spearhead records label boss steve bcee returns with his 4th studio album, and itÆs safe to say that itÆs his best one yet. not just a solo affair, bcee has also drafted in some of the finest vocal and production talent around. with features from two time best d&b vocalist winner riya and d&b legend logistics being just the start. northpoint is bcee at his most diverse. from the early 90s hardocre influenced keep moving on to the jungle roots of hollow eyes this is an album that really showcases how broad the d&b spectrum can be while still keeping to the spearhead ethos of being uplifting musical d&b packed full of heart & soul. bcee said i wanted to make an album packed full of d&b that would work in a club just as well as it would in the car. no fillers, no showcasing how i can produce house or hip-hop or whatever, just pure no nonsense drum & bass. with bceeÆs spearhead presents brand regularly selling out shows at clubs like the legendary egg in kings cross & shoreditchs village underground, plus his growing dj & production schedule and the vanguard project his alias as a duo with fellow d&b produced villem, itÆs safe to say that even though bcee has been in the game for 16 years, heÆs only just getting started. support from friction, mistajam, metrik, technimatic, s.p.y, nu:tone, logistics, london elektricity and a whole load more

the second ep of samuel rohrer’s range of regularity album presents two more striking reinterprations. these new remixes provide an intriguing parallax view of the original tracks, using the percussive eclecticism of the parent lp as a starting point from which to journey into sonically vibrant, feature-rich territories. the production specialists on hand for this project include burnt friedman and ricardo villalobos. villalobos, has already formed a strong working relationship with rohrer’s ambiq trio, lends his talents to both of the eps. (ror remixes i - amel-ep716). nonplace label boss friedman, as well, has carved out a unique space for himself within the electronic world, logging several decades’ worth of releases that with dub-wise production sensibility, skewed humor, and riots of tone color. though each individual remix has its own character, they are all united in their ability to provide a quick cure for fatigue with the common “loop”: though not improvised, they are strung together from fleeting phrases that evolve as if they are taking on a life independent of their creators. burnt friedman’s own dramatic interpretation of “microcosmoism” pairs up his consciousness of deep bass and analog inventiveness with rohrer’s continually transforming sound objects, making for a flowing and wordless narrative that simply dares listeners to stop paying attention. feeling more like a collaboration in “real time” than a remix proper, friedman brings his characteristic ‘mad scientist’ wit to the proceedings and delivers an energetic piece that simply glows in the dark. this is complemented nicely by villalobos’ remix of “microcosmoism”. it carries the energy level of the 1st ep over to a new disk, while heavily experimenting with feelings of emotional ambiguity. at some points aggressive and at other points merely curious, this mischievous collage of attitudes feels as inspired by the questing jazz of sun ra as it is by continental techno. contemplative keyboard runs, enthusiastic spring-like percussion and malfunctioning machine chatter all coalesce to make this a most fascinating piece of multi-purpose electronic music.

runemark records comes back with the seventh release and this time it s a perfection from dumming dum and rush midnight and their co-creation three pills into a fist including remixes from atapy, black mami and the first ever remix from ten walls. the original version from dumming dum sets a deep and groovy tone with acidic bass line and the wonderful rush midnight s creamy vocals on top. ten walls has made an official remix that grabs attention from the very start. it s ten-wall-ish bass line, orchestral and emotional breakdown construct dark and epic vibes. a beautiful trip through deepness and back to the dance floor is laid out in black mami s interpretation. and the last but not least remix in the release is a banger from atapy. dance-able as hell and the most energetic composition in the pack. dumming dum - three pills into a fist (feat. rush midnight) is available in vinyl and digital formats. enjoy the music!

played by louie vega, volcov, danny krivit and francois kevorkian.

new leipzig label kontra s inaugural record presents a richly diverse collection of music that spans from world music infused house in the vein of many sex tags releases to break ridden, hard hitting, low-fi techno through to considered ambient music. despite the variation kontra is held together by a unifying underground style that every track shares. an excellent first release from a label that s sure to become a major underground player.

listing somewhere between the cognitive and the corporeal comes the third release from gratone.-the periphery of a building-, a live remix work featuring long-time collaborators audun kleive on percussion and jan bang on live sampling sees the young norwegian label expound on the territories between extended jazz and the dance floor through a four track lp. veterans audun kleive and jan bang tap into something innate that moves perpendicular to the techno ethos perpetuated by the label s previous releases. -the periphery of a building-, is a work that brings the past into the present and draws a red thread between genres. it juxtaposes disparate ideas between the dance floor and jazz, and ensnares itself in the tangled web of tradition and progress in a bold indefnable musical dialect. upholding the ethos of gratone by negating expectation -periphery of a building- also calls in a new era for the young, but fertile label. -periphery of a building- is kleive and bang reconsidering live punkt remixes* of etenesh wassie & mathieu sourisseau, atomtm and clarinet factory & floex. in their selection of source material for the gratone lp, they eradicate, and then reconstruct tradition. *the punkt live remix concept puts third-party musicians, producers and composers in a real-time remix situation during a punkt festival live show. fiona talkington: stian balducci s gratone (grey tone) label inhabits an exquisite genre-defying world.the latest release features two of norway s legendary, pioneering musicians, live sampling guru and co-director of the globally acclaimed punkt festival jan bang, and audun kleive, a musician whose work over the decades has repositioned the language of drumming. together they forge an exquisite, adventurous path, as delicate as chamber music, as powerful as rock, and engage with samples with respect, a spirit of adventure and a creative vision which is simply inspiring. limited 180gram vinyl in hand stamped recycled cardboard jackets with silkscreen print.

label boss, deepak sharma deliver a three-track gem on his solo debut for his imprint, hidden recordings. within annapurna lies his varied interpretations of techno vividly on display, all unique in their own ways but with a consistent, underlying gritty tone the label is famed for. he protects his house, and makes a bold statement as a soloist. from dj to curator of hidden recordings, deepak sharma has been entrenched in techno for over a decade. as the selector for hidden recordings, he began to expand the reach of his soundscape in order to appreciate all music, particularly techno. through these experiences, he had a moment where he started hearing sounds differently, and since then has been on a journey to make that sound. he s authentic to the mood and what feels right, combining raw, hypnotic rhythms that lay a foundation for an industrial monochrome minimalism with flashes of bright color while others fall deeper within the moody, darker abyss.

if osiris recent releases have signalled a change of pace, new artist the things they left behind represents the logical conclusion with this 12 inch comprised of two half-time, dubby tracks. the first, life through sepia, floats along to the ethereal backdrop of spoken word samples and distinctively melodic synths, the second, 68, sets a hazier and more abstract tone amidst on top of a sensual, rolling groove distant guitars ring as huge snares echo into the mist.

roots vocalist barry brown has an inimitable style that has long made him a favourite of reggae enthusiasts. drawing from the popular phrasing of horace andy, but morphing it into his own delivery through the kind of wordless slurring that occasionally resembles the sound of a quacking duck, brown found his way into the jamaican music scene through the many amateur west kingston talent contests of the early 1970s, along with fellow aspiring talents such as johnnie clarke, sugar minott and the african brothers, and the mighty diamonds. he also honed his vocal skills on local west kingston sound systems such as tape tone, together with other young dancehall-oriented youth such as barrington levy, sammy dread, roy taylor and tristan palmer. there are still conflicting claims as to who was the first to record brown, with production veteran bunny ‘striker’ lee and sugar minott among the contenders, but in any case, during the late 1970s and early 1980s, he produced a range of captivating work for various producers, much of which is rightly coveted today. ‘ital rock’ appeared on barry’s 1983 lp i’m still waiting, issued by rocktone international, a spin-off of sugar minott’s black roots outfit, based in queens, new york (with a further branch in toronto), the b-side has dean fraser’s previously unreleased electrifying saxophone cut, rescued from dub plate obscurity by jah fingers.

phuture-t dials up dub and drumfunk from the samples of greenleaf’s new orleans influenced track, forward motion. the beats are more broken and the effect delays are longer. the signature interview recording has been chopped and used as downbeats on the progression changes.
with melodic and rolling percussion, earl grey creates a cheerful vibe to start the ominous maze remix. the intro leads straight into the body of the track when the contrabass becomes the dominant instrument making the tone tougher. the drum breaks transition through several change ups and syncopated edits.
metro gives mhc a new treatment with extra field recordings and an extended break down. the jungle influence is stronger with bigger, funkier subs. classic break beats are layered with sound effects and noises all supporting the main rhythm of the bassline.

while frontiers currently seem to be (re)claimed and shutting down, we, at série limitée, prefer going against the consensus. we proudly launch the 10th release opening up doors to four new artists, deep88, sofotalk, kisk and the happy man. from italy to spain, our little musical caravan travels and wanders on paths and tracks made out of raw house beat leaves, fusion jazz trunks and deep groove fields, to bring to you this new va, our 10th, faithful to our long time recipe: 400 exclusive press. deep88 is officially in charge of welcoming you inside and of setting the tone. he will take you in with his track -wave house-. further up our musical trail, we ll start hearing the hints of the next step, our next stop: -more than a memory-, by sofatalk. on the road again, and we head to the b-side of things. we stay in close connection with italy with -clean up & down- from kisk. there is no good party without a great closure, and it s all even better with the happy man, closing the journey with -pizza hug-.

2016 was a banner year for dirtybirds founder, claude vonstroke. he debuted his get real alias with green velvet in the winter, and followed up with another number one single in the spring with the rain break. he celebrated the 10th anniversary of whos afraid of detroit to kick off the summer, and finished in the fall by being crowned americas best dj by pioneer at a ceremony he shared with all the fans at the dirtybird campout. after a relentless touring schedule the first half of 2017, claude hit the studio with a couple ace producers, will clarke & sébastien v to collaborate on two giant singles for the works well with others ep. tiny tambourine is the product of will clarke & claude working together. its a bit of a misnomer, as tiny is the last word to describe the heavy bassline which starts to form immediately at the tracks outset. continuing to build over crisp and heavy beats and outbursts of drama before dropping back to the burly bassline, the result is monstrous. will clarke has been on a dirtybird hot streak having released 3 solo eps, 5 singles, an appearance on justin martins album, as well as a brand new collab with shiba san on the bbq compilation and a full takeover on the birdhouse radio show. on the flip side, claude teams up with one of dirtybirds freshest talents, sébastien v, for daylight dark room a light, melodic tone contrasts with a dark and funky acid resonance to create a truly unique masterpiece. the mysterious sébastien v was also featured on the dirtybird bbq compilation with his super-hot track funkulate, and there are rumors floating around that he is actually someone from the core dirtybird roster sporting a secret alias.

having already blessed the airwaves with their masked boiler room performance, and with releases and features seen on yume, huntley’s & palmers, permanent vacation and antho- ny napel’s probito, the promising talents of edinburgh duo hi & saberha&#776,gen continue on lo with ‘acid finger’. the five track ep showcases exactly what the pair are known for, exploring the balance of the subtle and direct natures of dance music. there is something extremely unique about their productions that breathes new life into an arguably stat- ic climate. ‘acid finger’ travels from highs to lows at a consistent and co- herent pace, starting with the sparkling, disco tinged ‘force&#769, boi&#770,te’. euphoric heights are executed through light flourish- ing synth lines, drum patters and chord stabs. ‘woodrum’ maintains the pace but switches the tone with jungle rhythms and a pounding bass. ominous belter ‘git’ with its driving kick, looped vocal sample and rolling bass. the track develops into a hopeful finish with the introduction of glittering synth movements. title track ‘acid finger’ delivers beautifully delicate percus- sive and melodic work that progressively shapes up against fleeting shrill synth lines that come to a fitting crescendo. ending the release is the melancholic atmospheres created in ‘redacted’, bringing a shift in mood and imitating a trudge through memory lane. expect to see and hear a lot more from these guys in the future..

alex tsiridis of cassegrain debuts on avian as rhyw. the extended ep, which represents the second outing for tsiridis under this moniker, sees the british producer pit a handful of elastic dance-floor workouts alongside a pair of more experimental, ambient reductions. despite careful processing rendering them decidedly monochrome, the dance-floor recordings maintain a curious colour and musicality. lead synth sequences drive much of the work, ducking in and out of the sonic backwater with considerable dynamism – almost hook-like in their execution, sharpened with ample distortion and melding with intricate drum work to create subtle shifts in tone and energy that propel the work forward. whilst reduced in it’s elements, like much of the best of the genre – the music sees those elements hard at work. tsiridis places atypical focus on groove, eschewing a more linear approach in favour of a kind of greyscale funk that finds its potency in the contrast between components. ‘iroquois’ and ‘aversion two’, the beatless compositions that appear on the ep isolate the ambient constituents of the work – with tonal nods to drone and noise musics whilst managing to hold on to the clandestine tunefulness that runs through the whole body of work.

delroy wilson the original ‘cool operator’ was also known to many as ‘teacher’. a title given to him as he unselfishly taught the up and coming singers including one youth dennis brown, the art and delivery of singing technique. delroy’s rich tone to his voice added a depth to any song that he chose to sing. delroy wilson (b.1948 kingston,jamaica) began his musical career at the school that was coxonne dodd’s studio one label. after a brief stop in 1969,which saw delroy working for producer sonia pottinger’s tip top label. again producing such hits including ‘it hurts’ and ‘put yourself in my place’. the 1970’s saw delroy wilson’s arrival at bunny ’striker ’lee’s door and what would result in a winning formula,scoring hit after hit. it is from this great period in delroy’s career that we have compiled this selection of killer tunes,cut with the drum and bass rhythm kings themselves sly dunbar and robbie shakespeare.such classis as ‘who care’ ,’can i change your mind’,’get ready’,’you must believe me’ and the timeless title track to this collection ‘here comes the heartaches’. an album of great tracks cut with ‘the hitmaker from jamaica’ bunny lee and his team. a match made in heaven….enjoy the set….

d marc cantu is a don when it comes to warm, rich synth-laden house and techno, with a sprinkling of electro sprinkled over his approach for good measure. now he comes to altered moods with an album that finds him in a particularly mellow mood, not least on sultry opener -always on my mind-. there s space for experimentation, as the offbeat snare patter of -blanket statement- demonstrates, but by and large this is all about undulating house delights. -mozaic- is a particular highlight with its captivating synth design and dreamy demeanour, while -steamfunk- revels in skippy broken beats that flirt with twinkling leads and lashings of delayed bass. plenty varied but consistent in tone, this is a damn fine album from a seasoned pro.

delakeyz is swiss producer melodiesinfonieÆs moniker when taking a journey into more housey realms. on this voyage he explores his musical roots in three percussive-driven belters that still manage to maintain the subtle melodic textures that we all love from melodiesinfonies work. manchesters own contours (rhythm section int./ banoffee pies) picks up the more gentle tone of the original in his remix of walkingfree while moony mes (uncanny valley/ lagaffe tales) interpretation of our roots is a full-fledged club heater. early support by marcel vogel, harvey sutherland, s3a, chaos in the cbd, nachtbraker

south london ordnance debuts on parachute. the british producer marks his first release of 2017 with parallel window, a four track ep featuring three wrought-iron originals and remix from token & blueprint affiliate, sigha. driven and direct, the music marries rolling low end with high energy drum machine percussion and wide angle highs - for the most part eschewing anxious, heads-down austerity in favour of a more uplifting, trancelike approach - spread across multiple bpms. despite the heady, crushed finish - shifts in tone are subtle, developing over prolonged periods, with careful modulation drawing sounds in and out of the sonic hinterland sporadically to create a comfortable atmospheric balance between peak-time dance-floor urgency and hazy mid-set moments. on his remix, sigha hones in on this sentiment - lifting the caustic lead bassline from parallel window and augmenting it with trademark cavernous low end, skittering highs & a rolling lead arp to create a hypnotic, half-time dirge.

it s not often we get an insight into the electronic music of south america, so all hail the arrival of calypso from mexico s inigo vontier and argentina s thomass jackson. the tracks featured certainly strike a unique chord, with mendrix weaving a seductive, noirish tale full of brooding guitar and slow ticking drums, while -colossio- takes on a darkwave tone on the wonderfully creepy -esta en mi-. the label bosses tackle the b side, with jackson s -fantomas- sporting a sharper dancefloor sensibility without ever resorting to obvious tropes. vontier rounds the ep out with the weirdo boogie throwdown of -namaste-, sure to pique the interest of anyone locked into the sound coming out of the speakers.

john shima has been quietly plying his trade in techno soul since 2010, shoring up on labels such as boe recordings, contrast-wax and firescope. now he inaugurates distant worlds with another fine clutch of introspective beats delivered with a classic early 90s feel. it s hard to ignore the influence of b12 on -renegade-, while -machine works- takes on a moodier tone without losing that inherent warmth that makes his music such a pleasure to listen to. -veloc- reaches for a heavy-lidded euphoria, and then -troglodytic- makes for the consummate b2 track by heading out into ambient pastures, showing off shima s synth skills in fine style.

making a splash with rs019 is a newcomer called mallard. discovered by bradley after being front and centre for almost every rs dance since 2016, the south london based producer and multi-instrumentalist makes a serious first impression with his debut ep ‘verte’.
currently studying jazz double-bass at trinity school of music, mallard’s productions demonstrate a keen ear for groove with a level of musicality rarely heard in electronic productions. at just 20 years old, he has already developed a unique sound palette and prodigious production style set to make him a name we will only hear more of in the years to come.
this ep, at once varied in tone and tempo is held together by a strong sonic identity and an overarching artistic vision: from the morphing polyrhythmic percussion of ‘surface’ to the shifting, heady pattern of ‘aquitaine’ via the psychedelic breaks of ‘untitled’ we are taken on quite the trip.

following “conningham ep” reach return with another uncompromising 12” from duo thread. dropping it’s predecessors unashamedly raw bashfulness, “goldhawk ep” is a subtler, deeper affair yet it still maintains its bass heavy, electro leaning edge.
the first track “ellerslie” ets the tone for the ep, a trip through the cosmos, with shimmering synth lines taking you on a journey through the galaxy. subtle variations float effortlessly on the driving rhythm patterns, the bassline only a distant presence. the 2nd cut “sycamore” is another journey into the deep, a slightly more housey affair, a motorik drum patterns carrying an eerie, deep atmosphere that is punctuated by melodic patterns appearing unexpectedly.
on the flip “the grove” instantly works up a sweat - claps, dark synth riffs and a relentless drum pattern. ferocious, in your face dance floor work out. rounding-off the ep in style “goldhawk” is the sparsest of the tracks on offer. built on bare bones frame, there’s melodic flourishes, subtle production trickery, galloping along a 2 step-ish percussion pattern. thread further cementing their eclectic production style with this strong ep.

vinyl only - limited 100 numbered copies pressing on marbled vinyl
first issue of the new flash forward unreleased series with a great team up : oneiric and man-d.a. ! emanuele luzzi, the man behind onirico (-stolen moments-) and oneiric (-blue envelope-), comes back with one exclusive unreleased track, composed at the time of -a tone colour of onirico- (1992). due to the hypnotic strings sample and emotional minimoog solo, -aurora- hits the target at first listening, reminding happy sounds from that period. ultimately, another great release from flash forward! man-d.a. - calling 313 : this track was conceived in 1992, during a very prolific period when he was remixing songs by juan atkins, underground resistance, blake baxter for the legendary umm label and the detroit influence is evident ! remastered for flash forward! past and furure classic !

vinyl only - limited 400 copies pressing first issue of the new flash forward unreleased series with a great team up : oneiric and man-d.a. ! emanuele luzzi, the man behind onirico (-stolen moments-) and oneiric (-blue envelope-), comes back with one exclusive unreleased track, composed at the time of -a tone colour of onirico- (1992). due to the hypnotic strings sample and emotional minimoog solo, -aurora- hits the target at first listening, reminding happy sounds from that period. ultimately, another great release from flash forward! man-d.a. - calling 313 : this track was conceived in 1992, during a very prolific period when he was remixing songs by juan atkins, underground resistance, blake baxter for the legendary umm label and the detroit influence is evident ! remastered for flash forward! past and furure classic !

nice price deal !!! the amazing beardyman has done a album - and here is the first single release taken from it, including remixes by darkstarr, doorly, nu:tone and jfb.

r&s presents a killer ep from romania’s ada kaleh aka iulian cuculea, which follows his stunning alejandro jodorowsky inspired debut lp -dene descris- on his vinyl only imprint ada kaleh românia. like many of the second wave of romanian minimal producers, iulian s music combines propulsive hypnotic rhythms with rich, organic sounds that envelop the listener in an otherworldly atmosphere. -the creation process is a moment of temporary madness for me” iulian explains, -i enjoy working with layers of sounds that intertwine and embrace like a lotus flower. folding and unfolding.” finding fans in the form of countrymen like raresh, petre inspirescu, rhadoo, barac, cezar, priku and internationals like ricardo villalobos, sonja moonear, tini, prins thomas, he’s also dropped critically acclaimed releases and/or remixes for uvar, the rabbit hole, third wave black, supernature as well as his own ada kaleh românia imprint. opener -palatul de cle&#351,,,,,tar- (translated -the glass palace-, received a vinyl only release on his own label in 2014) sets the tone with a mesmeric rhythm track overlaid with a haunting clarinet part and spaced out synth gurgles that combine to enthralling effect. apollo records alumnus laurine frost supplies a trippy, blown out version that blackens the tone of the original into a work of quiet menace. on the flip -devotare- (translated -devotion-, also a vinyl only release on his own label in 2013) strikes a more strident tone, the grooves strut rather than purr - gauzy chord stabs weave between the beats and clunking percussion in a delicate yet complex interplay of elements.

this summer sees the joining together of two of the most loved institutions in drum & bass as bryan gee s pioneering v recordings imprint links with one the most loved and respected annual events in the d&b calendar, sunandbass. however this collaboration goes further than just these two - if you add certified d&b legend dj patife into the mix, add a collection of some of the most exciting brazilian producers into the mix (and a couple of special guests!) and you have one of the mostly hotly anticipated compilations of the year dj patife presents viva brazil sunandbass sessions. to kick things off sun&bass present a four track collection to wet your appetite the vibe is coming , available on 2x12inch vinyl this ep sets the tone with brand new music from dj patife, david ws & mc fats, alibi, command strange and simplification & translate. as you d expect this sampler is packed full of sunshine, liquid vibes the perfect meeting of sao paulo & sardinia. the vibe is coming, make sure you catch it!

ltd nice price summer deal , berlin & schwerin based nu-breeds-de-jour goldwill cook up a rather special release as dessous teeters ever closer to its 100th release! >discooker< comprises of 3 original tracks on the vinyl. sauntering off into the night, >nachtzug< delivers a tripped out, jazzy jam that skips between off killer house and laid back disco editstations… a freaky warbling synth tone becomes the main destination as skipping beats and warm, coal-fired beats pump throughout. title track >discooker< is a true testiment to goldwills skills in audio-culinary. splicing micro samples, elastic beats and beautiful synth work, this groovy late night journey track deserves 3 michelin stars. >sketches< is a more tripped out jam featuring fantastic vocal manipulations, deeper-thandeep synth hypnosis and some clever timing which reminds of some acid drenched french filter-funk action! needless to say its a killer for the late, late hours.

!! vinyl only !! four originals from the italian artist. turins rills has been steadily gaining a strong following over the decade with his tracks being played the likes of ar:pi:ars raresh, daniel bell, dyed soundorom and cassy, and finding a home on imprints such as 8bit, in haus wax and esperanza. here we see rills join the roster of visionquests vinyl only offshoot label, special editions, following material from jorge savoretti, konrad black and quilla. zorlak opens the package and sets the tone of raw and dubby via murky atmospherics, swirling chord sequences and a swinging rhythmic drive, yoda follows and retains a similarly swung drum groove whilst introducing spaced out, unfolding pads across the composition. stranger freaks kicks off the b-side of the release, stripping things back to bumpy drums, heady resonant synth swells and hypnotic tension buildings drones before paper beatz rounds out the package with smooth deep pads, modulating synth stabs and shuffling hats.

claude debussy (+1918) was one of the most popular and forward thinking composer associated with impressionist music. his innovative and at this time new way to compose music with non traditional scales and chromaticism inspired countless artists from the likes of steve reich, philip glass, miles davis and herbie hancock. remarkable attributes of his music were i.e. the usage of parallel chords, bitonality and many compositions of whole-tone and pentatonic scales and all this surely reminds us on contemporary electronic music where you hardly find limits or boundaries when it comes to traditional, harmonic sounding scale tone music. after studying countless composers of the last centuries marc romboy decided to accept the challenge to edit, remix and reconstruct several works of his favorite french composer, ranging from „la mer“ to -prélude à l après-midi d un faune“. romboy: „one sentence of debussy impressed me a lot when he said that he simply intents to write new sounding music. this is and has been exactly my goal, to create kind of unheard sounds“. on the album romboy performs together with the dortmund philharmonic orchestra, the renowned conductor ingo-martin stadtmüller, the well respected düsseldorf based concert master miki kekenj and sound programmer ali khalaj. the recordings was directed december 12th 2016. it s the first live recording ever released on an album where electronic sounds and classical components were merged in such manner.

elephant moon proudly welcomes one of our good friends from barcelona, sonodab.
sonold is the starting point for this four-track ep. there’s a distinct air of mystery looming over this minimal workout. the globulous bassline bounces along supporting by clapping beats with an eerie tone that prevails throughout.
this is followed by more alluring atmospherics on ‘aporia’, a track that has an elastic b-line and every once in a while an enchanting melody drifts in, switching up the vibe turning things a little more dreamlike.
turn the record and prepare to embark on a ‘random night’. this is sonodab turning up the energy levels and taking you on a trip into another dimension to close out the ep ‘elecmann’, plays out like an ode to the good old electro days, slightly reminicent of juan atkins’ early work as model500. like the rest of the tracks on this release, sonodab adds soft pads in places to change the mood and keep things moving.

rekids founder radio slave readies a colossal double a-side titled ‘overdue’ this june. “‘the revenge’ is my homage to clubs like “rage- and my days growing up in london-, says matt edwards. “the reverse’ came from some late night studio sessions in february and i’ve had a lot of fun playing this out. all i can say is it’s very me - stripped back and made for the dance floor”. urban field recordings and a spoken word sample set the tone in ‘revenge’ before an onslaught of breaks erupt into a frenzy, the overall aesthetic borrows upon numerous uk rave hallmarks whilst sounding fresh and impeccably geared for modern dj use. meanwhile, ‘reverse’ is a quintessential radio slave record with its polished production, repetitive minimalism and atmospheric aura – rounding off a two-tracker expertly produced with the dancefloor in mind.

mondo is proud present the premiere vinyl release of the soundtrack to the haunting, original playstation title “silent hill”. don’t let the tone of the plucky mandolin driven opening track fool you, this is one of the most haunting soundtracks we’ve ever released. full of hair-raising, pulse-pounding, industrial cues - this soundtrack is the stuff of nightmares - which is important, since “silent hill” (and its subsequent sequels) has it’s feet planted firmly in the legacy of survival horror gaming.
black double vinyl in gatefold sleeve.

dissonant is back with a very significant new signing, cardace & perazzini and their most complete artistic statement to the date displayed in two parts. noir jungle part i, sets the tone to this exciting project where the talented italian duo explores different dimensions, taking house and techno as basis to build up with amazing diversity a truly unique style on top of it

the first release of -syncretism- is a strong declaration of techno made by cressida. the ep includes 4 tracks, 3 written and produced by cressida and 1 additional mix is made by uvb. all the tracks have got a solid raw sound, an excursion between the hardest industrial, the classic uk acid sounds and new wave. the first track, toxic masculinity, is a punching tune characterized by raw drums, rough synth and break sequencies. second track, the uvb testosterone mix, represents the masculinity killer track, with a screaming human being in a dark environment. third track, snakecharmer, is the anthem killer track characterized by acid and big room sounds. neurotic x represents the other side of the label where the artist experiments his tone bringing you in a post industrial and wave scenario.

trippy atmospheric tune, song of trees, perfectly remixed by sid le rock aka pan/tone (kompakt, my favorite robot, ladomat 2000), london house music veteran luke vb and anatoly ylotana himself. ylotana music by anatoly ylotana (ylotana project) and sergey sergeev (mix club, solyanka, troyka multispace). based in moscow, russia and initially set-up to support all of the sex of insects band releases as well as those of its collaborators.

next up on aus music is the return of label boss will saul working alongside long term label favourite komon. together the duo line up harmonise - a smouldering single that comes backed up with an almighty pair of remixes from osgut ton mainstay nick höppner and analogue aficionados juju & jordash. the title track kicks things off with glowing, interweaved synths and a pattering tom line. vocal snippets and trippy delays suffuse a purposeful bass tone before the 101 dub version rolls out with punchy drums and a sharp, darting acid line. berghain regular nick höppner then does what he does best with his remix in building a rich, hypnotic groove that steadily develops with intricacy and depth. dekmantel and golf channel regulars juju & jordash then drive a warped, rumbling synth line through spacey atmospherics rounding off another fine addition to the catalogue.

having first linked up with london-based coyote records in early 2015, grade 10’s forever returns to the label proper for his first full ep project, hymn which explores the myriad sounds, layers and textures that have come to define his music.
the delicate, slow-burning cinema of widescreen opener gweilo, the shadowy eeriness of hymn and the crunchy, industrial club heat of swamped each point to different reference points, but all feel interlinked by forever’s grip on atmosphere and tone.
coyote label mate, chemist - also one third of planet mu trio, silk road assassins - also turns in a booming edit of hymn, complete with re-booted, icy melodies that fire off like shards of glass, and rude, 808 patterns that nod to his work with sra.

snow-white vinyl. solace is the brand new roller from alaska. a sequence of sad violin loops set the tone over fast breaks and strings. sub-bass and keys glide with soulful house vocals adding the final touch for the first solo alaska 12inch in three years. alaska revisits the ambient number earthloop on the flipside adding sharp downtempo drums to the original break-less recording from 2010’s the mesozoic era lp.

when armand van helden pronounced todd invented the game. the rest of us are just playing it he articulated a feeling that had existed in the house music community ever since todd terry became the toast of the dancefloor with a brash, brand new sound that combined the rhythms of house with the attitude of hip hop. those early productions, struck through with raw energy, low-fi production and heavily manipulated samples set the tone to come for new york house and in the process, propelled todd to one of the first internationally known dj/producers

planet rhythm usual yan cook teams up with fellow ukranian artist mays for a tough collaboration record named “old friend ep”. on the opening-track “fixed” the tone is being set for this being an utter dancefloor effort with the extended use of fx and modulation. “old friend” resumes in this fashion bringing a glitchy atmosphere of some kind together with matches chords and outlandish drum work. the b-side opens up with the futuristic tones of “coder” which is based around tough synth arpeggiators and ferocious kick drums. “tesla” continues down the road of futuristic techno with it’s strong and extended fx works and intrusive synthesizer sounds.

madcap and jaybee team up to create the musical masterpiece called “settle down”. the song starts out rather jazzy, with it’s smooth rhodes keys and heavy cymbal riding drum lines. when the song hits the breakdown, the whole tone of the tune changes. the punchy sub bassline is unleashed and becomes one of the driving forces of the track. echoing reggae style vocals are beautifully weaved into the background of the track, transforming the vibe into a reggae/dub style d&b classic. the amen drums also help to create an intoxicating energy that make this one a sure thing for dance floor mayhem. instant classic!
“hear comes” takes over where “settle down” left off. the song begins with big amen drums, backed with a reggae style skanking guitar chop. during the breakdown, a thoughtful roots reggae vocal sample is introduced that helps lift the track into a true dubwise gem. when the drop hits, the baseline kicks in and begins to wobble and throb behind all the deep atmospherics. the track has a beautiful breakdown, which takes the listener to a more melodic place. after a moment of serenity, the song breaks back into the chaotic old school flavor, which madcap does so well. this one’s a beauty!!

paul woolford has been seriously spreading his wings of late, becoming omni-present by landing his tracks with ease on labels like xl recordings, running back, houndstooth, hotflush and aus music. not wanting to be shackled by genres, paul comfortably serves up a wide variety of curveballs, from the technoid charge of his 4/4 persuasions to the exhilarating warped hardcore & jungle breaks of his much loved special request project. and so it’s with welcome arms that edible usher him to our release schedule, give him the comfy sofa and let him rip it up with two havoc-inducing cuts that are already a staple in label boss eats everything’s dj sets. title track ‘chaos’ finds paul in a particularly warped mode, bleepy synth pulses oscillate wildly over a granite hard beat as a single sub-bass tone drives the brain-scrambling flurry of modular tones into overdrive. a hydrochloric synth riff settles the bed, but only until the next haul of chaotic blips come firing out of the speakers - highly effective, and possibly deranged warehouse tackle. a future classic. flip side, and woolford shows off some decidedly more soulful chops on ‘meditate . a vocal hook plays against a dubwise bass line and ascending 909 rides, as a seductive and transcendental string arpeggio creeps to the fore and demands a breakdown of its own, serving up a serious bucket load of emotion. not a dry eye in the house.

the ultimate analogue test lp on 200 gram vinyl to get the best sound from your turntable, tonearm and cartridge.

mesmerizing atmospheric / ambient ukg influenced house cuts by shaun soomro, presenting the -floating on rooftops- ep. early morning rise and shine, towering buildings, the daily grind, grey skies and graffiti line the scape while white van drivers zoom past blaring old school garage setting the tone! if you wait a while above the rooftops and through the clouds the sweet taste of paradise shines through and makes the whole scene magical.. enlighten yourself while floating on rooftops.. vinyl only - out may 8th 2017

since 2015, james welshs contribution to phantasy as kamera has delivered a series of releases shrouded in mystery, injected with the personal energy of both a hardcore and club heritage. two eps, arc and ventoux, set a distinct tone, with the latter complimented by head-turning remixes from artists such as george fitzgerald, throwing snow, truncate and yaleesa hall. now, the key phantasy artist emerges from the shadows under his own name, in order to continue his uncompromising musical journey. returning with a new, two-track ep, standing/slip captures the finely tuned tension and euphoric release of welshs sound in arguably its strongest form to date, showcasing not only the dancefloor mettle firmly established under his prior alias, but a new sense of wistfulness that coaxes his typically outstanding machine work into altogether more reflective territory. standing throws listeners headlong into welshs formerly anonymous industrial complex, generating a churning, relentless rhythm offset with a dry female vocal that recalls the sardonic stance of vintage electroclash. following this, slip is an initially unexpectedly spectral diversion, transmitting a curious synth line into space, and receiving a choral, sombre frequency in return. without losing its emotive qualities, the track succumbs to a hailstorm of welsh’s sharp, potent drums, before collapsing in understated catharsis.

opening the ep, black magic sets an optimistic tone for what is to come from this new label. intoxicatingly hypnotic and full of warmth, this track reminds us that it is always summer somewhere. if black magic is essential in warming a party up, god bless atheism is the perfect way to bring us softly down on the other side. a modern balearic anthem in the waiting, this is best enjoyed looking out to new horizons. b1 street sunbath sees ponty exploring more-techy territory whilst still retaining the hopeful feeling that forms the backbone of this ep. closing the ep, hidden object has a strong tribal feel which hooks the listener. using vocal chanting samples and simple repetitive melody lines, this is a perfect example of how less is often more in connecting with the dancefloor.

the casino edits series continues with two more disco-inspired dj tools, ready to compromise the structural integrity of any neighbourhood discotheque. casino times tackle the a side, taking a cover of an early blues classic and cutting it up into an unconventional flamenco-italo hybrid. whilst on the flip, we welcome longtime friend and banoffee pies affiliate malcolm to the series, with his driving interpretation of a dial tone infused, late 70s ny disco jam..

with a wall-to-wall 21st century freshness, light years past any concept of vogue, or any linear genre lines, norwegian quartet rohey deliver music that bristles with energy and honesty, that grooves with the best funk, that has deep soul roots while keeping an eye on the broad expanse of a golden future. lead vocalist rohey taalah brings all the emotional complexity you would expect of a classic jazz or soul singer (and can withstand comparison with any with ease). ivan blomqvist s keys play a dual role of laying down old school sonics, while bringing a retrofuturistic hyper-urban tone (akin to british idm), while kristian b. jacobsen (bass) and henrik lødøen (drums) create a jazz-soul-funk hybrid rhythm section that ducks and weaves with supreme artfulness.
rohey have toured extensively throughout scandinavia, taking in just about every major jazz festival along the way. with the release of “a million things” on jazzland recordings in early 2017, their path can be expected to take them ever further: music this good can t be kept secret for long. “a million things” performs a balancing act that most pop artists have forgotten in these days of studio micro-editing: how to write and play a song with full and sincere conviction, while enjoying an artful expressiveness without making things unnecessarily difficult for the audience. this has been borne out by their nomination for best single at the scandinavian soul awards in 2015.