drum programming that appears on standout work for boddika’s nonplus imprint and the afterlife label. more than ever, maccherone shows his range – rolling, meditative recordings sit comfortably alongside some more overtly dance floor material, with both approaches bound by the same high-end production values listeners and dj’s alike have come to expect from the somne project. in various ways, the ep offers a certain degree of insight into maccherone’s dual identity as a producer of both clinical, dance-floor fare as well as a cerebral, leftfield work – and in turn, how the artist draws together these two strands of creative endeavour to craft unique and profoundly emotive electronic music. nods to classic idm and ambient sit at the periphery of the recordings, although the main focus is on the propulsive, contemporary techno derivatives – from warping, half-time opener divided love, with its crisp, white noise washes and clinical use of distortion – through to endgame’s exacting, peak-time drive. and whilst the form shifts across the ep from half-time, polyrhythmic work to more direct 4x4 compositions – everything remains bound by the same exquisite, otherworldly atmosphere that touches on the grandiose whilst maintaining a gloriously introspective bent.

alter is the new album from belgium-based double bass player and electronic producer otto lindholm. divided into four colour-inspired, long-form movements, alter takes off from lindholms previous work a self-titled album released in 2015 on icarus records, and pushes the already abundant palette of sounds even further. this new work is more brooding and hypnotic. a deep, resonating bass is present - hinting at the likes of greek, chamber-doom merchants mohammad but perhaps with more attention placed upon textures and melody. the record moves at a funereal pace and opener fauve hits abyssal depths from the outset. a bowed melody is coaxed through the throbbing bass with dissonant harmonics drawing you in and holding you close. the ghostly beginnings of alyscamps create an overwhelmingly tense atmosphere where acoustic and electronic elements collide and evolve into a heaving, ceremonious drone. shafts of light emerge through the fog but the tone remains a haunted one. closer, heliotrope, strikes a more hopeful note. a lighter, more open feel emerges - bringing to mind early work of the rachels or perhaps deaf center.

kiu d lands back at the masterworks hq for his latest release -the journey - 12 inch sampler-. having steadily climbed the ranks of modern disco producers with consistent releases for the likes of hot digits & special editionà he returns to masterworks with his 4th outing on the label. rounding up a fierce collection of heavy beats, sampled grooves and lush melodies, kiu d remains in fine form and is apparently immune to resting on his laurels.

after quietly dropping 2 quality 12”s on the limehouse based hothouse akute back in 2015 and 2016, dempa is back with a four track ep that remains faithful to his particular brand of deeply twisted beat-smithery. trusted into the hands of little beat different, there was no way these ruff and ready dance floor ready demos were going to slip away.
these four tracks delve deep into techno territory. built for the dancefloor and dancers who possess a somewhat acquired taste. both sides of the record are perfectly balanced. the first is quicker in tempo, with the second one focusing on the more psychedelic side of things. dempa cooks with the finest ingredients and naturally the results are full of the right flavours.

almost a year has passed since the ghost of serena butler made its appearance on the realms of eerie - techno oddball marco shuttle’s label. now s/he and other beings gave birth to a new continuum, bene tleilax, where serena’s second ep, “from the cloud to our bodies”, has been conceived.
dub visions and found sound sculptures float over a maelstrom of skeletal techno remains, together with delicate melodies and vocal swarms from a realm where nothing is so sacred that it cannot be reengineered and transformed. this is a release which seizes alienation as impetus to generate new worlds while remaining still counter-trend to certain dark souls in modern electronic music. another biomechanical effort which sounds like the perfect nexus of fluid hopes and unparalleled roles.

having impressed on the home grown ep, released in march of this year, london modular alliance return to hypercolour with the 5 track wolves ep. once again, a heavy arsenal of modular synths and analogue hardware were deployed in the production of these tracks, each once packing a punch and aesthetic that will appeal to many. ôbrockie detö fires out the blocks with on point electro beats and melancholic pads, whilst militant continues the theme, with dusted drums and thick washes of bass for a real futuristic funk moment. elsewhere on the ep, the disassembled arrangement of advance & proceed gives off a cold and discordant atmosphere, but remains firmly in groove and sonically tight, theres a distinct jazz flare in the mix also! tremors hits hard and heavy, giving the detroit electro cats a run for their money, whilst the ep title track, wolves is a busy and inspired slab of british idm at its very best.

as spring casts its glow over the barren and fissured valley, the whiskered sciurine known as rvs can be seen emerging cautiously from its burrow opening, out into the crisp hillside breeze. revitalised from her slumber, she lets out an abrupt and shrill chirp that seems to declare all at once, -it s party time and boy do i have a corker for you-, one that reverberates across the landscape permeating every bush, branch, pasture and crag, where lifeforms large and small may otherwise be spotted scuttling in their daily forage. the other beasts awaken, and realise that it is time . with some dexterity and slight of paw, the rvs rodent produces a shiny black disc from the folds of her fur and flings it high into the heights of valley, exploding into a rainbow bursting with every emoticon known to the internet, thereupon thundering the sounds of asadinho s when we come to it across the streams and tree-lines. commencing with the silverlining remix, then the original, then the track titled koppaitch, each member of the wildlife community remains hypnotised with this incomparable detonation of sparkle, rhythm, and the poetics of the mighty maya angelou. as the display descends into the foliage and dissolves away, the rvs scriurine pauses to compose herself then retreats to her work cave to get working on the next of these black discs and the wildlife convention she calls the rvs weekender.

the arrival of marvin parks on today’s musical scene can be considered a very fitting addition to the renaissance of the afro-american jazz crooner panorama, deeply rooted in the black music tradition. having his roots in gospel and in the ’50s and ’60s jazz singers by the likes of nat king cole, johnny hartman and joe williams, marvin parks yet remains by all means an artist of today.
in his debut marvin shapes his light baritone colors within the sound of a well-established group of musicians under the direction and production of nicola conte. the main idea was to create a soundscape to give a different light to well-known standards and some originals.

the squirrels are back. their second platter comes courtesy of kit n c.l.a.w.s. (say it out loud), the cheekily-named collaborative project from squirrels on film co-founder brian hock and veteran san francisco producer kit clayton, and just like the label s first record, it s a woozy, wobbly trip designed for dancefloors drifting between dimensions. savvy techno heads will recognize kit clayton s name from his decades of experience at the avant-garde of electronic music. in the late 90s, he and partners tang tran and juan mendez (now better known as silent servant) launched cytrax, a groundbreaking minimal techno label that paved the way for the clicks n cuts sound of the early aughts. his debut album — nek sanalet, first released in 1999 on stefan betke s seminal label ~scape and reissued in 2015 — remains one of dub techno s most enduring documents. meanwhile, brian hock moonlights as the drummer for deranged bay area post-punk outfit bronze while recording murky electro-techno excursions as c.l.a.w.s.

osf is happy and proud to announce a new 12-inch by its founder, nur jaber. the label was conceived by the staub resident as her very own creative platform, a place for her to not just release uncompromising music, but also to print poems, letters and in the case of this record, even direct a video. based in berlin, the young producer who was born in beirut remains very attached to her roots. this background partially explains why she can be inspired by tragic events happening regularly in the middle east - making brave statements in the mostly apolitical electronic music environment. the past years have seen nur embrace a career as a music producer, seeing her slowly and steadily become an original new voice in the techno landscape. this ep showcases nur s ability to create and combine daunting atmospherics and frantic paces. it is dark and twisted, with its vocals and screams, but always driving. weapons of mass destruction is meant for banging crazy dance floors, but it is also personal and almost cathartic, especially in the current political situation surrounding all of us. the artwork, as always, is put together by osf family members the beholder and beauty&machines.

official re-issue of bermudian disco record! 1000 copies initial pressing. big tip! in 1981, bermudian band paradise recorded sizzlin hot, a flawless album of original material in the disco, boogie and aor style. producer, writer and pianist grant williams formed several bands before becoming the fourth member of paradise, alongside bassist wincy woolridge, drummer ronnie lopes and singer june ventzos whose voice commands the album. for five years, the group regularly performed in hotels before hitting the local z.b.m. studios to record their sole album. sizzlin hot is inspired by the sound of earth, wind & fire. the album delivers several blistering tracks that could have been huge club anthems if the record had been promoted outside of bermuda. since bermuda is a fairly remote island, its no wonder that paradise remains virtually unknown to this day. it is all the more reason why this album stands-out and has universal appeal though it was only ever intended as a local thing as grant williams says.

the cultural phenomenon that is the wu-tang cannot accurately be described without referencing one of the pillars in the clan s discography, chef raekwon s only built 4 cuban linx remains firmly planted as one of the defining triumphs in their artistic legacy. the oft referred -purple tape-, has been cited and debated by many as the greatest wu-tang solo project to date and a remains a bullet point in any discussion involving the greatest -cocaine rap- or -street hop- albums of all time.

freshly dressed after a double helping of made to measure goodness, aficionado size up another summer time smash for the sandal-wearing masses. keen to capture the coastal cool of the wirral peninsula, the label crack out the crystals and summon strange-wave sorceress brenda ray for another hit of her interplanetary excellence. wandering from new age haze to celestial rays on this tripped out trio, our genre blending genius takes the fourth world into the fifth dimension of psychedelic sound. our spiritual journey begins with the chakra cleansing solartude , an out-of-body beauty which bathes us in swirling flute, dreamy chimes and shimmering tape delay before sending us off towards the orient. eastern tones and hushed vocals ride a glistening sequence as this flawless fusion of exotica and dub suggests a medicated martin denny stumbling out of chinatown and into a humid mangrove. next stop on the voyage of self discovery is space dustin , a lunar lullaby for lucid dreamers which sees brenda spin fairlight mallets, celestial keys and whispered vocals into an immersive ode to the outer rim. floating free of space and time, perhaps you too can glimpse the excellent birds. over on the flipside and the temperature begins to rise. skip, hop to bop sees brenda dabbling with dub techno, setting basic channel synths and stirring strings to a skittering rhythm. dislocated and disoriented we descend into a strange subterranean world of rothschild parties, lynchian noir and muffled techno. surrounded by swirling voices, shuffling percussion grabs hold of you and all that remains is to sway.

matter of the heart! district 66s co-owner clark davis established with the labels 3rd ep a symbiosis of the past, present and future. the a1 and b1 reduced and functional original tracks are remixed by two of davis respected producers. in the late 90ies, alexander kowalski was one of the key artist which influenced him and still remains with his very own signature sound. nowadays state-of-the-art markus suckut reflects with his minimalism and on the point grooves the artistic present and future of davis definition of techno.

senso sounds collects together two of the key tracks from bossman oliver huntemann’s new propaganda album for this 12 inch release. senso has established itself as a key label in the techno scene and huntemanns ear for quality remains as sharp as ever. rotlicht is a precision-honed instrument of techno weaponry - hard as nails and featuring epic and mind-bending breakdowns. additionally the egyptian dj and producer raxon reworks the track into a deep and solid groover with plenty of attitude. ‘poltergeist’ is a journey into huntemann’s feel for sound design and space in a club context, beguiling with its seeming simplicity, before hitting home with shifting, evolving grooves and haunting synth blasts. the young russian maksim dark adds his own interpretation of poltergeist to the release, edging up the darkness a little more and producing a growling, tough techno workout that will go over big on a lot of floors this year.

utter presents rgbpm, trevor jackson s four piece audio-visual work originally commissioned for a live performance at the optronica festival in 2007, on london s imax, the biggest screen in the uk. optronica, programmed by addictive tv/cinefeel in collaboration with the british film institute, held its second festival over five consecutive days at the imax, ica and bfi southbank in march 2007. a showcase of the most exciting talent working in visual music, optronica s 2007 event was a platform for live performances, talks, screenings and workshops from the likes of fennesz, peter greenaway and ryoichi kurokawa. jackson s piece took over six months to develop and yet was performed only once. on march 14th the premier of rgbpm opened the festival in spectacular fashion, jackson performing the music live with its accompanying hd visuals generated in real time using custom-built software created especially by weirdcore. a powerful multi-sensory experience, the event remains one of the defining moments of jackson s lengthy career. the visuals consist of abstract shapes synchronised perfectly to jackson’s soundtrack. choreographed to represent musical elements within each track, they explore the relationship between melody, colour, rhythm and form. the diverse soundtrack combines magical motorik experiments, demented acidic jams, melodic subterranean techno and dark discordant electronic soundscapes. it s a timeless selection of music that holds its own to this day. a decade on from rgbpm s lone airing, utter is proud to release all four parts together for the first time as a special 12- package, mastered and cut by helmut erler at d&m and housed in a sleeve designed by jackson himself.

the story of the great roots reggae harmony trio black uhuru is one defined by many unexpected twists and turns. in its best known form, led by michael rose and with founding member duckie simpson and the black american female vocalist, puma jones, the group would enjoy the greatest popularity of any act in the wake of bob marley’s untimely death in 1981, but the origins of the group lay in the turbulent waterhouse district during the mid-1970s. duckie first formed the group as uhuru, the swahili word for unity, with garth dennis as lead singer and don carlos to join him in harmony, after cutting an adaptation of the impressions’ “romancing to the folk song” at dynamics, “time is on our side” at randy’s for clive chin, and “slow coach” for raymond “benno” anderson, dennis drifted into the wailing souls and don carlos went solo, leading duckie to recruit rising waterhouse vocalist michael “tony” rose as lead singer, and errol nelson from the jays for harmony. their debut album, love crisis, was produced, voiced and mixed at king tubby’s studio by prince jammy and remains and outstanding example of jammy’s roots reggae production phase. the song “hard ground” vamps on a similar theme to marley’s “talking blues”: rose sings of a life of everyday hardship, with destitution and homelessness the pervading factors. on the extended dub portion and dub the instrumental cuts that follow the alternate vocal take of this enthralling 12-inch ep, you can hear the non-standard instrumentation that helps make the work so innovative, with winston wright’s harpsichord melody emphasising the hopelessness of rose’s emotive lyrics, the commanding rhythm and understated bass and guitar from robbie shakespeare and chinna smith completing the picture.

the latest dig from best record italy s eternal mission to release the finest roman musical manna features noted jazz man pino presti taking on manu dibango s eternal party jam soul makossa. presti s interpretation uses oodles of gleaming 80s synths in place of the original traditional instrumentation, but fear not as the iconic brass section remains a real-world force, and sounds mighty fresh with it. following up that cover is a sumptuous version of aint no sunshine which is aimed square at the heartstrings of the most balearic cruisers. i call your name / come back to me gets even smoother, the vocals capturing mediterranean getaway romance to perfection

techno, disco, italo, electronics, house, library, cosmic and ambient frequencies - these are the bedrocks of the midnight drive ethos and sound. a label shining a light on overlooked or unheralded creations and respectfully reissuing them for the contemporary audience. a label that respects and understands the connection between these disparate and sometimes forgotten forms of musical expression and celebrates them. drive001 sees us step back to 1998 and into the hands of the duo of damon wild and mederic nebinger, recording together as blue maxx they quietly unleashed some of the finest futuristic widescreen techno and electro to emanate from nyc in the late 1990 s. utilising a small sub-label of wild s seminal techno imprint synewave called deja vous the pair embarked on a slew of ep s released over the space of a couple of years with private life being one of the last. across 3 tracks private life opens up a new sound world, from the driving, tool-like qualities of the a-side cut - all swinging drum programming, synth stabs and deranged metallic percussions to the deeper, more clandestine leanings of the b-side tracks, mining a more musical and electro infused vein, the whole ep stands out as something truly original. a hallmark of the blue maxx sound. this is the first time private life has been reissued, almost 20 years has passed and somehow wild and nebinger s style remains utterly fresh and contemporary. a truly rare and essential piece of hi-tech techno expression that could easily have been released this week. such is the quality on display within these grooves. remastered by curvepusher. artwork and design by atelier superplus.

this circular item is the oaks 04 by prostitutes. musica techno para discoteca vol.1 its title. if you drop the needle on this side (a) mighty arms and a glancing kiss will play. if you flip it side (b) albion remains and churns up into stone will do the same. eleven times three revolutions per minute. recommended for dj use.
musica techno para discoteca is the new series from oaks. in it i’ll showcase the techno music that inspires me, the techno music that i love to play, the techno music that in my opinion should get a decent exposure due it’s originality and honesty. without paying attention to the market demand or industry standards.

black bones debut was one of the year s best sellers, and it s easy to see why... lucky for all of us, the blackbones boys have more than one trick up their sleeves, as another back-breaking digging session has unearthed some sacred remains, ready for modern scientific re-animation ! sonny retools a highlife classic into a splendidly sun-soaked summer beauty... on the flip xtc takes a more cosmic route to dancefloor abandon, while roller is a barn-storming discoid jam that wraps up another damn fine ep !

plenilunio is a resume of the mystic jungle tribeÆs influences, past a d present musical journeys. this record is a statement more than a selection of tracks, it tells where mystic jungle and his tribe are coming from and where they re heading with their compositions, weather it is oriental flavored jazz-funk or no wave acid disco and all in between the aesthetic always remains loyal to the principle.

luckyme records are proud to present our first release with acclaimed young producer suicideyear. six fresh tracks recorded in his new home of new orleans that showcase his continued development at the forefront of futurist hip hop production. each track glistens and evolves in its own way from the warmth of ‘summer hate’ through to the more club oriented ‘mosh mosh’ and ‘spent days watching horses die’, everything remains within his unique outsider viewpoint on the city. in his own words “meant for listening to on the i-55 to new orleans from hammond”.
the vinyl release includes a download code.

since the inception of gregory vand and susan subtract’s electro-punk outfit high-functioning flesh in 2012, the band has proven to be one of the most singular acts in years, defying the genre tag of “classic” ebm, as the creativity and fresh perspective they bring to the stage and studio has been instrumental in carving out a modern audience for the genre – elevating hff into a category all their own. following their striking debut on dka records in 2014, high-functioning flesh delivered an exceptional step forward in their sound on their sophomore effort for dais records, the “definite structures” lp in 2015. since then, high-functioning flesh has toured extensively with label mates body of light and previewed their caustic shift to a more refined, hardened signature with their “human remains” single in 2016. we now find high-functioning flesh at their sharpest and most poised position to date within their newest album: “culture cut”

superstrong is the third single to be taken from max sedgleys supremely funky album >suddenly everything<. having won the accolade of having one of the remixes of 2010 on itunes – max steps up his game with the release of superstrong. fusing funk, disco and house on the original version – max shows why he remains at the top of his game as an in demand producer and remixer.
superstrong remixes come courtesy of disco dons faze action who deliver a killer mid tempo nu-disco bomb with beautifully melancholic piano chords underpinned by a driving bassline. labelmates basement freaks turn in a raw funky breakbeat banger to complete the package. vocals come courtesy of live band member tasita d mour herself a widely recognised soul diva with releases on the worlds best house labels including defected, azuli and purple.

3 of shadow child’s connected collaboration album tracks get a makeover from rimbaudian, mj cole and bodhi. rising talent rimbaudian reworks the only solo track from the project, steak fingers, and takes the original bumping stripped back groove on a more melodic journey with its stunning arpeggios and new string parts. the backbone of the original remains but be prepared to take a trip to a new stratosphere, with his stripped version which is included too. bodhi step up next to remix gacid, twisting and turning the original acid patterns and grooves to make a special rework that gives a nod to early detroit with new drum programming and pads. the welsh duo bring the heat. mj cole delivers what must be one of his finest remixes. um the collaboration with bodhi, already offers a trip that flirts with jungle, lo-fi and the hypnotic but mj cole brings his signature vibe to the table with new keys, groove and provides something that feels as if it belongs in the realms of his seminal hit sincere.

after the success of closer to freedom in 2014, chicago legend dj jes returns to tardis records with the between the lines ep, featuring two lost tracks from his personal archives and a brand new offering. opener æno foolingÆ is reduced to the bare essentials until an elegant snatch of piano and spoken word sample break it down further, when the track kicks back in with a vengeance everyone in the room will know all about it, but it remains subtle enough to work the day after as well. on the flip, æbetween the linesÆ is tougher and dubbier and will do some serious peak-time damage, whilst new track lost is a cut-up banger for the floor and a perfect dj tool. all tracks have been meticulously edited and rearranged by label owners eli verveine and oscar schubaq in order to extend the grooves and maximise dance floor impact.

newly reprinted on vinyl, this collab between jneiro jarel and the elusive mc features remixes from thom yorke, beck, and more. it remains one of the best releases to feature doom’s name this decade.

this record is the result of an undeniable desire to uncover a once lost and forgotten gem from beyond the dust. to recover the magic underneath, that has never grown nor subsided and doesn’t belong to anything but itself. a love story between two music labels that found each other in this blissful journey, lossless and something happening somewhere are here to presents the next chapter in their findings. uzoamaka is an original track by king britt from 2002, that still remains as fresh and uplifting as it was 15 years ago. nuno dos santos (sohaso) has been in love with the sonic narrative since it was released, but felt the urge to bring the transformative beauty to a wider audience. in an attempt to recover the original, the original master and pre-master turned out to be lost by the waves of time. calyx mastering have remastered the music straight from vinyl, keeping the raw charm of the original but giving it a sonic facelift to fit with modern standards, also making it available in the digital format for the first time since it’s release. the original by king britt is an ode to the ritual of dance music in it’s purest form. with vocals panning across the stereo field that preach ‘sing, dance, be, free to dance’, it resonates with the primordial human playfulness, joy and expression in all of us. teasing with a melodic bassline, almost reaching twelve minutes running time, it’s a modern hymn that never fails to mesmerize and bring people’s spirit together. besides remastering the original, it gave the opportunity to invite other artists to retell the story. this time the mighty dixon gives the original track an update for modern dance floors. pushing the groove to the foreground, adding some extra percussion and drive while letting the choir guide you to a monumental break in which the chord suspends in the air. “free to… free to… free to…” nuno dos santos has used his magic touch for a short beat edit, which focusses the whole affair on the groove even more. a powerful tool to add some impact to tracks or to break up an otherwise repetitious dj set. mathias schober is back under his sb alias, carefully tightening and shortening the original version from 2002 with his edit to create a version that celebrates the quality of the elements. pushing and pulling, enhancing the entrancing effect of the musical soul.