goncalo salgado aka lake haze first came onto the scene in 2014, with a release on dj haus’s ­ unknown to the unknown imprint. since his impressive inception to the scene, lake haze’s sound has developed and evolved massively, so much so, that in 2015 he created an incredible offering for dutch label creme organisation, which featured a legowelt remix. the four track ep, features dark synthy productions on the a side, with more club friendly acid cuts on the flip. packaged in full sleeve artwork, limited press.

british techno producer tom dicicco makes his debut on delsin now after many fine releases on off minor recordings, the corner and his own run out run and inner surface music. he is someone with a textural richly, forceful sound that is dark and abstract yet enriched with very real emotions and here he is on point once more with some of his most sensitive and cerebral cuts yet.

in recent times, phantasy have provided the soundtrack for many adrenaline fuelled nights and hazy mornings with critically acclaimed albums from daniel avery (drone logic) and connan mockasin (forever dolphin love & caramel). their latest discovery ghost culture emerges from the shadows to make the space between those two worlds his own. since announcing his arrival one year ago with a debut single mouth, the london based artist has built up a feverish following with a further pair of ear catching singles. this trio of sell-out releases, each pressed on invisible vinyl, offered a glimpse of a rare talent whose music was just as at home in the club as it was in ones bedroom. now phantasy, are proud to present his self titled debut album, a collection of ten tracks rich in emotion, musicality and sonic artistry.

sound of the 16th season people have their personal rituals. leaving the international space station russian space travelers left some bread and salt as a welcome gift for their american colleagues. tennis star serena williams bounces the ball exactly five times before her first serve. our beloved master of ceremony of techno music, sven vath, has a ritual as well: when the shadows on the island ibiza grow longer and the noise of the summer is about to fade away, he takes a couple of days off and reminisces the passing season, the parties, the crowds and the music: what were the craziest, the most outrageous, most beautiful moments? which situations, which encounters inspired me? what did we laugh about? and of course: what was the best music? which tracks accompanied me and my cocoon people during those intense weeks? vath assembles those magical tracks for the sixteenth time this year merging them into two and a half hour set.

in recent times, phantasy have provided the soundtrack for many adrenaline fuelled nights and hazy mornings with critically acclaimed albums from daniel avery (drone logic) and connan mockasin (forever dolphin love & caramel). their latest discovery ghost culture emerges from the shadows to make the space between those two worlds his own. since announcing his arrival one year ago with a debut single mouth, the london based artist has built up a feverish following with a further pair of ear catching singles. this trio of sell-out releases, each pressed on invisible vinyl, offered a glimpse of a rare talent whose music was just as at home in the club as it was in ones bedroom. now phantasy, are proud to present his self titled debut album, a collection of ten tracks rich in emotion, musicality and sonic artistry.

2011 release, the third album from the british electronic artist (real name: elliot john gleave) who combines beat-driven musical journeys with bits of hip hop, rock, pop, dubstep and house. following on from his breakthrough album, won t go quietly (2010), playing in the shadows offers up exactly what his fans want... and more. a grand time is guaranteed for all.

started out as a reggae, lovers rock band in the late 70’s, the cool notes consolidated their reputation in the 80s, after turning towards more soulful sounds and have signed different hits, all finished straight into the upper parts of the charts. “i wanna dance” and “blown it” released for the sour grape label owned by patrick mulpeter and danny ryan, both former member of the band gold, are two gems inexplicably left in the shadows, but as often happens, later appreciated as essential spins, in the selection of champion djs.

the tireless and titanic dance figure that is dj t. is next up on seth troxler’s essential play it say it label. dj t. has done it all in his long and storied career, from setting up one of the most influential labels in get physical to founding groove magazine via opening the monza club and, of course, serving up always inventive eps and lps on the best labels of the day. his sound has evolved through many house, disco and tech styles and has kept him an in-demand dj for more than 25 years. these new missives are yet more proof that few know how to work the floor as well as dj t. the perfectly menacing keep it close kicks things off with a dark, snaking bassline underpinning freaky synth stabs. the pressure builds throughout and will have the crowd locked in before it pulls back and builds again with a masterful grasp of mood. hitting much harder is the excellent the day it all started, a more physical house track with solid kicks is designed for maximum impact in the club. tumbling bass and gurgling synth riffs flesh this one out and ensure it is a real piece of dynamite. last of all is the retro-tinged 1988, with its tightly programmed drums, slick claps and spraying acid line. its a wild track to get the freaks out of the shadows and on to the ‘floor. this is a fresh ep that offers three very different but equally effective club tracks that are sure to blow up in the coming months

art pop meets mongolian throat singing, blade runner meets walter carlos (clockwork orange), tom dissevelt and kid baltan (bowie’s favourite band) meet tame impala. the fifth album from marsmobil has been hailed by many as their best yet. with closer ties to “minx” (2006) than the last two albums, “fairytales of the supersurvivor” returns to marsmobil’s signature strength of wondrously brilliant songs (“and the fishes in the ocean”, “shadows of the inner light”) that blend off-the-wall cinemascope sounds with dazzling beats and punchy, powerful hooks to create uniquely distinctive art pop anthems. as always with marsmobil, roberto di gioia writes, plays, sings and programs everything himself. here, as on “minx”, he’s brought in support from a fabulous singer – the very wonderful amber lin, who contributes vocals on four songs. all the cover illustrations are also by di gioia.

since jim coles took on the mantle of om unit, the english producer has sought to challenge himself and his audience by going beyond the confines of genres and styles he has so far explored. in the process he has found success by striving for more feeling, for a more human and daring electronic music. this journey continues with ‘self’, coles’ third album as om unit and a true follow-up to his 2013 debut ‘threads’.
‘self’ captures coles in a period of growth, change, and experimentation. inspired by personal psychological and emotional healing work, and a vision of the self as an egg — which coles later on discovered is a jungian archetype — the album blends dubwise, bass-heavy music with the space of experimental ambient compositions and the daring imagination of a cold wave science fiction soundtrack.
the first om unit album on coles’ own cosmic bridge label, ‘self’ offers new forms amid familiar touches. stripping away what people might expect, coles deconstructed and reimagined his work so far as a challenge to himself and, in turn, to his fans.

over the past six years, dimensions has become a leading name in the underground, with its festival, international series, dj directory and dimensions soundsystem. now, dimensions extends its influence with the start of its label - dimensions recordings. the label launches with a 12-track compilation across three separate discs. ‘an introduction’ makes a huge statement in setting out the label’s intent and breadth. with artists established and new stepping up to present 12 exclusive tracks.
dimensions recordings explores its darker side on an introduction part 3 with intergalactic oddities and twisted techno constructions, the release is definitely ones for the late hours. ‘crosstalk’ from gear heads london modular alliance opens, a squelching, electro, hardware excursion demonstrating a small snippet of what’s to come from the talented trio. next, french artist, upwellings steps up to demonstrate his purist approach as he unites elements of dub and techno to create the beautifully spacey ‘soft shadows’. the third offering comes courtesy of fachwerk label boss and prolific techno artist, mike dehnert, who presents raw but melodic track in ‘tokio,’which maintains his minimal and stripped back aesthetic beautifully. chicago’s steven tang in his obsolete music technology rounds off the release with ‘comb freq,’ a devastatingly powerful mix of acidic, bleeping dance floor energy!

(180 gr. 2lp gatefold) compiled by pete gooding and mark barrott. inluding music by tornado wallace, vangelis, fuga ronto, ishi vu, marvin franklin, mark barrott, john barry and more

over 3 years ago, casey tucker was thrust into the limelight after 15 years in the shadows. never truly getting the recognition for is detroit influenced and post rave sound in the 90s, for those that knoe reissued some of casey s classic material and unearthed some gems on dat in 2013. fast forward to the current day and a recent treasure trove was uncovered and some fresh dats untouched since the late 90s were discovered! ben promptly bought a dat player on ebay and shipped it to casey s home for the un-dusting to commence. fttk has worked with casey to present another round of authentic material spread across a further three eps. the track carpet dancer has been in demand since the fine balance recordings gained deserved attention. originally featuring as the a side on the very first fine balance ep, it evokes all of the emotions that caseys music can muster. juxtaposition is a slower groovy effort with meandering chords, trademark fizzy percussion and topped off with a lush string finale. whatever comes to mind rounds off the ep with a rolling percussive bassline, delicate arps and smooth sweeping pads.

night visions is a collection of stories which dance alive over an infectious blend of afro-latin rhythms and contemporary dancefloor beats. told by a variety of characters, drawn from the vibrant imagination of chico mann, these stories take place in an endless night, where we move through dimly lit clubs, jungle moonlight, pitch black desert plains, and the internal shadows of personal darkness. while the characters often stumble and search blindly in the dark, the persistent presence of a distant light provides an underlying direction and hopefulness to all the songs. captain planet s production, informed by his regular crowd-moving dj sets, keeps the album sounding effortlessly danceable & contemporary. meanwhile, chicos vocals have an instant classic appeal, hinting at old cuban rumba and vintage afrobeat lps. the two are aided by guest vocals from regular collaborators kendra morris & brit manor, as well as some talented friends who contributed additional horns, guitar & marimba

safer at night returns late january 2017 with the vinyl only release of the deep end , featuring two original curses cuts and remixes from ian blevins and holy ghost! safer at night founder curses launched the label back in 2014 and it has since gone to play host to material from eli esobar, walker & royce, jagerverb and of course the label founder himself. here we see curses re-release his composition the deep end marking the ten-year anniversary of its former releases on institutes in 2007, while enlisting ian blevins and holy ghost! on remix duties and stirring in a new original of his own as well. the original mix of the deep end takes the lead and offers a chance to revisit the decade old curses cut fuelled by wandering bass and lead guitar licks, dropped-tempo crunchy rhythms and murky piano chords all instilled with a gritty new york electro feel. holy ghost! then rework the original with the funk-laden feel via bright chord sequences, elongated delay swells and an amalgamation of 80 s synth leads, hooky bass lines and sporadic vocal lines. on the flip ian blevins offers up his interpretation of in shadows employing stuttering vocal hits, choppy arpeggios and droning bass leads to create an emotive and hypnotic number before curses original mix of in shadows closes on a cinematic vibe with an 80 s sci-fi soundtrack feel to perfectly conclude this vinyl only 10 year celebration.

with the opening track -i see you-, silent riders offer up a brilliant pop diamond combining all elements of their distinctive sound palette. lu’s soulful voice bounces off almost funky drum machines, all drenched in layers of dark analog ambience. on the lush -copenhagen dream-, lu channels a sense of brit-pop nonchalance into a political song about the state of her city. in contrast, -being afraid- sees the band in their hardest grittiest mode - with lu reminiscent of pj harvey at her most moody and the slow groove behind her like a factory machine beating and releasing steam. other highlights include the chilling -static- and the ethereal beauty of closing track -falling- which sees the riders in their most relaxed and dreamy state, and echoes the works of portishead and massive attack. a stunning debut - limited vinyl release - don’t miss.

after a considerable career releasing on numerous labels, as well as being co-founder of essen based label mild pitch, langenberg finally drops his first album under this alias. max heesen, (who is also one half of ribn with manuel tur) delivers the smartly titled central heated house for steve bug’s dessous recordings. the lp format suits langenbergs hypnotic house classicism well, allowing time and space to stretch out the grooves and moods over four sides of vinyl working both for the djs and perfect as a soundtrack for the autumn. the lp kicks off with jade, a melancholic, tape saturated introduction to langenbergs deep tastes. room 210 maintains this atmosphere, with fizzing percussion and warm detroit-esque melodies. groove 26 is perfectly timed for the hot summer, as lush rhodes chords and kdj style vocal snippets provide the heat for the openair vibes. the single from earlier this year shadows features the talents of vocalist blakkat, and caused some serious response when it hit airwaves and dancefloors alike. never worry is a heads down roller, built around a simple but perfectly executed bassline, while dreamliner is trippy laidback sunshine house all the way. ill be late and planitz proposal step back into the club, with langenbergs signature crisp percussion, crunchy hits and analog synth wizardry on full display. rain & roses closes out the album in a similar way to how it started wistful, thoughtful house music with soul.

early sounds recordings brings to light its freaky side with its brand new sublabel project, periodica records, that delivers for their first release a weird & stellar journey through the casio cz 101 cosmic-synthesizer by whodamanny (already seen as part of -the mystic jungle tribe- crew). prepare to take off!

ritornell’s richard eigner & abby lee tee originally teamed up to provide the score for a collaboration with filmmaker andreea sasaran and illustrator katja seifert entitled »melting sphere«. sharing a passion for the combination of filigree electronics with playful timbres of diverse acoustic instruments and odd utensils, the cooperation of the two producers was a logical choice.
»melting sphere« merges subsonic bass, kalimba rhythms, accordion sounds and toy bells, all framed by eavesdropping recordings of abby lee tee’s cat, bathroom squeaks for five minutes of organic downbeat bliss.
»tired dancers« on the flipside offers a melancholy tale of seduction relayed from the shadows, with field recordings of nightly city noise, a reversed music box melody, hypnotic chords and meticulous percussion. delicate, celestial cello (by lukas lauermann) and contrabass flute emerge as counterpoint to this rhythmic hypnosis.
this record is as shimmering as you would expect.

it is by now no secret that the sounds of the kick drums echoing off the hills of the tennessee valley have been singlehandedly redefining what we know to be truly proper for the better part of a decade now. however, the faces of those that make up this new world order have remained largely in the shadows. as such we are beyond excited to bring tennessee’s two most elite producers, memphis’s will azada and knoxville’s alex falk, back to cgi.

the stealth triple vinyl series presents six tracks taken from peter van hoesens stealth mix compilation. the same philosophy is carried across: it marries peters music with the sounds he is influenced by. the result is a powerful selection of vibrant techno, with a warm, almost spiritual, feel to it. the last instalment of the stealth vinyls focuses on the productions of the time to express founder. reflecting the themes of the series, van hoesen offers his own vision of hypnotic techno on shadows & concern, a powerful and expansive piece. the series is completed in appropriate fashion with unicorn, an emotive track that displays van hoesens more melodic side.

welcome to the dark side. where chaos is the constant, distortion forms the standard and frontiers are built out of opaque shadows. mumbling voices are hunting you through a maze of creepy synthesizer sounds. welcome to antifuse. with their latest release, the berlin-based duo nerkkirn are following their path of experimental techno sounds, this time leading into dark shades of whirring electronic sounds. by creating a gloomy, yet groovy tune, antifuse builds up a perfectly conductive path within the unique sound system of snork enterprises. like a mysterious rollercoaster, four versatile tracks are pulling you into a vague ride through various spheres of electronic sounds. starting off with high speed into the deep and gloomy mines of underground techno, dipode unfolds its dark side in full blast. moving forward, antifuse chases you upside down on a roaring bass line merging into electronichangover. there, in a reduced atmosphere of sound, subtle tunes still forcefully keep pushing you through an odd darkness until everything, then, flows into a slight glow at the end of the tunnel - reversebias.

the last few years has seen a series of well received releases from rhythmic theory, the anonymous techno producer lurking in the shadows of the bristol music scene. *endless forms* is their second release for idle hands and follows on from where the previous ep *legacy of the lost* left off. the title track delves deeper into the sonic realms of classic jungle and comes up for air sounding like dub techno. a weighty bass line propels things along, whilst a sci-fi voice intones the title. this one is a sound system rocker. *tales of dystopia* brings to mind early nineties uk techno with its haunting synths, swung beats and deadly bass line. rhythmic theory is killing it at the moment, expect more to come.

an imaginary country continues from the trajectory of tim heckers last album, the critically acclaimed harmony in ultraviolet, while also showing a few new tricks. tim has incorporated more pulses into this work and also works with a sound pallete including overdriven mellotron strings and synthesizer. at times this album is less overtly aggressive than previous works, but the notion that this is pastoral work would be dead wrong as there are plenty of the agitated crescendos that he is know for. this music backs off from the void of immensity in favor of a terrain of lushness and warmth.

after a successful first year, untzz twelve inch start off 2014 with their first extended player, a collaborative offering between friends freddie norwood & dass on 180 gram vinyl. freddie touched gold since his debut they never used to stay out all night, winning the hearts of selectors and home listeners alike, and the tongue in cheek how low can u go went on to become an anthem of both european and australian summers. all the while dass has maintained a strong presence in the shadows, honing a dark and atmospheric sound that remains inviting for the creatures of the night. together, they have crafted an elegant and timeless record showcasing a further look into what is still to come from untzz twelve inch.

a set of minimal synth recordings, captured live with in-studio performance. these pieces are a tribute to the golden era of electronic music that mainly emerged in europe between 1978-1984 and is often described as minimal electronics, synthpop, synthwave etc. sinister melodies, shadows and frost making up a haunting, dystopian sonic environment. drum machines driving step sequencers and mono-synths, hand played polyphonic synthesizers, all enveloped by the industrial sound of the spring reverb. he only feels night within.

dikso from berlin drop another amazing ep ! after five super sound singles here is diksos very first artist ep and of course it will be daniel solars job to do the kick-off. his retrospect ep features the most zippy stuff dikso has released so far without being an ordinary house record. the percussion is minimalistically filigree, the atmosphere is fluffy and aniyas voice on >can you really know< comes direct from outer space... er... down under. dikso006 a1 - summer, sunshine, a picnic basket full of delicious food and wine and someone to share a walk in the park. sounds cheesy? yes, you are right... but remember that every park has its dark corners. dikso006 a2 - daniel teamed up with aniya ouu, the grand lady of >melbourne deepcast<, a blog from a few down under brothers and sisters in spirit. intercontinental and interblogospheric, interdisciplinary and... (fill in a word of your choice that begins with inter) dikso006 b1 - thee role model of deepslowmonudiscoeditchicagoacidwhateverhouse. after finishing two longplayers earlier this year he spent some time to refine daniels track. the original shines through but everything is a little bit deeper, darker, stronger. its still a walk in the park, but imagine the voices of owls and some undefinable dark shadows instead of wine, women & song. dikso006 b2 - we still have his brilliant ep for permanet vacation in our ears and synapses and now he is here with a stirring remix for prime times and big rooms. the boys from dikso borrowed pional, probably spains best kept secret, from john talabots hivern discs camp who delivers a real monster of a track. john, they have promised to give him back, later... someday... somehow

supported by: ben klock, marcel dettmann, ryan elliot, derrick may, cassy, rhadoo, zip, sven väth, pedro, raresh, dana ruh, davide squillace, radio slave, vera, dorian paic, spencer parker, tato,..edec is back to deliver a second offering of floor destroyers. this ep combines the forces of jon hester and the remix skills of dvs1, two purveyors of rhythm hailing from the hidden techno gem of minneapolis, usa. shouts in the dark (original mix) tough concrete beats pump the speakers with urgent rhythm to get pulses pounding. a danceable jack vibe permeates a punchy kick and ricochet percussion, with building pressure in undercurrent noise setting up a strong break. shouts slice through the percussion to make this an upbeat techno burner. shouts in the dark (dvs1 found the light mix) by adding some moody synths, noise, and reducing the percussion, dvs1 (transmat, klockworks) lifts this interpretation into beams of light. no more words to speak as bright versions of the original sounds weave their way into a tight groove under smooth, shimmering synth waves, punctuated by sharpened claps. shouts in the dark (dvs1 lost in the dark mix) dvs1s darker interpretation strips back to sparse synths, snapping highs, a deep kick, and pushed into the shadows.

mysterious shadows, sensual formations and intransparent depths rewrite the fourth baud release of ryo murakami from tokyo. the a-side is launched by the title track >underworld<, which is evident in an appealing soundscape by classical and contemporary dub elements. also on the front side is the playful >night dew<. swirled iridescent synths attend to the atmospheric and unexplored morning dew. >closer< opens the b-side with a gentle, bubbling acidline that rounds off the background with jacking swinging moments. like an enchanted, dark veil >fog< appears on the back side, by building up strings into unsearchable depths

sampler release extract from the forthcoming compilation from because and edbanger, introducing the nouvelle garde from the edbanger sound... all new talents that the famous label itself consider as their legitimate offsprings... over the past two years, other young producers eager to transcend the genres have been working in the shadows, preparing a new electronic revolution. who are they, and what does todays music sound like? thats what the dum-edges project is attempting to uncover, with a compilation and a live tour.

archipels brand new sublabel brings you its second weirded out slab of wax with uli kunkels singing with rod. uli kunkel,however,is not one single artist. it is comprised of lee curtiss, maayan nidam (miss fitz) and shaun reeves.the record starts off with leethophobia which is an hypnotic breaks like piece of dark insanity laced drughouse very much inspired by the perlonian sounds which have been coming from germany as of late.drugpigs is fat, wobbly, and just as hypnotising as leethophobia and commands that the freaks come out to dance from the shadows of strange early morning corridoors.the flip takes a more direct approach and is fiercely lead by arrival which is an hypnotic take on dancefloor drive influenced tracks and is laced with clever edits and lysergic percussion.sing like rod is a totally weirded out and just as lysergic early morning rhythmic smoothy. kalimari is set to release quality weirdness and here it stands tall from the rest.

6-seit. digifile mit 4-seit. booklet im pappschuber

since jim coles took on the mantle of om unit, the english producer has sought to challenge himself and his audience by going beyond the confines of genres and styles he has so far explored. in the process he has found success by striving for more feeling, for a more human and daring electronic music. this journey continues with ÔselfÕ, colesÕ third album as om unit and a true follow-up to his 2013 debut ÔthreadsÕ.
ÔselfÕ captures coles in a period of growth, change, and experimentation. inspired by personal psychological and emotional healing work, and a vision of the self as an egg Ñ which coles later on discovered is a jungian archetype Ñ the album blends dubwise, bass-heavy music with the space of experimental ambient compositions and the daring imagination of a cold wave science fiction soundtrack.
the first om unit album on colesÕ own cosmic bridge label, ÔselfÕ offers new forms amid familiar touches. stripping away what people might expect, coles deconstructed and reimagined his work so far as a challenge to himself and, in turn, to his fans.