Icelandic producer Adalsteinn Gudmundsson aka Yagya now launches his own new Small Plastic Animals imprint with a brand new album, Old Dreams and Memories. After nearly two decades of releasing his Icy dub techno on labels like Sending Orbs, Delsin Records and A Strangly Isolated Place, his latest album marks a subtle move away from the sound he has dealt in before. Still slowly propulsive rhythms underpinning every track, but they are only a small part of the overall picture. Old Dreams and Memories is a rich symphony of luxurious sound, with transportive rhythms and hugely evocative layers of melody, the human voice and cinematic sampling all showing a further evolution in the art of this standalone producer. With vocals by Natsuko Yanagimoto, poems by Michizo Tachihara and saxophone by Oskar Gudjondsson.
Voice of the Kano project and former percussionist of Eric Clapton, George Benson and Chaka Khan, Glen White in 1982 wrote and arranged “Be Free”, one of the most intriguing and elegant Italian disco / boogie song together with the producer Louis “Gigi” Figini (former member of project “Koxo” alongside the unforgettable Leonardo Re Cecconi). An overlooked gem by the West Indian artist brought back to the musical community!
Love N Music is an original classic Italo Disco with an Hi-NRG touch. The original song starts with a sweet female voice that seemed to be an hymn to love, a strong pre-house atmosphere soon introduces an extravagant synths as a prelude to the hot bass-line combined with the Italian rap of Celeste. Many of you will recognize its melody used in 2002 by Felix da Housecat on his tune “Happy Hour”. RIS is another one superbe collaboration by Tony Carrasco (Klein + M.B.O.) and the always excellent Aldo Martinelli. Remix by the dj and Danish record collector Flemming Dalum.
Coastal Haze welcome the new decade with one of the most exciting artists to come out of the UK of recent in Adam Pits. Known for his intricate productions, this will be Pits’ first release on the label having already gained support from the likes of Ciel, Batu and Call Super. ”International Wafter” offers up four club weapons, two peak time whompers and two ethereal burners.
Jump Source release their second record on in-house imprint JS with their heaviest endeavour yet. Four dense cuts for whatever time you find yourself in. Made in Montreal, delivered to The World.
Noah Gibson marks his first appearance on North Electronics with an EP of plaintive meditations on his innermost causes and conflicts. Acidic enthusiasm spirals out of control in innumerable ways across ‘Press On,’ routing us through the reflective atmosphere that hangs heavy in the background of the thrilling adrenal spikes.
SOBO’s parent label, Arbutus Records, requested alternate dance mixes of Moon King’s hit album “Voice Of Lovers” from three long time companions: Dane, Cooper Saver and SOBO’s own Patrick Holland. All created and collected for SOBO’s 10th record. Smashing out the gate is Cooper’s mix of “Free Time”. His signature percussion and arp combo barrels down the scope of the song without ever coming up for air. Aptly chosen as the lead single, this mix gets the music video treatment from the elusive Dr. Cool. On the other side of the spectrum, Dane and Patrick rework “6 Months”, into two unique mellow trips. While Dane’s focuses on the groove, Patrick’s aims for the heartstrings.
Inspired by Gibson’s ‘Neuromancer’, Patrick Holland dives deep into the ambivalent future with Simstim. Also known for work as Project Pablo, Simstim uses familiar motifs with a more personalized touch. Pointillist melodies lay in a wash of noise artifacts, as pulsating rhythms fray subtly falling between sections, all delicately glued together with blissful harmonies. For the dancer and/or headphone listener alike.
Night Sea is honoured to present their first LP to the Silent Season family. The album is the culmination of a two-year journey playing with the relationship between sound, repetition, and impermanence. The slowly evolving musical landscapes of Still are an invitation to slow down and explore the ever-changing facets of one’s experience.
This album is dedicated to Betty and Cassius for their inspiring resilience, and Glenda for her constant support.
Bradley Zero celebrates five years of his Rhythm Section International imprint with 12″ compilation Shouts Vol. 1 and 2. Vol. 1 represents the more club-ready side of the label whilst Vol. 2 explores more mellow territories. Famed by Mixmag as one of the Top Ten DJs of 2019, celebrated as a “figurehead for the exploding south London scene”, and “responsible for spreading the gospel of the city’s new Jazz sound”, it’s clear to see why Bradley Zero is quickly becoming the taste-maker of his generation and Rhythm Section INTL as one of the most respected outlets for authentic global cuts. A go-to label for the connoisseurs Rhythm Section INTL is a UK staple. The raison d’être has always been to unearth and nurture new talent, not just via the catalog but through the now established network of radio shows, concerts, and club nights Rhythm Section has become known for. The Shouts compilation and accompanying celebratory tour is a continuation of this mission. Shouts is a nod to the online radio culture that birthed the movement. Shouts is the label using its voice to amplify its peers. Shouts: Volume 2 features Duke Hugh, Research Club, Paula Tape, Jad & The, Shy One, and Session Victim.
Bradley Zero celebrates five years of his Rhythm Section International imprint with 12″ compilation Shouts Vol. 1 and 2. Vol. 1 represents the more club-ready side of the label whilst Vol. 2 explores more mellow territories. Famed by Mixmag as one of the Top Ten DJs of 2019, celebrated as a “figurehead for the exploding south London scene”, and “responsible for spreading the gospel of the city’s new Jazz sound”, it’s clear to see why Bradley Zero is quickly becoming the taste-maker of his generation and Rhythm Section INTL as one of the most respected outlets for authentic global cuts. A go-to label for the connoisseurs Rhythm Section INTL is a UK staple. The raison d’être has always been to unearth and nurture new talent, not just via the catalog but through the now established network of radio shows, concerts, and club nights Rhythm Section has become known for. The Shouts compilation and accompanying celebratory tour is a continuation of this mission. Shouts is a nod to the online radio culture that birthed the movement. Shouts is the label using its voice to amplify its peers. Shouts: Volume 1 features Yu Su, Katerina, Lock Eyes, Valesuchi, and Dawit.
Second reissue of Japanese house music legend Yukihiro Fukutomi on Studio Mule. Title track on A side, “It’s About Time”, was included in the compilation Remix Trax Vol.6 – Japanese New Vibes. “It’s Gonna Be Alright” is an E2-E4 influenced deep house and “Facing Up” is reminiscent of Danny Tenaglia’s harmonica track. Both tracks on B side are taken from his second album which was released on CD only in 1993.
Anton Kubikov is back to his own imprint Pro-Tez with the dubbed-out Rhythm & Chords EP. It consists of four, ultra-deep compositions — dubby and at the same time dance-oriented tracks that will be equally enjoyable on the couch or on the dancefloor. It’s a vinyl-only release on 180 gram vinyl. Highly recommended for the fans of deep dub techno/house vibes.
Mysterious duo Nightstalker returns after an 19 year hiatus with ‘Tragedies Of A High Tech World’. Ten tracks spread out over 2 heavyweight vinyl slabs, containing dark hues of acid, dreamy atmospheres, and Drexciyan influenced chord progressions of the highest order. A musical journey awaits here, traveling from themes of social programming, and controlled society on Earth to mystical High Tech planets in deep outer space and back. An essential release for all admirers of pure analogue and imaginative Electro and Techno.
An absolute future classic album of the incredible Derek Carr on Sushitech’s sub label – Pariter.
A long journey of 15 tracks that starts with some deep and dubby chords, acidic grooves and ends up with lush string based ambients.
For the fans of Convextion, Schatrax and of course Derek himself! Huge release!
An absolute future classic album of the incredible Derek Carr on Sushitech’s sub label – Pariter.
A long journey of 15 tracks that starts with some deep and dubby chords, acidic grooves and ends up with lush string based ambients.
For the fans of Convextion, Schatrax and of course Derek himself! Huge release!
On his debut mini-album, Pellegrino goes for a periplus around mediterranean savors, dispensing a multi-flavored cocktail of fast-moving disco groovers, spacey jazz-fusion experiments and sun-bleached funky melters
Antinote and Dizonord present STUDIOLO – Belfiore, Veneto, 1447. Birth of the first “Studiolo” or cabinet of curiosities, these rooms where “rare, new, and singular things”, often exotic, were stored and exhibited. A practice that would spread throughout Europe during the Renaissance.
Northeastern Italy, at the beginning of the 1980s, an entire local scene gathered around a handful of DJs who put their dancefloors in a trance to the sounds of “rare, new, and singular” music, under the strong influence of ethnic and world music. Mixes where German Kosmische clashes with space disco, along with the most experimental side of British new wave, industrial music, creepy funk, deviant rock and pop. All this mixed with Brazilian and Afro music, reggae, ragga, percussions and bhangra… A kind of mixing in total rupture with that of a dying disco for which it is intended as an alternative. A way of playing songs often at the wrong speeds, at 33RPM instead of 45RPM and vice versa, and always the obsession of a slow tempo, between 95 and 110 BPM, while the cruising speed of disco mixes goes up to 125/130 BPM… A haunting rhythm, accelerated or slowed down voices, with experimental and ethnic approaches… the sets by Moz-Art, Ebreo, Roberto Lodola, TBC, Meo, Fabrizio Fattori… are endowed with a baroque, quasi)mystical dimension. Without forgetting the enemy brothers, at the origin of this fusion of styles, Daniele Baldelli, resident of the Cosmic Club in Rimini, who called it Cosmic Style, and Beppe Loda, resident of the Typhoon in Gambara (a small town not far from Belfiore, unsurprisingly) and who referred to his mixing as “Afro Style”. “Afro”, the name that will be adopted by this scene and especially by its fans, recognizable by their post-hippy style, their Citroën DS or 2CV, with car radios fully powered by mixtape cassettes recorded in the clubs by these DJs, then sold in the parking lot of what was still called “the discotheque” at that time. This “Afro” wave mainly involved 3 regions in Italy (Lombardy, Emilia Romagna, and Veneto) and the young Austrians and Germans who would go there on holiday. Among them, Stefan Egger, a young DJ from Innsbruck, received a monumental shock while listening to a set by Daniele Baldelli during his holidays in Rimini. Therefore, he decided to make his Austrian dancefloor resonate to the sound of the Cosmic Style.
While the official history of underground dance music has very quickly and rightly retained the contribution of DJs from Chicago and New York, it was not until the early 2000s that interest in the Afro/Cosmic scene was finally shown. Since then, a lot has been said on this scene, its DJs, their completely crazy and obscure tracklists, while Daniele Baldelli and Beppe Loda are playing Boiler Room sets as well as Europan and Japanese gigs one after the other. But few have shown interest in the moment in time when, at the end of the 80s, these DJs became producers and started creating songs that sounded like their sets, where all their influences would collide, often naively, sometimes with genius, always without filters. Nor to how this scene changed at the beginning of the 90s with a marginal approach to trance and progressive house, when the Italian, Austrian and German DJs of this second Afro period played these trance and progressive records at 33+8, as their elders did with synth wave or post-punk records, always staying within this 100/110 BPM tempo. It is in this last period that this compilation will immerse you, through 8 tracks from the Italian, German and Austrian scenes
LP1 takes influence from cold wave, applying gloomy chords onto House and Breakbeat, whilst including textures that might draw reference to early IDM. Earth Trax blends dreamy vocals, pads and melodies with striking rhythms, squawking synthesizers and strong bass lines throughout. The LP was recorded as an extension of some of the artists moodier singles on Shall Not Fade sister imprint, Lost Palms. It explores a more experimental approach towards House music, whilst drawing influence from some of his more downtempo style releases as Bartosz Kruczyński. LP1 features the stunning photography of Kasia Zacharko & graphic design of Kaja Kukuła.
Following its 2019 launch with Peggy Gou’s ‘Moment’ EP and a follow up 12″ from DMX Krew, Gudu Records continues its journey with one of the true heroes of the underground, Maurice Fulton. Consisting of three diverse tracks, the ‘Earth’ EP captures a shared love of esoteric experiments in house, disco and funk, delivering a different flavour with each cut.
The EP opens with a collaboration between Fulton and label founder Peggy Gou: ‘Jigoo’ is the sound of both artists in full swing, combining a rolling, infectious bassline with the sort of joyous chords that have won Gou’s previous productions quite so much play. Vintage Chicago house drum work drives the track forward, while a series of psychedelic breakdowns combine to create another understated club anthem in waiting.
On the B side, ‘Not Sure How I Would’ may offer the perfect introduction for those yet to have fully immersed themselves in Fulton’s wonderful back catalogue. A chugging bassline, live drums and guitar plus a barrage of effects invite listeners into a hugely accomplished, utterly unpredictable dancefloor space, one primed to invite full-scale freakouts for heads-down crowds.
Finally, ‘One Itself’ provides the most understated moment on Gudu thus far. Slowly and surely bubbling, yet more raw percussion intertwines wildly with fizzy, analogue manipulations, Fulton engineers a veritable pressure-cooker of slo-mo rave euphoria that could once again leave a dancefloor spinning on its collective head.
Off the back of their debut LP, Sleep D continue to thrive and refine their production skills, this time with the 10th EP on Planet Euphorique, “Smoke Haze”w. 2020 – the future is now, the 4 tracks each offer a glimpse into a distant yet looming world of dark, driving atmospherics; outer worldly electronics perfect for club use. Sticking true to their deep, cosmic constructions, the Australian duo feel to have fully come into their sound, ever progressive and evocative, whilst never forgetting the filth, jack and grit that drives us to move.
A1 “Freezer”, wastes no time, diving in with militant metallic flair, elevated above ground through the syncopated stabs and swirling synthesis. Continuing to build throughout the track with delicate, imperative percussion and rolling delays, bubbling analog voices slipping in and out of consciousness to contrast the 4/4 steadiness. “Green Pond”, the A2 takes off from the opener, bringing a naughty tech-house energy, making it impossible to stand still as the sleazy bass locks in with the drums. Winding high-end technicality balances the playful lows, muffled vocal hooks and decaying leads evoking a sense of hedonism, snapped back to reality by the fierce snare programming.
On the B side “King Tide” teases a slightly lighter mood, with energized melody and floating bounce. Utilizing familiar tones and percussion, whilst experimenting with filters and resonance to take you on a sonic exploration. A state of hypnosis, occasionally interrupted by subtle unexpected contrast, those special desired moments on a dance floor. “Bugger”, the final track on the record, presents a skin crawling anthem destined for the darkest of corners, murked shadows engaging in a heavy stomp. Bass focused, blurring genres, total sludge with a whiplash – commanding your attention.
Each track brings its own unique mastery and mature sound design, built upon a trusted foundation of rolling elation. As the Melbourne X Planet Euphorique partnership continues to develop, the pairing feels particularly ideal, linking in harmony to deliver an innovative, polished record primed to cause havoc.
Stellar full-length album selection of archival material from Tim Jackiw ranging from timeless late night techno and deep space soundtracks through to electronic jazz and ambient atmospheres. All music sequenced and recorded in Tim’s Adelaide-based bedroom studio between 1995 to 1997 using an Amiga 500 interfaced to various analog synthesizers, drum machines and samplers. Limited colour vinyl double pack – big tip!
After a digital single on Optimo Music Digital Danceforce, Optimo Music welcomes Bergsonist to the main label with a full album. Ridiculously talented and prolific, Bergsonist is one of thee most interesting, thoughtful and important artists of our times.
Bergsonist aka Selwa Abd is a New York–based artist and musician originally from Morocco.
She is the founder of Bizaarbazaar, a music platform and publication that publishes podcasts and interviews by DJs and producers from around the world. Under the guise Bergsonist (derived from Deleuze’s Bergsonism), she uses a variety of media to investigate social resonance through divergent conceptual aesthetics (minimalism, techno, and music concrete, to name a few). Through her work, she explores notions of identity, memory, and social politics.
In 2017, she started Pick Up The Flow, a resource to promote congregation and exchange between peers. Currently, co-run with Stephen Decker.
In 2019, she co-founded 3afak with DJ Sanna, a collective that aims to empower Arab women’s creative vision in New York.
enderlonious returns with a brand new 4 track EP, seamlessly cooking up a blend of hybrid house and broken beat with his unique analogue productions and signature flute instrumentation.
The title track ’After The Storm’ picks up where 2019 album ’Hard Rain’ left off (Bandcamp’s electronic albums of 2019) – a stormy, atmospheric 4/4 groove, with flute flurries, build the track to a state of euphoria.
The EP continues with G Flex, a tune dedicated to Tender’s mentor Sterling Styles, aka Equinox (Scientific Wax). Broken drum machine loops are brought to life by classic Tender flute and synth solos. Fans of his 2016 ’On Flute’ EP will be feeling this one!
’D Low’ is the 22a squad pick on this cut. Deep house vibes, with a classic London soundsystem style hook, shaking bass lines and twisted synths.
’Broken Heart’s Club’ rounds things up, and may sound familiar to 22a heads. Beefy broken drum machines take centre stage, making way for some more synth magic from Tender’s vast array of hardware. First time on vinyl for a track that’s been doing the rounds for a couple of years!
Canadian duo M.S.L. debuts on the Clone Dub Series with a heady 4 track ep. Walking that fine line between classic headphone IDM and tripped out early morning dance floor cuts. Bleepy arpeggios, melodies and soaring strings, backed by the syncopated rythms of analogue drummachines. Very reminiscent of early F-com releases and, our own harbour city duo, Duplex’s early works on Dub and Clone Records.
Stefan Betke aka Pole’s holy trilogy of frayed dub experiments resurfaces for a 20th anniversary reissue, taking us back to smokey nights at the turn of the century and some of the finest post basic-channel dub echoes ever released. Essential listening if you’re into anything from Rhythm & Sound to Vainqueuer, Jon Hassell to Jackie Mittoo.
As legend goes, Pole took his name from a malfunctioning Waldorf 4-Pole filter which produced hisses and pops which weren’t really controllable or predictable, much like a living organism. Betke realised the potential and came to alchemically morph and render them with judicious FX dubbing into a groundbreaking sort of minimalist electro-dub that sounds exceedingly good with a spliff and glass of booze. Working somewhere between the variants of abstract techno on Chain Reaction and Mille Plateaux’s cutting edge minimalist strains, Pole’s first trio of albums inarguably helped lay the foundations for dub techno as it’s come to be known and are held in the highest regard by practically everyone who owns them.
The Pole aesthetic is patently laid out in ‘1’, where his organic clicks ’n pops come out to play accompanied by lilting organ and jazzy bass channelling Jackie Mittoo via Jon Hassell and Rhythm & Sound into a uniquely, gauzy, gaseous state. But for us, his sound really comes into its own on ‘2’, where the opening melodica motif still sends electric shivers down the spine and opens out into the kind of sculpted, layered dub bass that spawned dubstep, and flows out into myriad, mesmerising permutations, but this time swapping out the hazy licks for a cavernous, brooding melancholy (that really matched this moody teenager’s psyche at the time) and reverberated through into the more humid, drizzly and funereal atmosphere conjured in the equally spellbinding spectral dub metaphysics of ‘3’.
So strong was the impact of these albums on the late ‘90s underground, they even generated a “pastiche” that was unwittingly issued (and subsequently deleted) by Fat Cat on their split series, but was purportedly made by V/Vm in a snidey but frankly hilarious prank, albeit one that demonstrates just how ubiquitous and influential Betke’s sound was at the time. More than that, it’s fair to say the 20 year cycle hasn’t rinsed out the appeal of this triptych one bit; it remains one of electronic music’s most enigmatic and strangely moving, tactile bodies of work.
Part V: Gene looked up at the mass of signs and stars in the sky, and for the first time understood the gentle indifference of the world. He did not know whether he was nearing the end or the beginning, but he did know one thing: no matter what was going to happen next, he wanted to be there.
One of the first visitors to Planet Euphorique, Melbourne-based producer Roza Terenzi makes her triumphant return with the first LP release on the label. A playful yet cohesive collection from post-electro and extra-terrestrial techno to dreamy prog-house and low slung zingers, bumping us into the new decade. Modern Bliss, the sound of Roza Terenzi fully realized.
Never shy to experiment with unconventional sounds or mingle influences, the album presents 9 offerings to suit every flavor of raver. Opener, “Jungle in the City,” takes down-tempo to a new astral plane with blushing pads and tumbling pixels, perfectly poised for a spine-tingling after hours sunrise.The title track “Modern Bliss” featuring Barcelona based singer/producer Ivy Barkakati encapsulates the dancefloor euphoria we have come to expect from Terenzi; in essence the energy of this release, contemporary jubilation and contentment amongst a chaotic world. Flickering percussion prancing above deep rolling bottom end, allowing bubbling stabs and synth sequences to lift Barkakati’s intoxicating vocals to dizzy heights. “Exactly where I need to be, my thoughts create reality” truer words…
Flipping it over to the B side things heat up, “Yo-Yo” chimes in immediately with a tough onslaught of metallic polyrhythms and a pulsating melodic bassline coaxing you down a path less travelled and preparing you for the sexy sub action that demands your attention, “That Track (Rewired Mix)”, buckle up to sweat. Sweet relief comes with the C side “Exhale”, dipping in tempo; esoteric atmospheres to fill your ears, something fresh to absorb with each listen. To close off the record, something old and something new, “Eternal Lust” a delicate ode to the lovers and from the vaults “My Reality Cheque Bounced (Feat. DJ Zozi)” – a raucous party starter serving up that label defining sound, futuristic and bombastic, tipping its hat to the break.
With subconscious salutes to the astrological world of OG maven Fiorella Terenzi, “Modern Bliss” invites you into an encapsulating, electronically ethereal universe. A record to summarize the myriad of diverse and evolving sides to Roza Terenzi, the full length allowing her to capture a moment in time with possibilities to transcend dance music expectations. It’s the listeners’ decision whether to take a personal introspective journey through the sounds – or share the bliss with friends, united strangers and all those who dance in harmony on the tiny Planet Euphorique
Daniel Avery and acclaimed experimental musician and Nine Inch Nails synth artist Alessandro Cortini announce their debut full-length collaboration, Illusion Of Time, set for release on March 27th via Phantasy.
The album is a beguiling and unexpected collusion of two sounds. Beginning as a collaborative experiment before the pair had even met, Avery and Cortini then worked remotely and free of concept or deadline over several years. The result, finally completed when both artists were touring with Nine Inch Nails in 2018, is a quietly powerful album rooted in trust, process and experimentation. The first fruits of their labour were unveiled last year when ‘Water’ and ‘Sun’ appeared online, subsequently released as a very limited 7” run that was sold at FYF Festival, Mount Analog in Los Angeles, Phantasy’s online store and Phonica Records in London. Both tracks are included on the album.
Pressed on a limited 180g transparent magenta vinyl, housed in an embossed sleeve. LP comes with an mp3 download inside the sleeve.
This is the first time Lithuanian Pletnev and Russians Panorama Channel have ever officially collaborated. Three originals, two remixes, one consistent immersive vibe that envelops from the start and builds in intensity. “Blavatsky” is all mid tempos and woozy psychedelics. It’s flipped by a sublime remix from You’re Me’s Yu Su, who whips up an ageless nod to the legacy of Two Lone Swordsmen; “Eiffel Tower Syndrome” follows. Intense, edgy, and prone to paranoid flurries over a heavy driving beat before Simple Symmetry’s remix closes things out.
Multila was the third album by Finnish producer Sasu Ripatti under the moniker Vladislav Delay. It compiles the Huone and Ranta 12″ EPs Ripatti released on Basic Channel’s Chain Reaction label in 1999 and 2000. The album features six hauntingly murky dub ambient tracks and the impressive 22-minute techno odyssey “Huone”. 20 years after its original release as a full-length CD album (Chain Reaction), these timeless recordings of modern electronic music are now finally available for the first time as a double-vinyl edition. The label Keplar has been on a long hiatus and is now back with its KeplarRev series presenting vinyl re-issues of essential electronic albums from the ’90s and ’00s, as well as new recordings by momentous electronic and ambient artists. Drawings by Kaisa Kemikoski; Layout by Marco Ciceri. Remaster by Rashad Becker and vinyl cut by Kassian Troyer at Dubplates & Mastering. Includes download code.
Dusky’s return to Running Back. The second volume of Life Signs continues where its parent left us: on the path to euphoria. A brew of rumbling bass lines, ecstatic dreams, rattling rave signals, and moving melodies that is as sapid as it is substantial. Consisting of four tracks (and one dub), Dusky further cement their reputation of being champions of their (production) craft and the dancefloor alike. While “Fridge”, “Seed Tray”, and “Mushroom Samba” lower the plough with DJs and steppers in mind, “Metropolis” ennobles itself to a higher stand: with or without voice, it is a sophisticated and divinely inspired master class in a perfect hook (bleeps) and eye (bass). And a gentle reminder: function and beauty don’t have to exclude each other.
“Daniel Steinberg continues to have great success on labels such as Microfon, Grandpetrol and Stylerockets and is also the main representative for Front Room Recordings. With his last EP — featuring ‘Keep On Movin’ and ‘Don’t You Know?’ — enjoying such widespread success, we thought we should call upon the remix skills of Roman Flügel and Siopis for this release. Roman has been artistically active since the 1990s with his own labels Playhouse, Ongaku Musik and Klang Elektronik contributing some of the best house around throughout the years. His remixes for the likes of Pet Shop Boys, Human League, Primal Scream and Kylie Minogue have garnered him a worldwide recognition, and now he delivers in true style to Front Room. Siopis, fresh from his Get Physical release Penny From The Lane, has also recently remixed Mr. Static which has further pushed his name into the international dance music vocabulary. His work can also be spotted on some of the most prominent labels like Get Physical, BPitch Control and Crosstown Rebels to name a few. Three quality remixes making one brilliant EP that maintains Front Room at the top of its game.”
Made primarily while on the road, the nine-track LP spans techno, electro, deep house and ambient. It’s Karmil’s second full-length on Smalltown Supersound, following 2018’s Will.
Describing his production process, the UK artist says, “I tended to record a little here and there when I could grab some time with my gear, and then do most of the arranging and choices while I was traveling about—until the end when I went to mix in one of my favourite studios, Cologne’s incredible The Brewery.”
Ren Schofield’s work as Container has developed into a succession of complementary releases over the last decade. He’s released four aggressive noise-techno LPs, all simply titled LP with searing noise and grinding electronics providing grisly decorations for rigid, skeletal beats indebted to hardcore and minimal techno. While Schofield can wreck plenty of audio destruction, the rhythmic foundation beneath the chaos gives every track a throttling momentum.
Schofield’s latest album, Scramblers, offers some major and minor changes to his spartan formula, the most obvious being the release’s titular divorce from the LP series. On Scramblers, Schofield junks familiar elements while keeping the noise at a euphoric high. The eponymous first track opens as hardcore techno written for jackhammers and power drills before boiling over with an off-kilter synth arpeggio. “Mottle” sounds like it’s constantly on the verge of ripping itself apart, slowing, accelerating, and convulsing relentlessly. While “Queaser” deploys synths that feel ripped from an old video game sound-chip. When that song’s beat finally drops out, it opens space for a field-recorded collage of howling and hooting animals that seamlessly meshes with the following track’s industrial clangs. That transition is a perfect example of how skilled Schofield has become at sequencing his work, landing haymakers with something as subtle as a tracklisting. Container has always had a firm grasp on the nuances of both noise and dance music, but this album captures the thrill and fun of the hybrid in a way he’s never quite done before.
Opium Crop Airstrikes is a Vatican Shadow EP with long-form industrial tracks in the style known from Jordanian Descent (2012). A portion of the proceeds go to AYOK civil society volunteer organization for earthquake relief in rural Mexico. Cassette comes in oversized package; includes fold-out poster.
2020 repress. Following their self-released debut EP, Flamingo Pier (DJ residents Luke Walker, Dominic Jones, and Bradley Craig) have crafted four dance floor-worthy tracks influenced by the boogie, disco, Afro and classic house. Slick, rolling disco synths and punchy drum machines are woven in with Afro-centric percussion and dreamy vocal chants, for an exotic disco-boogie journey from start to finish. Early support for the EP is already coming from Bill Brewster, JD Twitch (Optimo) and Ray Mang. The EP is being released to coincide with the Flamingo Pier Festival in Waiheke, New Zealand.
One of most popular jazz singers in Japan, Yasuko Agawa’s late ’80s release was originally released as a promo only. It’s finally reissued here on 12″ with remastering by Kuniyuki Takahashi. “Lowdown” is a house cover of Boz Scaggz. It’s a Japanese house classic. “You Bring The Sun Out” is a super mellow electric lovers rock.
The debut Peacefrog album from Kenny Dixon Jr. aka Moodymann originally released in 1998 is an album of truly epic proportions, a must have for any and all collectors and lovers of house music. Utilising soul, funk, gospel, and even hip-hop production techniques and alternating from mellowed-out disco dubs like “Mahogany Brown” and “Stoneodenjoe” to more raw and dirty tech-house tracks like “Me and My People’s Eyes.” Mahogany Brown delivers a slice of Black American music that affirms Kenny’s reputation as a major influence on house music today.
The incredible double pack ”In The Dark” with exclusive, unreleased tracks by Marcellus Pittman, Rick Wilhite, Delano Smith, Mike Huckaby, Keith Worthy, Malik Olston and others. All the artists involved in this project are essential creators and perpetuators of the musical heritage of the motor city.
The year is 2019, and Jan Schulte is spelling out his vision in simple terms. Within the first few of Albumsi’s hour-plus runtime, our host lays out the mat, and welcomes us to the ‘Galaxy’, just as he welcomed us to ‘Zum Paradies’ on Instrumentalmusik von der Mitte der World. There, he donned a Wolf Müller mask. Here it is nom de doof, Bufiman. The directive is clear: buckle up, as this trip advisor for countless left-of-the-dial dancers and deep thinkers alike is back in the hot seat.
True to his word, the first thing that hits is the drums. Across the album are samples that Bufiman has been collecting since he was a mere Bufiboy. Recordings culled from market stalls 20+ years ago and song sketches that lay dormant since 2006 get a facelift at the Wolf Müller Flanger Studio and walk into the world as finished articles. A proggy tribute to funk classic ‘Blow Your Head’ takes this updating job most directly, transporting Fred Wesley & The J.B.’s to the fringes of a Frankfurt rave with a decanter of spiked punch, doin’ the worm through a space-time wormhole as they go.
Sometimes those drums jive away steadily, and sometimes they boom and bap right under your n
Flashback to Chicago in 1985, when House Music was just being born.
A few kids – Matt Warren, Miguel Garcia and Ralphi Rosario, get together to join forces with the already established Sunset Mobile Disco – owned by brothers Alex and Robert Rojo – to create a new record label as an outlet for their productions.
In the following 4 years, Sunset Records Inc. released some of the most groundbreaking Chicago House records, mixing New Wave, Disco and Industrial influences with “beat tracks” and a huge amount of talent expertly scouted by Matt Warren & Miguel Garcia.
While largely remaining in the shadows of larger labels like Trax and Dj International, the metamorphosis of Sunset Mobile Disco into Sunset Records Inc. perfectly illustrates the wide range of influences that gave Chicago’s dance scene its unique sound.
Jerome Derradji is proud to present the definitive story – written by Jacob Arnold – of one of Chicago’s House Music best kept secret in a superb gatefold DLP and a DCD compilation that includes remastered, rare and unreleased tracks from the Sunset Records Inc. label along with lost pictures and artifacts spread in a gatefold DLP and in a 23 page booklet (DCD only).
2011 album available on vinyl for the first time. Master percussionist Bonjo Iyabinghi Noah joins forces once again with dubmaster Adrian Sherwood at the controls and a whole host of guest musicians, including contributions from dancehall pioneer Jazzwad and electronics from Adamski.
All the elements of a classic African Head Charge album are present: spaced out dub, tribal chants, ecstatic trance, but updated with a rugged sound system undercarriage. Arguably some of the hardest hitting AHC rhythms laid down in the studio to date.
Part of an extensive reissue campaign that sees all of African Head Charge’s 1990 – 2011 work presented in lovingly put together new editions, a companion to the reissue of the band’s early work that On-U Sound undertook in 2016.
Originally issued in 1993 and the last African Head Charge album on On-U Sound for 12 years, released at the height of the band’s popularity as a staple of live music festivals. Continuing the skillful fusion of styles they had explored on Songs Of Praise, this album added elements of trance and electronica to their trademark percussion-heavy sound.
Gentrified Underground presents an interdisciplinary project tackling the sonic fiction and Afrofuturism of Drexciya. Thought as an extension to the Bubble Chamber exhibition happening at Mikro & UP STATE Zürich, Gentrified Underground releases a 2×12″ vinyl compilation and a booklet with contributions by Abdul Qadim Haqq, Charlie Mills, chukwumaa, Dominiqueh White, Gentrified Underground, Maïté Chéniere, and tracks by Xor Gate (Gerald Donald), Shawescape Renegade, DJ Dijital, Plant43, The Exaltics, Kuldaboli, Iko, Tom Ware, Luz1e, and Sansibar. The goal of this compilation is to showcase the reach and influence which Drexciya had on generations of electronic music producers while linking them together with compositional predecessors from the early ’80s. The musical timeline of the compilation starts from 1982 and reaches its contemporary end in 2019. The 56-page booklet contains unseen and unreleased Drexciyan drafts by Abdul Qadim Haqq, an interview between him and GU, contemporary art contributions by chukwumaa, Dominiqueh White, and Maïté Chéniere, and an academic essay by Charlie Mills. 56-page fanzine booklet; cover by Abdul Qadim Haqq.
Subtle Houzze were Boris Dlugosch and the late Gary D. The joint venture of Hamburg’s golden boy and Front resident Dlugosch and his Unit/Tunnel counterpart Gary D was like a moment in love. Written and produced in 1992, it cast the grappling statues of techno soul and deep house in bronze. Save for two tracks of the original release, albeit graced with another and previously unavailable mix of “Hemisphere”, all the glory of the future of the past is available again. Remastered, restored and reconfigured via the Running Back Double Copy series. If you need more proof, see this quote from Discogs user guigui612 from September 26, 2019: “Super good EP. Very diverse, full of deepness and emotions.”
A unique album of outtakes from the classic Songs Of Praise and In Pursuit Of Shashamane Land albums, compiled by On-U archivist Patrick Dokter from the original tapes and expertly sequenced to work as an immersive listening experience. A companion piece to the acclaimed Return Of The Crocodile set from 2016 that took the listener on a version excursion through the early years of the group.
These are the dubbier and more out-there experiments mixed down whilst Adrian Sherwood was shaping the sound of the albums. Bubbling percussion lines skitter across the stereo spectrum, ghostly voices echo inside the machine and mangled guitar riffs beam down from Mars, whilst staying rooted in the tough tribal rhythms that form the bedrock of the AHC sound, this is music for the head and feet, take heed!
As we approach the very last installment of the story, the greatest, final and cruelest battle between humankind and the clones is fought, just after the resistance is discovered hiding out in their underground lair. The humans were overwhelmed in numbers and outclassed in technology so the struggle was soon stifled and every rebel was brutally slaughtered until no one, but the captain, remained standing. Literally the last man on Earth burst into tears as he realized his species had been extinguished for good and he couldn t do anything to eschew it, while he was contemplating the obliterated battleground. That is even more painful than his own imminent death. He doubts for a split second, he pulls his gun from the belt and he says to himself while pushing the trigger.
US Born, Marseille based house producer and DJ, Grant returns to Lobster Theremin, with a 9 track album brimming with warm, melodic, deep house cuts. Fantasy Blues drops November 29th via Lobster Theremin.
Opener, Ephemeral Chase signals a cosmic journey, driven with four to the floor motive. Mind Space is spaced out, modern deep-house at it’s best. On the flip, Zarenzeit joins Grant on Amaranthine Profundity, while Finite Elements chugs into an ethereal, vocal cut. Manifest picks up the pace, note a welcome homage to London town. Previous collaborator, Dan Piu features on stripped-back roller, Boundless. Joining forces on Invisible Skills, Brooklyn based composer Emil Abramyan injects otherworldly influences to the album, followed by Melancholic wiggler, Lucent Eyes. The Road In Front Of Me rounds out the release on soulful, classic tip, with velvet vocals courtesy of Jenifa Mayanja. Blissful.
After a couple of meetings between Jamie (Exalt Records) and (Andy Verdant Recordings) bosses, the idea of a label collaboration seemed a natural progression for both imprints and ‘Vertex’ was spawned. To honour their common love of music that have depth, width and atmosphere, approaching Gudmundsson for material to kickstart their new venture was an easy choice for both involved.
11th Solo Album by Benjamin Brunn, pressed on 180 G Heavyweight Vinyl
After Lowtec, Alex Cortex, STL and iridescence; Swedish label ‘blundar’ presents Benjamin Brunn 11th solo album, 20 years after his debut.
BLUNDAR7 comes as a 10 tracks / 38 minutes long-player, coloured cover on a 180g black vinyl. Artwork by ‘mutantexture’
Brunn wrote and produced all tracks between 2017 and 2018; In contrast to most releases that were limited to one or two synthesisers, this time a whole array of instruments was used: tELHARMONIC, Music Thing Modular Chord Organ, Doepfer A-111-3V Precision VCO, 4ms STS, Yamaha DX7, Clavia Nord Modular G1 & G2. The long-player comes after a collaborative album with Dave Wheels out on Sushitech early this year, and will be followed by one together with Move D, via Smallville in 2020.
Huerta’s debut album for Voyage is a righteous journey along the coast of California; a psychosomatic blend of melodic rhythm, natural sounds and ambient textures.
Recorded throughout 2019, Huerta combines a blissful wash of west coast inspired ambient with the more affable, rhythmic house cuts he has been previously known for. Drawing on the surrounding landscapes of his upbringing, Huerta’s ode to the Juniper tree is an immersive and introspective experience; a long player capable of taking you to an elevated state of mind.
Composed, arranged and recorded by Steve Huerta at Diesel Studios Berlin, 2019
When Network Records originally issued “Innovator” in 1991 we knew that the music contained within was timeless. At that time, of course, we had no grasp of how well Derrick’s epic soundscapes would time travel. We christened the collection – “Soundtrack For The Tenth Planet” – because it seemed like the music (and Derrick) had indeed arrived from another world.
The release has been acclaimed as iconic because Derrick, the madcap and maverick philosopher of Detroit Techno, introduced the concept of dance music with a musical and emotional agenda way beyond anything that had come before. Beats with beauty. Literally the strings of life. Where fellow musical geniuses Chic had previously urged everybody to simply “Dance, Dance, Dance” mood alchemist Mayday merged simple yet cerebral dreamscapes with strange and urgent complex dance rhythms and invited us all to Dance And Dream. And in a strange juxtaposed way helped birth the hedonistic Acid House scene with classics “Nude Photo” and “Strings Of Life”
The energy is frenetic, but merged with a new age ambience. The gems collected on this offering were iconic in 1991, now they cause mass hysteria when Derrick turns his one time musical experiments, created in a tiny room in Detroit, and turns them into epic concerts with orchestras and musicians across the globe. “Hand In Hand” existed in 1991 and we wanted to release it then, but it’s taken until now for the complete 13 minute recording to finally meet the world.
It will be revered, because like all of Derrick May’s music it is life affirming. Emotions Electric indeed.
The original “Innovator” release was housed on one single slab of wax. This time around we have expanded it to two discs to make space for “Hand Over Hand” and also so everything elsewhere – masterpieces remastered – can be presented in a complete and superior fashion. Whatever the tweaks, changes and updates etc all these years on, this music still sounds gloriously alien and groundbreaking. But there’s still no Tenth Planet.