constantin xenakis work possesses exactly what i really love about intelligent electronic music. its stylishly repetitive, coded, mechanical but, at the same time, very organic and playful. this is how argyris theofilis, also known as zodiac free arts club, explains his fascination with european artist constantin xenakis. born in cairo, xenakis work often includes written script, in particular symbols andcodes of everyday life, traffic signs, alchemy, the zodiac, mathematical and chemical symbols, egyptian hieroglyphics as well as letters from the greek, phoenician, hebrew and arabic alphabets.a balance between human and inhuman that makes his art somehow mystical. after becoming fixated by xenakis, the greek music producer searched and eventually met him for the first time in 2012. after several meetings in paris and athens, they both decided to present structures + codes, a concept album conceived as an homage to the painters vision. each one of the eight songs in the album corresponds to a painting by xenakis, translating its intricate shapes and patterns into spirit-lifting compositions filled with elliptic arpeggios, repetitive drum machines and esoteric melodies in proper kosmische manner. but this is not a mere exercise in style. as xenakis paintings, its music that transcends its own codes to become an esoteric experience. this record should be heard comfortably.

for brainstem casino s take off, strictly hardware voyager *sour* generated «quantum process», an ep that comprises four, rather spartan yet not the current i-put-three-sounds-so-it s-minimal, haunting and deepseated downtempo tracks. the first segment of the (limited to 300 copies) 12-, 140gr. polyvinyl chloride chunk, which extends to 9:22 minutes commences with muffled and fathomless pads. then a three steps acidish build up subtely incises through like a reptilian sword coming out of an another dimension. the next track is in a similar vein, however, uplifted presence of cowbells and tight repetitive drums sways towards a house/funk guidance. side b s a staggering 12:19 minutes crepuscular descent into crying structures referencing to 90 s sci-fi universes. additionally coming along with the digital download, is a downreaching, abysmal ambient track called «cleavage». yes, either in your confortable conapt or in a decaying, technological dystopian, space-cargo style gig, this will drive your audience to definitive brain melting!

as a truly indispensable bookend to any listeners with the slightest interest in experimental music, french culture or the foundations of mechanical songwriting this inaugural release by these parisian musical revolutionaries not only predicts the future sound of modern composition by almost 60 years but detangles the deepest roots of european popular culture celebrating an important historical family unison in the process. combining the infant steps of magma, the sonic blueprint of 1970’s tv theme picture box and the sculptural creations of polly maggoo this important and groundbreaking 3 track 7inch ep takes us back to the very first aural glimpse of the future of pregressive europe at the hands of physical sound sculptures glaring in the face of premature technology.

from time to time, you hear an ep and instantly can sense that it’s going to be significant. sad girl seasonal affective disorder does what few manage to do - it tells us not only a story from different perspectives but describes the journey of the heart and mind when losing someone we love - the conflicting emotions when we hurt and the evolution of emotions we experience as we heal. it achieves this by using a rich and diverse collection of sounds as its vocabulary, and a brilliant integration and structure as its grammar. also, this strategy manages to give each track its unique character, allowing them to stand on their own.

its not that easy to define the sound of this berliner based italian artist, but he clearly merges different influences together. the opening cuts are quite fascinating for the way they’ve been meticulously built up. it takes off like a soundscape experiment revealing the ambient involvement of the artist, but moves towards heavier structures characterized by elements of dub, mystical chants and solid industrial components. the debut of this album is absolutely great. inner8 brings icy elements together with a kind of dubby rhythm, which on the next song becomes pretty industrial like. it all sounds like a delicious osmosis of sounds and different influences, antezza revealing himself as an inspired sound alchemist.

sprouting from a rich humus of latin and african polyrhythms, ghost horse creates a fusion of free jazz, hip hop, blues & loop music. the result is fascinating but quietly menacing, pulsing & breathing with the visceral force of nature reclaiming abandoned structures. full color poster insert!

gost zvuk continues its journey to the depth of today s russia experimental music scene with the debut ep from infx, yet another emerging artist from country s capital moscow. young muscovite prefers to work on the margins of popular electronic music genres, using the complex broken rhythmical architecture to create his own kind of introverted club tracks for highly observant and thoughtful listeners. the resulting music is an ever-changing, multifaceted and polychromatic living organism with a constantly mutating structure — a truly unique piece of art that should not be overlooked.

dysnomia reminiscent of the infamous quote there are four lights, the release kicks off with an homage to the will of resistance. from captain picard to orwell may the (referential) chain of command is not as evident as h4ls sci-fi passion, the title tracks power structure couldnt be wielded more efficiently: while stomping kick drums and subtle hi-hats build up a foreplay full of suspense, the witty melody with its warped and distorted sounds grants four lights the perfect authority. following a similar approach, fesch with its bouncy and mantra-like groove, in which synths playing a ping-pong game, completes the swinging a-side. deepa & biri, the israeli dj and producer duo from tel aviv, start the flip side with their interpretation of four lights. by using breaks and greater attention for details, the remix not only redirects the originals energy into more hypnotic realms, deepa & biri extract the melodys keys in order to create a moody and dense version. resonating from two decades of warehouse reverberation experience, disc 2 dysnomia finishes the release with an idm-drenched workout, full of uk bass knowledge, unpolished electro grooves, and swirling synth poetry. absolute freedom means absolute lawlessness.

“lost tracks vol. 2” contains 4 previously unreleased demos recorded between 1997 and 1999. the duo fused 80’s european new wave/italo disco with 90’s detroit electro acts like le car and dopplereffekt. by utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. their studio set up at the time was a korg ms-20, roland sh-101, tr-606, tr-808, siel dk80, and boss dr-660 drum machine. the songs are direct, spontaneous, seemingly improvised in places. miss kittin sings about falling in love in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive french accent. all songs have been transferred from the original dat tapes by the band and remastered for vinyl by george horn at fantasy studios. the vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. each lp includes a postcard with liner notes from miss kittin and the hacker designed by eloise leigh. as miss kittin says of these demos, “we were naive, innocent, adventurous and we didn’t expect anything in return”

what if music had no beginning, no end? can music exist for itself or of itself, without structure constraining it, defining it? can music be non-linear, non-narrative, simply experiential, existential? the second full-length album on mysteries of the deep, musica enterrada from portland’s william selman, neither answers these questions nor supposes them. but in listening, one can’t help but wonder: what if i disappeared into this record forever? in another time and place, william selman was known as warmdesk, an alias through which he issued a series of sharply precise minimal techno records. in recent past, selman shifted gears, shedding the dynamics of tension and release that characterized his previous alias output. under his own name, selman began releasing process-oriented, freeform experimental music on cassette-focused outlets like digitalis and hausu mountain. now comes musica enterrada, a diaphanous, weightless musical vision not unlike the theoretical square root of grm and popol vuhs early electronic forays. split into six tracks across two sides of vinyl, musica enterrada bubbles, churns, drifts, and dozes. dulcet tones pile up gently like waves on shore. patterns repeat and reconfigure, as if heard from different angles. rhythms appear, shift the frame, then disappear, into the ether whence they came. play musica enterrada on repeat. and if you disappear into it, fret not you have drifted into solace.

it had been four years since juxtaposition, radians last record. chimeric is not a polished album. within the context it is raw, broken, even dark sometimes. steady, multiple rhythms, layered on top of each other disappear into chaos and turn back into discreet structures in the next moment. references of rock music, executed with the precision of a sequencer, mutated, restructured. a lot on this album is about control and the loss of control. the risk of failure. but chimeric is much more free. some of the longer pieces are composed of very different parts and different colours along a continuous timeline. they tend to evolve in a narrative form and are moving through various scenes and surroundings, which is also present in the spacial relationship between the instruments.

part ii - operated under extreme psychosis, performed live in the dead of night at the studio of the hague s pirate radio tonka , these two records contain an apocalyptic selection of the very darkest moments of its maker, an anglo-french bruxellois driftwood expat washed ashore on the west holland wasteland just to get even more lost in its empty shadow chessboard grid of luscious ghost town smoke screen structures built on nothing but loose sand, to get even more entangled in its reef-like vortex of the fleetwood parkland dune estates artifice of ugly evergreen high-tech verdure of rose and thorn , oh, yes, its many, many flowers sans mercee , red and white carnation, asphodel, or fleur de lys and fleur du mal , all awaiting, lurking gentle softness of the flesh, perfumed for luring prey, yet strikingly hard-wired through the courtly appearance and the troubling foliage of the count s many hidden pleasures, his many secret palace garden hedges, his royal seal concealed behind, oh, yes, its many, many spines, all hiding midst the ticket, like cloak and dagger, that poisoned slip of tongue, or poisoned tip of blade, and all s so easy to slip away and disappear into the vine and creeper, to make one trip and fall in smear of mud or was it blood?

island people is a new band project consisting of mastering engineer conor dalton, grammy award winning producer david donaldson, and musician and dj graeme reedie. on their first self- titled record, they present their collaborative work that evolved over the past three years. being based in different cities, namely berlin and glasgow, files had to be exchanged back and forth between the three band members in order to create tracks. for their delicate sound structures, field recordings and other sound sources were heavily processed and rendered unrecognizable. layer after layer, the tracks came into being quiet naturally, not only reflecting their continuous way of working, but also incorporating their different and individual backgrounds: Òduring the whole creation of the album, we never realized our actions were quickly leading us into forming Èisland peopleÇ, we were too busy having fun, making music and sharing ideas.Ó the result of their collaboration is a timeless music that is as open as a natural phenomenon, developing a certain feeling of euphoria over time. all in all, Èisland peopleÇ is a pure listening record in the best tradition of ambient.

we eroded pre-existent structures constructing an open heterotopic space, a horizontal and vertical thinking found its way through physical- and cyberspace, here, nothing manifested instantly - flippancy left space for any kind of interaction and appropriation. within (or well beyond) economic pressure points which diluted production, this was our opportunity to try out different potentials with no restrictions to the public, while simultaneously scrutinising the general framework of institutions and human behaviours. subversive potential always was variable, always asking, deconstructing and reconfiguring itself allowing new states of aggregation within diffuse interspaces and futures

jacktone records is pleased to announce our latest release: a vinyl ep titled channel from rising house producer, loren steele the ep from san francisco-based steele is comprised of four original tracks designed for the dancefloor, plus a sprawling psychedelic remix from mathematics/100% silk veteran, roche. not only are the tracks varied and ready for skilled djs to drop at that perfect spot of the night, but, they’re also earworms - hooking you with their infectious grooves and melodies. the clean production and energetic structure of the originals, featuring perfectly-placed pads, stabs and filters washing over propulsive basslines and percussion locks in a warm yet hands-in-the-air vibe. the roche remix of swimma draws out the groove and adds some of that san francisco psychedelic fog. the tracks were recorded live in single takes with little post production processing, giving them a kinetic feel that can’t be reproduced. channel was produced with creative feedback from both cherushii and nackt, whom were lost in the oakland fire. the ep is released in their memory. loren steele is a san francisco-based producer and multi-instrumentalist. as a bassist, dj and a solo live pa artist, he has performed at bay area institutions, haceteria, ok hole, psychic friends, run the length of your wildness, space gallery, public works, and underground sf. he has releases on wolf and lamb music, run the length of your wildness, bob recordings

“there was a time when techno was written with a k, when the music was presented as a song not as a track. it followed a structure - intro, chorus, bridge... these recordings were naive, spontaneous, and raw, that’s what made some of them timeless. taking inspiration from this period, here is my interpretation. contemporary tekno, with a k.”
oaks is the platform where hector oaks will release his most personal works. cut on 45 and with one track per side, this record has been made for djing.

rediscovered 80’s british acid house gem ‘cortina kidz’ recently made a serious impact on andy butler’s mr. intl with remixes from factory floor and juan maclean & tim sweeney. hot on the heels, moscow’s lipelis’ steps in to remix with striking results. pitchfork enthused of the recent reissue being “a chilly acid-house track operating the influence of both soft cell and the specials,’ xlr8r as “drenched in dark and sleazy overtones, the track encapsulates a downtrodden time in london”, while ransom note noted “cortina kidz is more than just an old skool oddity- it s a banger that s stood the test of time”. originally recorded on london’s stoke newington road in 1987, produced by a young tim brinkhurst ahead of his imminent record deal with virgin records with his band soho, and long before his current role as manager of mercury prize winners, young fathers, ‘cortina kidz’ remained undiscovered and the eccentric spoken word overlay and weird lead vocal made it very unlike the prevailing dance music sound of the time. leonid lipelis explains that “since it’s a reissue of a relatively unknown record it gave me a certain freedom of expression (when it’s something well known and classic you re likely to produce something more serious). i came up with more of a pop song, structured with a vocoder for the main version and had fun playing with vocal samples for the dub mix, paying homage to the 80s sound in both.- lipelis’ recent release on lies records has gained him support from four tet to dimitri from paris. he also runs a side project for hardware jams called tmo and co-runs low budget family records.

underground slick yet daring chicago veteran emcee gilead7 of the windy city super collective tomorrow kings has completed yet another audio diamond to accompany the already existing brilliance of his nationally and internationally distributed collection of uniquely-created albums. known and respected by his scattered international cult following for not only his record collaborations and stage sharing with everyone from vast aire and a.g. but also his sonically experimental and lyrically razor-edged abrasive -art rap- for over 12 years, gilead has etched an indelible place for himself in indie hip-hop, combining aggressive universe creation and quirky nerdom in ways that only he could pull off

this is an album of deeply emotional music. it s not all heartfelt niceties and eye-welling moods though. rhythmic theory did after all come to light (or should that be dark) in the gloomy alleyways of uk soundsystem music begat from dubstep and all that other stuff. -creeper- is on hand to affirm that this is a record still steeped in true, stern moodiness, where a stalking sub line, some metallic percussion and an icy drone can still strike fear more than a thousand angry wobble basslines. it s worth noting how much attention has been given to shorter vignettes. as well as the aforementioned, cryptically titled -interlude-, -work of fiction- and -end (of forever)- both give insights into the places rhythmic theory cares to roam beyond the structure of a long form track. these are places where melancholic or downright ambiguous dispositions interplay with each other, from the synthetic to the earthly, the malevolent to the tender. in the end, even at its most monochromatic, nothing is black and white on rhythmic theory s debut album, and that s just fine with us.

the man they called brokof was a blazing star in one familys dark history. a player with a wandering heart. the band called brokof follows him into the vastness and gives it a face. they draft a map with songs. singing with beautiful solemn sadness about encounters and fleeting moments of truth. hinting at rage born from the loss that occurs when one moves in life. about what one has to gain when there is nothing expected. when hope has turned to echoes and dust.
these are pop songs purged and reduced to the core.every sound stands alone to serve the song. there are no tricks. through their naked vulnerability they find their power. the structure is stark and the messages clear.

together with co-producer tom mcfall (r.e.m., weezer, stars) they experimented with new sounds, structures and melodies - and now they are very proud to present the result: the best album by alcoholic faith mission to date. alcoholic faith mission will continue touring as much as possible in 2012 in support of the album, covering europe and usa/canada - and hopefully theyll get to play lots of festivals in the sun.

following on from the debut artist album from marco bailey and the second album from guy j which have both been well received internationally amongst press and public alike as well as huge compilation releases from label owner john digweed himself in the form of the structures and bedrock 12 releases. following on from the second instalment of the structures series bedrock proudly present the debut artist album from rising star stelios vassiloudis titled -it is what it is-. a fantastic double cd release showcasing forward thinking music and once again showing why bedrock is one of the leading labels in the electronic scene. in addition to the many original pieces of work on this album, stelios has also teamed up with a vast array of talented vocalists and song writers. -the z- is a collaboration between himself and sasse who owns and releases music on his esteemed mood music label. based in berlin sasse has a long history of successful releases and support from some of the biggest names in the scene. john dalagelisinvolvement with the project (he co-engineered and co-produced the continuous mixes) resulted in him contributing his songwriting and studio finesse to -sunrise on the avenue-. john runs the very hip dieb audio imprint and has released music on a wide variety of labels over the years. the album is rich with the many vocal talents it hosts with notable contributions from the likes of astrid suryanto, tomomi ukomori, anna maria x and darren murray. astrid has an established history of working with some of the greatest names in electronic music such as todd terry, king britt, dj yellow and morgan page as well as a plethora of great labels like nervous, plastic city and armada amongst many others. based in japan, tomomi ukomori has also worked on stellar releases with key labels in that territory like avex, apt international and green parrot recordings working with the likes of mathias kaden, hernan cattaneo, omb and hideo kobyashi. anna maria x is a name synonymous with the music scene in greece whether it be as a dj or a producer/singer. anna has been one of the main names in the electronic scene being involved in clubs, radio and of course a whole host of releases with her studio partner, gpal.

byetone s new record symeta opens with a combined track - a transit - since topas and telegramm could be seen as one single piece. both tracks convey the atmosphere of a live session rather than the character of a studio production. the tracks are quite long and deal with repetition, layers of sounds, density and energy, more than melodic and engineering finesse. the whole album follows this approach, as it was fashioned within the context of live performances during the last two years. neuschnee Ð the third track Ð has an obviously reduced tempo, creating a wide landscape of sound with an intimate aura, which works as a counter draft to the other tracks of the record. with opal, the tempo speeds up again, a polyrhythmic phrase whirls around a straight beat, filters are turned, all that evokes the impression of early-90s minimal techno. byetone is basically interested in remembering, in a way to preserve, in citing rock/pop styles, without getting stuck in the past, whereas non of the tracks really fit into a specific genre. seen from this perspective, helix opens the final, more rocky block of the album. here, the tracks are offensive and rude and sound like a band in a rehearsal room. this part peaks with black peace in a high speed heavy metal session. finally, golden elegy closes symeta and a band-like situation occurs. the track ends with a wired lament, presented by jan kummer in the tenor of chemnitz, hometown of both artists. in former gdr-times, they started their musical activity with the brilliant-dilettantish ag geige, together with frank bretschneider (komet). symeta , the title of the album, appears mysterious. this synthetic word arouses associations with symmetry, synthesis or (meta-)structures. it doesn t stand for a definite object, there isn t any solution, and that is the reason why the title has been chosen. byetone s music tries to create such associations without really fulfilling these expectations. in this sense, symeta consequently follows death of a typographer (r-n92), the well received predecessor.

raw and ltd coloured splatter/split vinyl. a sonic journey through time. kronert, a name synonymous with high production standards and innovative sound aesthetics in the electronic music scene, lends his distinctive sonic signature to this 4-tracker. he weaves together fast-paced rhythms with nostalgic soundscapes, creating a symbiosis of past and future. this ep not only invites you to dance but also to reflect on the temporal nature of music. characterized by deep basslines and complex rhythmic structures, this tracks proves to be an essential component of any sophisticated dj session. embark on a musical journey that challenges the boundaries of time and space, offering a forward-looking perspective on the house and techno genre.

black vinyl. a sonic journey through time. kronert, a name synonymous with high production standards and innovative sound aesthetics in the electronic music scene, lends his distinctive sonic signature to this 4-tracker. he weaves together fast-paced rhythms with nostalgic soundscapes, creating a symbiosis of past and future. this ep not only invites you to dance but also to reflect on the temporal nature of music. characterized by deep basslines and complex rhythmic structures, this tracks proves to be an essential component of any sophisticated dj session. embark on a musical journey that challenges the boundaries of time and space, offering a forward-looking perspective on the house and techno genre.

1000 die-cut leather structure gatefold with eight artist photo cards & insert.

but the continuous stream wouldn’t provide sufficient answers for long. observing rudimentary structures sewer sender became tantalized with a vision of reverbation from lower vaults of confinement. waves reminiscent of solid concrete yet deeply seated below the ocean surface form and merges with the narrow surroundings. manitou takes the first step by setting a clear form for something deep seated. proceeding extends the notion of martinous inaugural appointment “procedure” with a take on industrial drums reverbing from the depths. never (anthem) takes the first part of the ep to fruition with stripped anthemic stabs and alarms to a strict and cleanly distorted beat. jargon solidifies concrete solid with enigmatic percussions over jaunty kick patterns. i have lost again focus on a dramatic narrative with hypnotic vocal stabs rolling over an intense kick and climatic builds. needlessness frames the entire release combining both the concrete solid and the deep sea seated with again a take on martinous inaugural release “needless”&#894,,, leaving the frail thematic stab subdued by syncopated kicklike percussion and soaring hihats to create a toollike appearance.

alex font has many strings to his bow, not least running the excellent acme label, and here he is on one of his other ventures, third stream. with improvisation placed at the forefront of the creative process, font turns out functional club tracks with curious kinks and moments of intrigue worked into the structure. onda tropical is definitely dj friendly with its insistent percussive framework, but there are interesting diversions, fills and edits peppered throughout. musica moderna (cds tribute) meanwhile rolls on a more consistent groove, with a more organic set of drums pitched right at the heart of a long and winding dj set

following on from angophora s beautiful long player, ken oath is back with another full length lp from low flung. friends of the label will note that this is his third release for ken oath, and it s a fittingly mature and expansive statement for a debut lp. perhaps mature is the wrong word here, as all his brilliant ideas are backed up by a sense of whimsy that betrays his playful side. the music strikes a balance between styles and spaces that could perfectly soundtrack moments at home, in the club, and in the liminal spaces between. danny s efforts at writing dance music still contain the idiosyncratic approaches of his ambient works: the deadly deep subs and endless echo spirals on -rising damp- sounds like someone trying to piece together a drum & bass track after an off-hand conversation about the genre. he s transmuted the propulsive energy of jungle into something no less dynamic, full of stops and starts and sonic pressure but flush with space. -tarp climber- is at heart a rollicking digi-dub. the more ambient moments of the lp are equally captivating - the glassy tones of -frozen coat- sound like a space-age ensemble soundtracking a floating lounge on a suite of glass instruments, while -ocean grove- blends field recordings and dreamy synthesizer melodies to create an uncanny sense of place that unroots you from wherever you re listening. there s a heavy emphasis on danny s collaborators as well - the cold emotion duo is reprised on the spacey ‘hills hoist’. closer -bacchus marsh- is a collaboration with prophets, a cross-state ensemble that defy any easy categorisation. the music here flirts with jazz and minimalism but with a dubwise production aesthetic to produce something that recalls khan jamal s visionary -drum dance to the motherland- in spirit and practice, but this whole album sounds as otherworldly and one-of-a-kind as the aforementioned lp.

the x vinyl series continues with label head florian meindl at the helm with the upcoming release metaphysics. synonymous with deep, dark techno, florian does not disappoint with this 4 track ep, enlisting in demand producer and rabe label boss denise rabe on remixing duties. playing live with his modular synth set up, florian began working on the concept for what would become these three original tracks while playing shows over the last month. the live jam character can clearly be felt in the first two tracks metaphysics and holomorphic function. florian s original bell s theorem has a deep melodic structure. with denise rabes interpretation, the track is contorted through some serious distortion pedals and broken beat to match her dark take on the synth line. the outcome is an impressive piece for one of those never ending nights in concrete walled rooms with oversized loudspeakers.

the third release on mdrnty rec comes from a longtime favorite and friend of the house: mr. guillaume & the coutu dumonts mostly known for his productions on musique risquée, circus company, oslo or for his many other projects and aliases! our fellow canadian has crafted this ep specially for us and we are happy to welcome him on the label. on remix duties we have argentinian ernesto ferreyra (partner in crime with guillaume in the project chic miniature)! this release is a deep excursion into the groove of house and the hypnotic beauty of techno. it is designed for those late hours when everyone is dancing eyes closed, digging a little deeper into the moment! modern sublime is a long burner cinematic piece of music with its guitars, epic vocals, drum fills and acid bass lines. this track has it all and skillfully drives the tension high as the story unfolds! landing on the b side showcases a very different but equally hypnotic face of this talented and longtime celebrated producer, with its arpeggiated melodies and lush pads guillaume guides us to safe ground with this beautiful and precisely calibrated track full of emotions! last but not least, ernestos remix reconfigures the rhythmical structures of landing and masterfully transforms it into a peak time house gem, guaranteed to move any living soul in the dance floor.

uun returns to his imprint ego death with an ep that showcases his progression in both sound design and atmosphere. the a side kicks things off with on the concept of irony, a broken beat assault which serves as a mission statement with its scattered snares and vocal samples. the tangled web continues this mood but with a more intense structure, heavy on hypnotic synths that weave in and out of the tracks percussive framework. where as the a side is the logical extension of the first three ego death releases, the b side serves to showcase a deeper atmosphere while maintaining uuns preference for dense arrangements. the other features a haunting ethereal pad that floats above a broken kick pattern and a bed of clicks, pops, and field recordings. the closing track, absurd existence, forges all the elements of the artist s sound into perhaps his most melodic work to date. it is therefore senseless to think of complaining since nothing foreign has decided what we feel, what we live, or what we are. jean-paul sartre

7 track 2lp - ukrainian producer vakula, whose name is linked to the early days of arma, re-emerges with techno game. ukrainian producer vakula, whose name is linked to the early days of arma, re-emerges with techno game. the double vinyl features seven confidently-carved tracks that reflect vakulas current exploration of techno landscapes. as the cover suggests, it is a game. the author does little to nothing to explain the rules, throwing the listener into an elegantly structured space that feels alarmingly material. featuring artwork by juli kozyr

umeko ando (1932-2004) was a folk singer from japan. she is a representative of the ainu culture on the hokkaido island in the north of japan. iuta upopo was released on her last cd upopo sanke in 2003, produced by oki kano (oki dub ainu band). upopo is the name of a particular singing style which involves repetition, while iuta simply means song. umeko ando performs this minimalistic vocal in a brittle, emotional manner which is framed by a slow, percussive pulse and oki’s tonkori patterns (the tonkori is a string instrument of the ainu). when pingipung’s andi otto toured japan in 2017, he came across this enchanting, folkloristic and danceable song in a dj set of a friend. he made contact with oki kano who agreed to license the track from his own label chikar studio. it is pressed on vinyl for the first time. this single is part of pingipung’s ongoing concentrical series of 7inches. we are very pleased to have a m.rux remix on the b side. he is not only a brilliant original producer, as his ep in the hold (ynfnd 2016) has proved, his claim to fame is a sublime collection of edits & cuts (for free on his bandcamp) which skillfully takes classics by nina simone, townes van zandt and others to the slowhouse dancefloor. his remix adds a gliding subbass, a kickdrum and occasional claps to the enhanced percussive structures of the original. umeko ando’s vocals adapt seamlessly to m.rux’s powerful electronic production

galaxies in our universe seem to be achieving an impossible feat. they are rotating with such speed that the gravity generated by their observable matter could not possibly hold them together, they should have torn themselves apart long ago. this leads us to believe that something we cannot see is at work. this strange and unknown matter is called “dark matter” since it is not visible.
dark matter affects the speed, structure and evolution of everything, yet its nature remains a mystery we are yet to explore. this potent, affecting darkness is paralleled in dewalta s newest creation, a double 12“ vinyl release on amphia.

with the musical institution that the guitar constitutes, golden retriever sets out to change its paradigm with very simple means, creating a void between genres and ideas to be in, grinning in its essence yet at times grounded with serious introspective ingredients. with only an iphone as a recording studio, golden retriever has created the ep in a very minimalistic sense, not only when it comes to sheer production elements but also through that instruments chosen to use. having a background in various other scenes, you could say it s a consequence of leftover creativity and exploratory passion that didn t fit in anywhere else at the moment. the sonic palette is naive, luscious and surprisingly thick and sturdy considering the limitations of both instruments and recording equipment used. with unassailable melodies that are equally captivating as ravishing, it seduces you with the same drifter romantics and beautiful scenery as you would find in any classic country song without following the same structure. whenever a string of the guitar is plucked, struck or touched, it invokes feelings of both adventurous joy, but sometimes also the sadness of leaving something behind.

beautiful deluxe artwork, limited ot to not to is an experimental rnb project by va native ian mugerwa that combines low fidelity electronic recording techniques with unconventional song structures to produce music that serves as homage to dusty old blues recordings.

the stone is not hit by the sun, nor carved with a knife their first release for gizeh records. the canadian/berlin-based ambient doom duo of aidan baker and leah buckareff continue their ultra-prolific output with a monolithic record which explores the depths of heavy noisescape-related music. encompassing distorted riffs and hypnotic rhythms the album sonically attempts to continue on from the more structured elements

not so mysterious after all, aquaphresca is breaking the bridge between genres, keeping the harmonious structure intact. two long played tracks by romanian djs, so you probably will recognize them shortly after playing the first seconds. cognitive ease is the first release from aquaphresca the label, with many more to come. vinyl only.

aus music exultantly welcome a fresh signee into the fold in the form of extolled and accomplished producer recloose. with a 12inch that marks the end of a three year production intermission, the planet e and rush hour great readies‘honey rocks - a glowing three-track ep that demonstrates the unwavering talents of a producer with 20 years experience in the game. having entered a new phase of his career in 2014 propelled by a move to brooklyn, the nomadic producer continues to develop a hugely impressive discography thats included remixes for herbert, motor city drum ensemble, funkadelic and mj cole as well as four full-length lps and numerous eps on labels such as peacefrog, planet e and sonar kollektiv. honey rocks brings together three deftly structured dancefloor tracks. all as jubilant and groovy as each other as soul, funk, disco and classic house sounds are melded with ineffable flair and skill in a record that reaffirms aus musics status as a label capable of not only maintaining consistency but also keeping listeners guessing.

carsten nicolais practice investigates the boundaries between visual and audio art forms within an integrated artistic approach. influenced by scientific reference systems, nicolai often engages mathematical patterns such as grids and codes, as well as error, randomisation and self-organising structures.

the third release from wavefreform again comes to us from the east, and this time around it marks a reformation of sound for both the label and the artist. half of the long-running georgian duo greenbeam & leon, boyd schidt is a producer with over a decade of work already under his belt whose first releases emerged in 2007. as a solo artist, his career dates to 2010 with digital releases on georgia’s front rec, fvf records, and emote music, and a track on the new vinyl compilation from studio r°. with the hard, broken kick pattern, elevated tempo, and nods to electro, the a-side ‘phantom’, a collaboration with subex, is a change of pace for the artist and the hardest thing yet to emerge from wavereform. dubwise use of effects shows the same hands still at work, but the sound elements, granulated blasts of static and drop-based structure of the track hold strong parallels to the rejuvenated techno sound currently emerging from the uk. the b-side, ‘structure’, recalls the previous work of the artist: subtle, building dub techno rich in detail and with the dancefloor firmly in mind. there is clear experience at work here with his deliberate deployment and manipulation of elements as the track struts along while enveloping the listener in its smaller details. as it pauses and takes an extended breakdown, the details rush forwards, but it finds renewed force to power itself to the close. coming in this case from an established producer with a long history, this kind of control is not surprising, but it is more indication of the riches of the east that have yet to be discovered by audiences worldwide.

fred p immerses himself further into his techno alter ego, bringing more depth and insight to the saga, using sound to transcend time and space. *serinatatis* starts off the proceedings with a relentless drive and lofty pulsating pads that give you the feeling of a dismal oasis, with its brooding bassline and obscure vocals penetrating the construct. *dark population* takes us further down the rabbit hole into deeper rhythmic vibrations. this hypnotic ceremonial floor shaker echoes the cerebral ethos of the ep. last, but not least, *convective zone* cracks the sky and lets the sun shine in with its rolling baseline and ethereal chord structure. homage to the term techno soul is paid in full here as a trumpet blares through without losing the depth of the moment.

nelistening back, ‘interlude’ will feel like the perfect opening to ‘skylax’. a jazzy encore crawls in, morphing into a skippy hip-hop instrumental with jason’s signature flourishes all over it. aptly named as it is, this is the breathing space between whatever came before in your day, and the eleven deep house gems that are to follow. speaking of, ‘the love’ will have you gripped from the first bar. it glides the listener in, then subtly drops that signature, tightly-tuned bassline of jason’s and continues onto soulful vocals from there. ‘old dayz’ touches on a bit of a nostalgic note. the spoken vox cuts harken back to 90s hip-hop joints, playing over a looped latin sample-led beat. from there, ‘rawkicks 2’ shows jason’s rough and ready sampling style in action. a seemingly simple track, but one which has that special something which guarantees to keep people on the floor moving for its duration. ‘cut b’ contrasts this nicely, being a much cleaner production with tight drum programming and synth work. that said, it still has the classic jg atmosphere we love. closing out the first half of the album, ‘definition’ slows the pace ever so slightly, with its eternal pad structure that builds up the track’s momentum into something very mellow and deep.bringing in the second half of ‘skylax’, ‘john blue’ takes things back a notch further. a deeper tune, yet one that shows off an uncharacteristically punchy bass hit from jason. ‘last night’ is a track more reminiscent of jason’s first lost cuts ep on wax classic, sounding as if it had been freshly taken off an old tape with its sample-led beat and background hiss. the last four tracks of the album see a return to the ‘mastercuts’ and ‘lovedits’ series which fans will recognize from the ‘lost cuts’ records, with ‘lovedits 7’ and ‘mastercut 5’ respectively. the former is a laid back female vocal edit with the entire suite of signature jg touches while the latter is a garage house hit more crafted for the club. ‘bb’ brings the album to a close, twisting a disco/funksample over a pallet of drums and effects for the near six-minute duration of the track.all in all, this is the perfect follow up to jason’s debut album ‘313.4.ever’, with tracks for both the club and home listening. if you happened to miss the first album back in 2012, don’t forget that now you have the chance to grab it in a special double pack with ‘skylax’ on cd!so, needless to say, this timeless record is a must purchase for all collectors and djs out there

limited vinyl edition with album cd! incl remixes by kollektiv turmstrasse, matthias meyer & patlac, dub taylor. the cosmic cowboys project was born in 2008 from the different styles of twoyoung venetian artists, nicola sansoni aka randomatique and kaled jabariaka kaledj. for >zero gravity love< their first album which will be released on musik gewinnt freunde, collaborations with talented musicians and singers from all over the world were made. it defines a mixture with their well-known emotional, groovy and new dub and electronic structures. the result is nothing that can be named into a specific genre but a mix of all their influences reshaped into the new sound of cosmic cowboys that they like to call >the version 2.0 of ourselves<. but there is more to it than that. if you still havent noticed yet we also have the 3 fabulous remixes with us, which fit best together with the album. dub taylor, matthias meyer & patlac and also kollektiv turmstrasse did their very best and created something new. >zero gravity love remixes< is the perfect match and absolutely ready for the dance floor. dubby, hypnotic, playful, moving, and last but not least, music made with much love. give it a listen now!!

ontology is the beginning of reality. pulsing rhythms as categories of being are acting like entities in a dusty void. sparkles of light underlines the times of creation, where nothing existed before. since nothing really existed for the human being, silence was full of noises.pulsation as the archaic form of life.
the ontology remix is made by bruno sacco, perfectly in line with coals original. a vision in a techno rough structure, with more bpm. the remix doesnt alter the original but approach it from another point of view. a vision in perfect parisian techno style.

appointment008 is an extract of the seminal rehearsals of the appointment live act recorded on ferromagnetic tape. each side lasts a dozen of minutes and endorses the appointment live act innovative potential. the appointment live act is not grounded on prearranged phrase or patterns: every performance is unique and unrepeatable. marieu samples vinyls ad-lib and adds noises and blips with a little korg monster, john swing controls the delays and writes relentless drums on a tr-909, lucretio arranges emergent structured on an analogue sequencer,emg plays out this structures from an insurgent vermona perfourmer and explores the sonic spectrum with a german grainy filter. distortion, saturation, improvisation, breaks, funk and techno: the appointment live act goes beyond minimalism to reach out the inner functions of the waveforms transmission.

early edit of 5 kin s in the very natural heritage/memory of ron hardy. absolutely essential cut,tempo switches manual fixes & reloops,hitting and still making you to want more. reminiscence, core and essence of house music in its purest form. detroit an instrumental edit of b-oogie on high filters wheels only available at the demf. juicy edit. here, cores for spin updates the original edit to current feedbacks while still remaining porny dancefloor roller boogie at the same time 5 kings - j: no need to see a video of terry hunter hammering the track to thousand people. this track receives massive support by big djs around the world and delivers quality time to every field. xxx - sensuous black: zodiacal and mythical impossible to find cut that farley was riding in 1986 -no shit- noticing on vinyl we can go frontal nudity, not like most digital distribution structures.