house . techno . electronica . ambient


Genre pick of the week Cover of Good Luck And Do Your Best - City Slang Bonus Disc Edition by Gold Panda.

Gold Panda

Good Luck And Do Your Best - City Slang Bonus Disc Edition

'Good Luck And Do Your Best' was initially planned to be something else entirely. Early in 2014 the electronic artist most comfortable with the moniker Derwin Panda set out to Japan for the first of a pair of trips - the latest of many visits to a place he holds most dear. This time a photographer, Laura Lewis, accompanied him as Derwin’s plan was to collect both audio field recordings from his trip across the country as well as accompanying visuals, with Laura tasked to capture what they saw and encountered together.

“The album was recorded at home in Chelmsford, but I had that visual inspiration or documentation from Japan. So it was a look back. If you go in spring of autumn Japan has this light that we don’t get here. You know how LA has this dusk feeling? - that orange light that makes the place glow, and the neon signs? Well, Japan has this… at certain times of the year, it has this filter on stuff. So when we went the first time, there were a lot of pink and green colours. Mainly the buildings and cars and the people, and I think Laura captured those colours really well.”

Those sights and colours translated to a record that differs notably from his previous album, ‘Half Of Where You Live’. Whereas that record was occasionally taut, perhaps harder and more piecing, the 11 songs that comprise ‘Good Luck And Do Your Best’ have a distinctly warmer palate, one that echoes ‘Lucky Shiner’ a little more, albeit with a clearer range of sounds, and also, to Derwin’s mind, one where “the tracks aren’t popping out against each other. It’s a [complete] record.”

Having finished recording his album, Derwin took the songs to fellow musician and producer Luke Abbott, wherein Luke “made it sound good, he put it into his magic smelter”.

'Good Luck and Do Your Best' is Gold Panda at his most relaxed and confident. Doused in a chalky Japanese-inspired haze and underpinned with a positivity and strength of conviction founded in being created amongst familiar settings and routines, it’s a record that is explorative and expansive, yet hearteningly warm and familiar.

Whereas his second album ‘Half Of Where You Live’ was occasionally taut, perhaps harder and more piecing, the 11 songs that comprise ‘Good Luck And Do Your Best’ have a distinctly warmer palate, one that echoes ‘Lucky Shiner’ a little more, albeit with a clearer range of sounds, and also, to Derwin’s mind, one where “the tracks aren’t popping out against each other. It’s a complete record.”


LP Info: Comes with limited edition City Slang 14 track sampler CD while stocks last.

Includes MP3 Download Code.

CD Info: Comes with limited edition City Slang 14 track sampler CD while stocks last.

Berlin-based imprint Disco Halal's latest offering comes from Nadav Spiegel, better known as Autarkic, a main man on the Israeli cold-wave scene. As with his previous release on Golf Channel ('Hello To Mrs Blank'), Autarkic revives the post-punk electronic dark wave / minimal wave sound, but this time we're treated to more of a Middle Eastern influence. In fact 'Can You Pass The Knife?' is about the struggle of being stuck in a gap between longing for his homeland, and what it could have been like, and a heavy criticism on what it has actually become.

Opener 'Asi Keta Ga' is a moody electro shuffler with Middle Eastern pipes, dub efx and an urgent, breathy vocal, all saturated with echo. 'Solo Gun' hisses with drum machine percussion before getting in a mid-tempo house groove - perfect for Weatherall and Johnston I reckon. 'Watch Out' is a killer disco-not-disco number in a post-punk style, heading hand-in-hand to the dancefloor with 'Fire In My Heart'. Over on side B 'The Misorientation Of Autrakic' offers more ALFOS tempos, with minaret style wailing, and a vocal from Spiegel, as does the dubbed-out drifter 'UFO (Space Version)'. Lastly 'Tender Lies' sounds tailor-made for Blitz kidz and new romantic dancing.

She was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Joanna Brouk’s little-known body of work exists at the nexus between ambient, new age, drone, and classical minimalism - stark in its simplicity, lush in its expanse. Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the 70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Describing herself as less a composer than a channel, she took her cues from the frequencies of the natural world and the talents of collaborators like Maggi Payne and Bill Maraldo. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings.

“I realized that, in many instances, it didn’t matter what you said, it mattered how you said it: the tone of the voice, the rhythm, the sound.... Because sound has an incredible effect on other people, it can make them dance, put them into trances, it can control emotions by a certain pitch, a certain depth.” – Joanna Brouk

Crazy The Lord

Outerzona 1305

Crazy The Lord... the man, the woman, the myth, or just the name of this latest release from the Outerzona13 label? Who knows, and who cares, because the music here is so good, you won't care who's behind these edits.

Outerzona13 has come up with consistent best-sellers, with the label's edit collections of secret weapons all becoming floor favourites. Number 5 in the series is no exception, opening up with a monster gospel disco-funk gem ('Praise Ye The Lord' presumably, seeing as that's the main vocal running through the track - which does sound a lot like "crazy the Lord"!), which has been filtered and fattened up. On 'A2' we get a lively house driver with a pitched up rave-style vocal hook ("jump, yeah"!), while 'B1' revives Pal Joey's jazz-house anthem 'Hot Music'. Lastly we wind down with a slo-mo Afro-arpeggiator workout 'B2', which spirals off into the Equitorial sunset...

Strictly limited black label pressing.

“Fantastic album…breathtaking intensity” (Roman Flügel)
“Hard yet soft, a pure sex trip” (Jonnie Wilkes, Optimo)
“Superb. It's a proper listening experience from start to finish!” (Trevor Jackson)

Death In Vegas return with 'Transmission', the sixth release from the project begun by Richard Fearless nearly two decades ago, and the first new album since 'Trans-Love Energies' in 2011.

United over a love of Throbbing Gristle and Chris and Cosey, Fearless partners with artist and writer Sasha Grey, whose lyrics resonate across the soundscape of visceral techno and unsettling, discordant drones, weaving into a state of dreamlike euphoria.

Field recordings of the constant drone of air traffic and incessant noise from the steel factory opposite Fearless’ Metal Box studio, as well as the Ballardian landscape in which it’s set, all exert their pull on the record, searching for light in the dark.


Includes MP3 Download Code.

Janette “Jnett” Pitruzzello is considered something of a legend in her home city of Melbourne, where she’s been DJing for well over two decades. Here, she delivers her debut solo EP, featuring a quartet of tracks co-produced by Piccadilly favourite Maurice Fulton. And what better way to kick off the EP than Fulton's own remix of opener “Reflection". Maurice sprinkles his magic over the track adding a little underground disco sparkle and percussive sweatiness to an otherwise organ-stabbed deep house groove. There’s a similarly cheery, funky, swinging jazzy garage feel to the rolling, cut-up house goodness of “Swangzipani". Elsewhere, the duo gets a little stranger in pursuit of dancefloor thrills; “Bubbles Away” is a deliciously dark, wonky and intergalactic dubbed-out slo-mo groover that transforms into an electronic body-mover, with metallic percussion and elastic bass, while “Judge Not” wanders off into head-nodding, instrumental hip-hop territory.

If Lisbon is the new Peckham then DJ Marfox is the new Bradley Zero. Or something like that. The Portuguese city has been enjoying a lot of the dance music limelight of late, after setting the world on fire after a slew of innovative, genre-defying releases from Principe and its associated artists, (DJ Nigga Fox, Niagara, Photonz, Tia Maria Producoes etc). The sound takes influence from Kuduro, Batida, Kizomba, Funaná & Tarrachinha as well as modern day house and techno; and inflicts the attitudes and passions of Lisbon's youth into the mix. The result: a head turning new sound that's taking the world by storm! Here, on "Chapa Quente" we see how the raw and more minimal sound of the producer's formative years has mutated into a complex web of influences and new sounds. The overall feel of "Chapa Quente" is that of a perpetual chase scene on a New Lisbon constantly reorganized by the pull of different cultures, something that resonates with Marfox's upbringing in the now demolished shantytown of Quinta da Vitória, where he came of age among neighbours who had emigrated from India, Pakistan, São Tomé e Príncipe or Cabo Verde. The rhythms, to the uninitiated, will take some getting used to; but once your sucked into their shamanic tribal magic you won't want to escape. The sound palette instantly transports you to the producer's world and never has a record encapsulated a time and geography so well. To me, this is the Portuguese youth's version of grime, or punk rock, or acid house. That is, kids with little money to spend on lavish studios making do with what they can and putting their hearts and soul into something that is completely theirs - both geographically, socially and contextually. It's amazing, and will surely go down as a historically important landmark in the evolution of global dance music. Don't miss out!


Matt says: Lisbon's answer to punk rock, acid house or grime? - surely that HAS to be checked out. Fresher the the blossom of spring.

Vancouver producer Sophie Sweetland (aka D. Tiffany) switches into new guise DJ Zozi for a , sepia-tinged, sample-based take on smoked out drum & bass. The “Mellow Vibe” 12” is four jumped up but dazed slants on soulful rollers. The title track welcomes us into its retro-tastic open arms with glee, nurturing us with a mid-tempo breakbeats and delicate rumbles of sub bass. "Up (Slammin' Vers)" takes things to the outdoor illegal rave circa '95 with lashings of jungle breakbeats cushioned by droning bass tones and jump up rave vox. "Snow Globe" veers off course for some rambunctious and boisterous house bounce; still keeping that keen ear for a fine sample well tuned. Finally, "Zozi Theme" is the aptly named final track which does exactly what you'd expect - conjure up the same kind of joyful euphoria you experience when you complete your hardest SNES end-of-game boss for the first time. Big beats, spine-tingling riffs and spirit elevating fx. Storming stuff on 1080p - you need this!

For their first release of 2016 Nous Disques takes up where they last left off with another impeccably crafted release, courtesy of LA based producer Dreams, who serves up five tracks of gritty goodness on his "Off the Grid" EP. The project kicks off with "Chain", a hissy, analogue, Detroit-scented monster before moving seamlessly into the more stripped down and minimal "Voyeur"; closing out side one "Red Veil" glides in mellifluously, immediately reminiscent of Stacey Pullen's trailblazing forays into that space between house and techno. Over on the flip the title track leads with a jubilantly squelchy tribute to Chicago before the fittingly titled "Night Cap" closes out the EP with a woozy, slo-mo skitter through eerily sparse electronica.

• 180 gram audiophile vinyl
• gatefold sleeve / 4 page booklet / printed innersleeves
• includes 4 bonus tracks (featuring björk on “ooops”)
• first pressing of 750 numbered copies on yellow vinyl
• 25th anniversary album

By the time of the recording of 1991's "Ex:El" 808 State were a worldwide force in the still growing rave scene. Reflecting this, the 808 sound became even larger on this, their most commercially successful album. As well as including three hit singles ("Cubik", "In Yer Face" and "Ooops"), the LP also went deeper and featured vocal cuts too, with Bjork and Bernard Sumner guesting. Now the album gets remastered and reissued. It also includes a bonus LP featuring remixes and previously unreleased versions.


2xCD Info: Slimline deluxe edition re-mastered by 808 State mainstay Graham Massey. Includes bonus CD featuring remixes and previously unreleased versions.

The second of the Fluxion releases to arrive this week, but unlike "Prospect", which was released in 1999 (!!!) this is actually BRAND NEW! The arch dub house submariner rolls out four lost beauties, featuring the pensive, breezing skank of "Outerside" and the billowing, richly detailed and organic dub forms of "Circa" up top, backed with the meanest, coiled sea snake of a groove in the 9 minute dub-noise-techno of "Enhancement, and knotted undercurrent of loping dub in "Equilibirum". What's striking is that over 17 years Fluxion's sound hasn't changed that much - it didn't need to. Was it unbelievably ahead of the park 17 years ago, or does it sound dated now? The answer to both of these questions is no. Fluxion exist in a moment undefined by linear time, instead an omnipresent force in the infinite of organic being. This is the very essence of the universe, the cosmos, mother nature and human spirit, all distilled into our audio spectrum but in reality occupying a much broader range of frequencies. Godlike.

"Prospect" marks the first of salvo of classic Fluxion reissues. Long out of print and originally released on Chain Reaction in 1999/2000. Some tracks have never been released on vinyl before! Essential dub techno masterpiece that laid the groundwork for a complete musical movement - often imitated but never beaten! Side A is given to two phases of "Prospect" - the very epitome of a gravity defying floatation device of complete cushioned bliss. As reverberated element bounce around the stereo field rich, delicate analogue artifacts prick the sense and permeate through the soul, only to be further enhanced by rich but balance bass frequencies occasionally bubbling from beneath. On the flip "Oblique" demonstrates the much used dub-techno skank that would typify much of Basic Channel and Chain Reaction's output. Somehow managing to give both a nod to the Rasta's and to the techno heads over the course of just a simple hypnotic loop! I guess it's that kind of intangible magic that made these records so sought after. Highly sought after dub techno history - don't sleep!

The latest installment of 12" releases from Roam Recordings sees the San Fran imprint team up with old friends 40 Thieves for an excellent redux of Squeeze's 1978 classic "Take Me I'm Yours". The Thieves take on the disco meets psych rock classic, bringing it into sharp dancefloor focus while keeping it chill and sexy with Nina Lares stunning sultry voice. The original lyrics are captivating and Nina's voice is sure to send shivers down the spine when the hook comes in. Tronik Youth's mix strips the whole thing down and gives the drums a bit more of a bite as you may expect from the man who runs Nein Records. Simon Peter shows his mastery of the live bass with his smoothed out Balearic take on the original before Praus rounds this this remix package out with his slo-mo lost-in-the-smoke psychedlic ALFOS chugger.

John Foxx

21st Century: A Man, A Woman And A City

    21st Century: A Man, A Woman And A City highlights some of John Foxx’s best songs from 2000 onwards. These include his work with Louis Gordon, John Foxx And The Maths and Robin Guthrie (Cocteau Twins) as well as collaborations with Gazelle Twin, The Belbury Circle (Ghost Box), Matthew Dear, Jori Hulkkonen and The Soft Moon. There are also two brand new John Foxx And The Maths tracks – ‘A Many Splendoured Thing’ and ‘A Man And A Woman’. And two previously unreleased remixes by OMD and ADULT. The album closer brings together John Foxx And The Maths with Gary Numan for the first time on ‘Talk (Are You Listening To Me?). The album’s stunning cover image was created by John Foxx for the project. 

    This limited edition deluxe edition also features 11 videos by Japanese film director, Macoto Tezka, all filmed in Tokyo with music by John Foxx And The Maths. DVD: All regions (NTSC) These include his work with Louis Gordon, John Foxx And The Maths and Robin Guthrie (Cocteau Twins) as well as collaborations with Gazelle Twin, The Belbury Circle (Ghost Box), Matthew Dear, Jori Hulkkonen and The Soft Moon. 

    Max and Glenn are music lovers first and foremost - playing it, making it, digging for it, talking about it - music is their lifeblood. Less concerned with the world of online hype, you could describe their vibe as “old school”. Put them behind the turntables and they’ll smash out a proper 100% vinyl back-to-back set skipping between jazz, funk, hip-hop, soul and disco - the heart and the backbone of their sound - and have the whole room freaking out to Polish jazz-funk oddities.

    Lock them in the studio together and it’s the swing that grabs you when one of their productions stumbles and nearly trips out of the speakers. The duo revel in the exploration of the space in between beats, and the resulting loose-knit, roly-poly grooves that they coax from the MPC nestle comfortably amidst the deep-dug vinyl treasures that populate their DJ sets.

    Let’s be clear though, we’re not talking about simple reverence to the warmth and dynamics of classic records, and we’re definitely not talking about straight forward sampling (which is by far the easiest way to imbue vintage character into your productions). Max and Glenn’s approach to the making of 'The Yard Work Simulator' was atypical.

    Taking in chunky but totally misshapen four-to-the-floor bangers 'Where The Fuck Are My Hard Boiled Eggs?!', 'Jumbo Frøsnapper' and previous single 'Magic Johnson' alongside the shuffling 7 minute breakbeat epic title track and digi-funk nuggets 'Money $ex Theme' and 'Flat Peter', the result is a 10-track trip through the pair’s deliciously warped psyche, channelled through a ton of hardware. A direct extension of the album’s irreverent sonic palette, the artwork is by friend and illustrator Rahel Süßkind.

    Releasing their debut albums independently for the excellent Danish label Tartelet; and also Box Aus Holz; Brandt Brauer Frick's "The Gym"; Space Hardware and WotNot Music, and together for the first time on the inaugural Money $ex Records 12” in 2015, Max (real name Max) and Glenn (real name Konstantin) originally linked up as mutual fans via Soundcloud in 2012. Konstantin was living in Essen but whenever he visited Berlin they hung out and began making music together. They would meet at OYE Records (Prenzlauer Berg), one of Berlin’s finest independent record stores run by kindred spirit and local linchpin Delfonic (real name Markus). He not only established and runs the Box Aus Holz and TORBEN imprints but he also co-founded and runs the Money $ex label with Max and Glenn.

    Drawing comparisons with South London’s scruffy beat crew 22a and label / club night Rhythm Section a similarly close-knit collectives fostering voracious vinyl appetites and a healthy attitude to eclecticism, the Money $ex gang are in full flow.

    Sonically and ideologically off to the left of the pristine, highly-polished dance music underground, Max and Glenn have built their reputation on short-run vinyl-only 12”s, real grass roots independent record store excitement / support, turning dancefloors on their head week in week out, and pure word of mouth. It has been solely about the music from the beginning and with 'The Yard Work Simulator' the duo are set to spread their message even further.


    Includes MP3 Download Code.

    Martin Heimann

    Salto - Inc. Moon B / Jex Opolis Remixes

      Frankfurt based producer, DJ and music lover Martin Heimann presents his debut single “Salto” on Carry On 008. Remaining faithful to its name, the small label puts out another piece of limited wax every once in a long while. Enrooted in the soundscapes of 80s proto house the original version of “Salto” is a thriving piece of octave liberation. Consistent changes between harmonics break up the repetitive structure, while FM pads and the 303 are performing a little duet. The release is ennobled by two proper remixes from Moon B (Peoples Potential Unlimited) and Jex Opolis (Good Timin’). While Moon B keeps it bubblin’ with some extra analogue funk bounce and subtle Italo dance floor energy, the B-Side is Jexi-fied with some embellishment to the cords, change in the bassline and a nice 808 snap. On top Mr. Opolis adds some mysterious but cheesy vocals samples that match perfect with the moody 80s orchestral stabs.

      Elon Katz (White Car, Streetwalker) aligns perfectly with Diagonal in a prickling debut vocal release, 'The Human Pet'; his first original solo issue in four years, containing an intensely personal, puckered perspective on electronic dance music and experimental pop.

      Structured around a schizoid yet coherent juncture of EBM, IDM, curdled rock music and art school techno-pop, 'The Human Pet' is riddled with idiosyncratic notions on “cryptic topics like rebirth, nullification in stream speed adaptivity, dependence and wealth inequality” to portray a unique intellect and sonic vocabulary operating at the crux of his expressive powers.

      The project began circa 2012, around the time of Katz’s relocation from L.A. to art school in Chicago, and cocks a canny snook, both thru candid lyrics and obsessive edits, back towards the megatropolis where he was born and spent much of his youth. It can therefore be considered an attempt to better understand himself in relief of big city manias by channelling and parsing his own stubborn outsider personality from the madness.

      To our ears it feels like a concise dissection of Chicago’s industrial history and Californian digital psychedelia; probing at their twisted, fluoro guts with the inquisitive nature of a mad scientist or psycho-analyst between the yelping, warped and hyper-piquant yacht boogie of 'The Rhino Powder of New Sensitivity' and a heavily affected dislocation of harmonised pop hooks and whirring body mechanics in 'Clean Crash'.

      It all occupies a strange perch between introspective and exuberant, veering from mid-‘90s AFXian pop rephlexion in 'You Are Alone', to signature Diagonal tackle in the gas-chugging EBM-pop force of 'The Human Pet', whereas Unarmed twists into fractal phantasia, all of which maintain a thread of logic that belies the record’s vintaging period of refinement and distillation.

      There can be little doubt that this is one of the most complex, rigorous and distinctive in Diagonal’s catalogue. Closer attention is required. File amidst records by Luc Van Acker, Aphex Twin, Savant, Powell…


      Barry says: A visceral and industrial distillation of post-rave techno and loungy glitch vibes. Ascerbic vocal shards and razor-sharp percussive cuts permeate the howling resonant 303's, and swooning pads. Reminiscent of early Aphex drinking shots with Nine Inch Nails and the more upbeat offerings from Blackest Ever Black ; Thumping, unsettling and startling. Intelligent electronic music at it's best. A gem.

      Kerrier District

      Kerrier District 1 - Hypercolour Edition

      Originally released in 2004 on Rephlex, Kerrier District’s debut has long since gone down as a classic album, a kaleidoscopic ride through disco, funk and MPC beats. The mastermind of Luke Vibert, the Cornish acid pioneer and grand exponent of mischievous electronic sounds under a variety of guises, the Kerrier District debut has long been of press.

      Following 2015’s successful re-entry on Hypercolour, with the critically acclaimed album ‘4’, the label remaster and reissue this landmark release. Faithfully recreating the original 3LP vinyl set, and reissuing on CD alongside a bonus disc that features the second Kerrier District EP (‘2’, originally released in 2006).

      What we said at the time: 

      Fresh from furnishing Rephlex with four Amen break sampling EPs Luke Vibert returns with a whole LP dedicated to disco! This triple pack uses his awesome technical studio wizardry to create ten tracks of warm, deep, electronic, instrumental disco that you're just gonna love. In places similar to Metro Area, but often more joyous, this is sure to be a favourite in 2004!! (it was)

      Jakarta based Jonathan Kusuma delivers a new EP on Cocktail d'Amore Music. After his European debut on Cosmo Vitelli's I'm A Cliche, followed by a successful EP on Berlin's imprint Love On The Rocks, the Indonesian artist keeps carrying the vessel of the Far East sound.

      The title track 'Black Magic' is a fat disco-tribal inspired groove that builds fast, eventually climaxing with a cloud of acid synths and mystical vocals. Japanese duo Mascaras (Chida and Cos/Mes' 5ive) straighten up the groove giving a 4/4 beats restyling. The result is a proto-techno, trance influenced soundscape, for foggy late-night dancefloors.

      'Urban Sorcery' is an Italo inspired maze of proto-acid synthesizers, sounding like an enchanted concrete-covered forest. 90's house inspired 'Red Vox' is an experiment of cosmic influences. As the vocal becomes part of the groove, the long pads fuel this spaceship pushing it to the borders of time and space.

      Lone AKA Matt Cutler presents his sixth album ‘Levitate’, which marks a point of departure from the inviting warmth of ‘Reality Testing’'s blend of hip hop and house - the listener is taken on a rapid joy ride through breakbeats that at times will leave them gasping.

      Following previous album (and all conquering single ‘Airglow Fires’), Cutler was left at somewhat of a musical impasse - a 6 month dry period with no new inspiration that was showing no signs of abating. The 'epiphany' moment came in New York. Bed-ridden and feverish for days Cutler started to hallucinate;

      “It was pretty terrifying - I'd try to go to sleep and I'd be hearing mad rave tunes form in my head. When I recovered I was left with all these ideas for fast, feverish tunes. Following that we went to LA and hung out with friends, driving round all day in the baking sun playing jungle and hardcore edits - all the best bits from rare jungle tunes spliced together. There was something that really seemed to fit hearing these energetic tracks whilst speeding around LA under perfect blue skies, that was amazingly similar to music I'd been dreaming up whilst in New York. I couldn't wait to get home and start putting this together - I had a new theme.”

      The result is an incredible 9 track LP, a breakneck psychedelic journey through hardcore, jungle, ambient, reminiscent of R&S Records rave sound of the early 90s - Aphex Twin's 'Xylem Tube EP' springs to mind.

      While Magnus International's recent album 'Echo To Echo' is still making waves from Oslofjord to Echo Beach, Full Pupp bring us a further EP from the Norwegian producer featuring two previously unreleased album session bonus tracks and extended 12" versions of  the album's biggest hits, 'Big Red' and 'Zap The Cat'.

      First up is 'Big Red', a luscious electronic house cut featuring bubbling acid bass, a catchy key hook and warm, phased pads - a favourite on the Piccadilly stereo all year! 'Kambodia' adds far eastern touches to Magnus's typically Scando disco-house sound. 'Swing Your Thing' is the jacker in the pack, a peak-time funky house cut with a Detroit techno style keyboard motif, grumbling acid and a sprightly rhythm. The extended version of 'Zap The Cat' closes the EP at a slower tempo, with plucked-strings and a melodic bassline, making for another fjord winner.


      Queens Day / Body Thing

      Mele returns with two heads down 4/4 rollers off the back of his huge debut single on Lobster Boy, "Ambience". Reminding me of Digital Mystikz' "B" (DMZ001), "Queens Day" is an unrelenting soundsystem attack of funky drums, bass pressure and carnival atmosphere, with an infectious male vocal ident. Absolute dynamite for any festival crowd this summer, there's a reason the record is being championed across the board by every man and his dog! Flip and "Body Thing" is just an intense, utilizing another infectious vocal hook as rabid conga loops and wild filter sweeps lead up to an unfathomably big and head-twisting drop. Mele's programming is unrivalled - an absolute wizard with production and "Body Thing" exemplifies this perfectly. There isn't a club DJ alive who couldn't get use out of this record. Storming stuff that keeps you hooked till the very last beat, my bet is you're gonna be hearing this blaring out of the Void Airhorns alllll summer - and that ain't no bad thing!

      Paramida Presents

      Tehran Bomb - Pepsi Edits

        Paramida proudly presents TEHRAN BOMB - the first in the new edit series from Love On The Rocks. This EP represents the first outing for label boss Paramida on her own Love On The Rocks imprint since its debut EP from Massimiliano Pagliara in 2014. Two edits bound to induce air raid sirens and international sanctions from Isfahan to Tel Aviv, A-side Beyond Katovl channels peak time Hi-NRG tension and proto-trance euphoria to send early-morning chills down the spines of unwitting ravers and U.N. delegates alike. B-side Ms. Bombastic takes the long way home, luring unsuspecting bystanders into a hypnodelic desert march to the outer rims of the after hours, proceeding through the Neukölln Sahara with a heavy-driving bassline on a seven-minute journey to a hitherto-unknown spiritual oasis. Supported by camel herders and snake charmers from here to Ahvaz. B-O-O-M.

        Pet Shop Boys

        The Pop Kids - Inc. MK Remix

        One of the biggest tracks from the Pet Shop Boy's recent 'Super' album, gets the remix treatment on this limited 12". The 'PSB Deep Dub' and 'The Full Story' versions are remixes by Pet Shop Boys themselves, including additional vocals and, in the case of 'The Full Story', an extra verse which brings the story of the Pop Kids up to the present date. This is the first time the full track has been released on vinyl.

        Elsewhere on the 12" you'll find remixes from New York house producer MK who adds a swinging retro garage flavour, while the Scene Kings EDM things up, and Israeli DJ Offer Nissim does his euphoric Euro synth dance thing.


        12" Info: White vinyl pressing with full colour inner sleeve.

        Australia is known for its Sydney Opera House, Great Barrier Reef, the vast desert wilderness and unique animal species including kangaroos and duck-billed platypuses; but is also known for its well-crafted music output and deep love for optimistic sensual tunes. This is the case here with the first release of a mysterious project called Ponzu Island, there is absolutely no info available on the artist, so let your ears judge without prejudice. His first effort comes in the form of a 3 track EP including "Super Koto", "Ponzu Beach" and "Ponzu Logic", they sound like if Morgan Geist and Todd Terje took some acid and locked themselves in a room with a sea view, a synth, and a computer. Welcome to Ponzu Island.

        To complete the EP the label counted with Andras Fox, another Aussie who has already gained much respect for his simply-perfect micro house productions (btw don't miss his live set if you ever have the chance). Andras revisits the track "Super Koto" in the form of an extended mix with a slower bpm and his magic touch here and there. On the flip side Apersonal's local producer Trujillo does his usual thing remixing "Ponzu Logic", closing the EP into a deep and darker territory. By now you will be in the middle in the desert asking yourself how you got there..

        Ptaki spread their wings for another journey on Transatlantyk, revisiting their critically acclaimed debut album with a couple of kindred spirits in tow. Alongside an unreleased dub from the "Przelot" sessions, we're treated to two great reworks here, both by contemporary heroes of the fast rising Polish house scene. Stretching across the whole of the A-side is Eltron's 10 minute version of "Sloneczny Pyl", a straight up peak-time house banger destined for summer jam status. The catchy female vocal loop from the ambient original is surrounded by a massive dubwise bassline, layered tribal drums and a vat of raw, oily effects, guitar licks and pouring keyboard pads. Just when you think you had this one figured out, Eltron swerves into an enormous breakdown, perfectly combining his trademark 'big room deep' vibe with Ptaki's sampled psychedelia to create a track that's already a road-tested crowd favourite. Das Komplex take on "Ostatni Kurs" is just as excellent, although it's destined for a different time of the party. The Polish producer maintains the cinematic atmosphere of the original but swaps downbeat for beatdown as those headnodding flavours are developed into a jazz-funkin' slice of slow house magic. Weaving Ptaki's melancholic samples together with an island-like horn section, walking disco bassline and tons of sensimilla-infused effects, it's another great track from the most talented Polish newcomer. Last but not least is Ptaki's unreleased "Taniec Na Wodzie". This dubby original brings you folky guitars, flutes, organs, synths and pianos working closely with hypnotic rhythm. Clocking in at a languid 63bpm, this one is for the afternoon at the beach.

        Pye Corner Audio / Dalhous

        Run For The Shadows EP

          It’s an honor for us to announce that Lapsus' next EP is by two of the label's favourite artists: Pye Corner Audio and Dalhous. After their participation in Lapsus Festival, both artists agreed to the label's request to make a split EP and the result is "Run For The Shadows", an EP composed of four magnificent tracks (two from each artist), which includes some of the most impressive work from their respective discographies. The kinematics and bubbling sonic frequencies of "Stream Four" and the emotional techno low pulse of "The Simplest Equation" will be well appreciated by fans of Mr. Martin Jenkins aka Pye Corner Audio. Two extraordinary pieces of analogue electronic music whose slow-(e)motion dynamics adhere to the already mythical Black Mill Tapes. As for Dalhous, they have created two of their best songs to date. The beautiful and incredibly melancholic melodies of "The Essential Wander" are surrounded by an extraordinary rhythm section full of surprising twists. Secondly, the brief but amazingly intense (and painfully beautiful) "Another Witnessed By Resolution" closes one of the best chapters in the history of Dalhous, the magical musical project from Scotland which continues to open new ways in its increasingly personal world, far removed from popular trends. "Run For The Shadows" is, without doubt, the most outstanding album that Lapsus Records has released so far. An exceptional work by two unique artists. An stunning sensory journey. 

          Raphael Top-Secret & Nelson Bishop

          Love So High

          Undoubtedly in line for some sort of trophy this season, the infallible Antinote deliver yet another essential release, this time from celebrated digger and DJ Raphael Top Secret and musical maestro Nelson Bishop. Prompted perhaps by a dull Parisian winter and the faltering spring, the French duo seem to have set their sights on more sunnier climes, concocting a three track EP which blends the off kilter synths of Euro-pop with the sweet flavours of the tropics. EP opener "Chekema" finds the duo reimagining the hypnotic, percussive sounds of Africa through future primitive drum machines and naive synth sounds. The circular motifs of the kalimba or marimba play out through pristine FM synth, while the simple vocal refrain and infectious rhythm keep us glued to the dancefloor. The flipside kicks off with "Get Enough", a foggy street jam in which the cold CR-68 rhythm finds perfect balance with the warm organ chords of the Crumar, setting up camp in the bermuda triangle between Compass Point, the Blitz Club and Morgan Khan's living room. The duo bring the curtain down in fine fashion with the frosty reggae of "Love So High", a perfect combination of icy European melody and lilting Caribbean groove in line with Rune Lindbaek's "Wonder" or Laidback's "Fly Away". Melancholy but so damned danceable, this should have the after party crowd sobbing and smiling in equal measure.

          • Darkened techno mutations by
          • RIYL Raime / Blackest Ever Black, Preserved Instincts etc.
          • 300 Copies

          Captivating slab of cyborganic techno sensations by northern Italy’s Riccardo Mazza (from the Lettera 22 duo), making his full solo vinyl debut for iDEAL Recording on the heels of their outstanding John Duncan release.

          Mazza is a veteran of the same, Treviso-based punk scene that spawned Ninos Du Brasil, and he’s made a probing transition from noisy rock music thru to more abstract, rhythm-based and electronic realms over the years, landing at the coruscating industrial tones of UNFIT via freeform, bad-vibing releases for the Second Sleep label, among other, prime Italian imprints such as Hundebiss and Holidays Records.

          Operating on the liminal edge of minimal techno, post-industrial and concrète ambience, his productions are ripe for darker-minded dancefloors, sustaining a momentum and gloomy pallor that doesn’t shift from start to finish, coursing thru from the coiled title track, thru the Kenji Kawai-sampling, panic-inducing stepper Height, to the muddied trample of Come Back and the Raime-like Loss, to buckle and wretch with the bloody-nosed electro of Edge and a slow stygian punt entitled Unplaced.

          It’s a must-check if yr into Hospital Productions, Preserved Instincts, Blackest Ever Black…

          The legacy and influence of Mark Moore and S'Express is celebrated with 'Enjoy This Trip' - a collection of remixes and cover versions by artists Mark has been an influence on and friend to, including Chris & Cosey, Tom Furse from The Horrors, Horse Meat Disco and Ray Mang. The album art is a homage the punk-era work of artist Linder Sterling and is designed by another friend - Trevor Jackson.

          Having played a key part in the UK’s house music rise, Mark took things up yet another level. His idea to form S’Express with co-producer Pascal Gabriel was a natural progression from life as a regular on the club scene. Swept along on a huge wave of excitement for acid and rave culture, S'Express had a number one chart smash with ‘The Theme from S-Express’. This was their first of several worldwide hit records which helped thrust these new sounds into the world's spotlight and positioned dance music/DJ culture as a viable force. Mark's meteoric rise to fame - due in part to his flamboyance and fabulousness - paved the way for electronic dance music stars to come. With Mark’s keen ear for new talent, the first S'Express album ‘Original Soundtrack’ featured vocals from a girl just starting her singing career - one Billie Ray Martin. The second LP, ‘Intercourse’, featured additional production from William Orbit and Carl Craig.

          New York's Sheik 'N' Beik enlist the mighty Keita Sano for release number seven on the label. "Child's Play" kicks things off with a dark, menacing intent. Tense, suspended organ notes riding percolated machine-code drums and dark, blurred vocal samples. "Bypass Motion" throws a skewed concentric bassline at a plethora of percussion samples for a primordial dance ritual that should send people into a demonic frenzy come 5AM in some smoke filled rave cave. Flip and the whole of side B sees "Mixing Error", a patient if deliberate trip through thick plumes of tape fog, a staggered kick pattern and tuned bass stabs our only beacon of direction through the pitch blackness. Slowly fragments of light emanate from out the other end of the tunnel, and we find ourselves in the inner workings of some industrial factory line; many mechanical elements all working in unison and maintaining rhythm through what seems to be organized chaos. It's an interesting, overwhelming end to this unyielding statement of intent from Keita Sano - a producer who you need to keep a close eye on at present. 

          SAVE! is the new musical vehicle from Marc Nguyen Tan, aka Colder. On ‘Monsters And Fairies’ he steps aside as vocalist and collaborates with American poet and singer Craig Louis Higgins Jr. Craig contributed unsettling spoken word to the acclaimed dub-acid trax by Paranoid London (recording under his Mutado Pintado moniker).

          The world they have created together, with Craig recording in London and Marc in Spain, exists in a dream, suspended between the two locations. A creeping, creepy Lynchian-world, where acid-dub work-outs combine with stream-of-consciousness monologues to make one of the strangest records this side of Serge Gainsbourg’s reggae albums like ‘Aux Armes et cætera’. The record warps and shimmers as if seen through a heat haze, a confused existential daydream or a dark wave mirage.

          Released on Parisian DJ Ivan Smagghe (It’s A Fine Line / Kill The DJ) Les Disques De La Mort label, SAVE! finds Marc operating in the experimental shadows, against the grain, much as Colder’s post-punk sound originally appeared in the context of the other dance music in 2003.

          Shit Robot reunites with Nancy Whang for a sharp blast of raw yet fun banging acid house. "Lose Control" carries Whang's delectable voice into a sweaty, top-off main room akin to Homoelectric @ Legends here in Manchester circa 2008 - fierce, impalpable energy from beginning to end. Help together by a buoyant and aggressive acid line, sizzling hot drums, Nancy's half-singing half-chanting vocal delivery should unite the floor into a writhing gurning mess! For the creative DJs out there, Spender Parker offers up some handy vocal stems to mix over another track or simply to tease in the orginal. He continues his work on the flip where he offers up two remixes of the OG. His "Workmix" is a straight up, heads down stomper, giving the floor its marching orders to jack as a rib-shaking kick careers unrelenting through rising sirens, wobbly sub and Whang's vox. Finally, we get Parker's "Workdub" - essential the same remix but with the vocal elements removed for just a wild techno romp for extended strobe machine abuse. Excellent stuff.

          It's been three years since Butter Sessions opened the flood gates for a rich flow of Australian dance music; with Melbourne now firmly placed on the global dance music map. Sleep D return with a follow up to that very first blueprint, with this, part 2 of "The Jackal". "Bush Snake" gets things underway and means business from the off. Soundsystem tweaking drums get an electric groove motoring away from the start as various technoid efx swirl and dart around the mix. As the track progresses, intensity levels are sent soaring as layers of tape delayed percussion, buzzing waveforms and subtle melodies are all introduced into the mix, reaching dizzying levels of sweaty exuberance towards the later half of the track. "Karingal Dub" rockets in next with more high fidelity drums. This time utilizing a 3/4 tribal waltz as glistening, ethereal sounds converge on the mix, making for a tropical, futuristic take for your outdoor dance party. Finally, the pair revisit "Jackal" for Pt. 2 of this dancefloor epic. Beginning slowly and deliberately with a concentric techno beat, dark robot voices and dry snare hits, the track locks into a hypnotic circular motion as analogue swirls and space-age effect add sparkly to this heads-down beast. Sleep D show that you can produce freeform, hardware based techno whilst still maintaining a keen ear for arrangement, sonic fidelity and high quality production. Exceptional.

          Nabu Network is a colourful journey into the musical mind of Sorcerer (Daniel Saxon Judd). Soulful Balearic tempos and tropical tones swim with sparkling guitars and uplifting melodies on this awesome pan-global journey from the disco to the rainforest.

          This exciting release is the first 12" on Universal Cave Records and features some of the California artist's strongest works to date.

          The EP is made up of three original Sorcerer jams and a Universal Cave remix. 'Nabu Network' kicks things off with a languid organic groove that's got laid back moves and dubwise syncopation along with echo-drenched guitar licks and analogue synth fills. The Universal Cave remix of 'Voice Of Nabu' gets on a super slo-mo Balearic house tip, with a Mr Fingers-style bassline and rock solid kick. Flip the disc for 'Critical Situation', a more upbeat house cut layered with treated synth pads. Lastly 'Rich Cat' goes for the full 1991 Balearic piano house sound - just wait for the equally retro rave keyboard breakdown halfway through! We're rockin'!

          Markus Stockhausen / Jasper Van't Hof

          Aqua Sansa

          A key mover and shaker in the burgeoning reissue scene, Archeo Recordings wow us once again with a gorgeous reissue of this esoteric, otherworldly, organic gem from Markus Stockhausen and Jasper Van't Hof. Balearic bods and cosmic kids will remember the latter for his legendary "Pili Pili" LP, while the former is an ECM approved jazz trumpeter whose dad was the most important electronic composer of the 20th century (yes, THAT Stockhausen). Originally released in 1980 and recorded at Conny Plank's studio, this immersive collage of aquatic electronics, underwater tones and murky dub is a masterpiece of esoteric jazz, hitting the middle ground between kraut experimentalism, Italian library recordings and the Biber school of German jazz. This licensed reissue, remastered and presented in a beautiful sleeve finally offers us mere mortals a chance at owning a copy of a holy grail - don't miss out.

          Keeping with the rough release rate of an album every couple of years, Prime Numbers label boss Trus'me is back with his fourth full length, 'Planet 4'. Featuring nine cuts of intergalactic techno and once again marking a considerable sonic evolution for this acclaimed UK artist.

          Never one to do the same trick twice, David James Wolstencroft uses his latest album as a vehicle for his own interest in deep space, physics and dark matter. It is those subjects that have occupied his mind in recent years, and those subjects that inform this brilliantly otherworldly album.  Where previous LPs have variously been funk and soul heavy, or openly analogue and physical, this one is a more subtle and supple techno affair that is as cerebral as it is seductive.

          Starting with a monologue that suggests that man has already landed on Mars, '1979' is a cut that immediately places you somewhere in orbit. Spooky synths and sci-fi sounds are eerie and atmospheric and very much set a perfect tone. From there, there is slow, elastic and unsettling mood music on 'The Unexplained', deep and insular techno on 'Dark Flow' and trippy Dan Bell style minimalism on 'Ring Round Heart'. The second half of the LP touches on chunky dub, manic and melodic grooves.

          This is a coherent statement that holds together conceptually and musically. As well as providing plenty of dynamite for the more discerning dance floor, 'Planet 4' is also a delightfully detailed affair that will work just as well on headphones late at night.

          Tusco AKA Piero Umiliani

          Suspence Elettronica - Clear Vinyl Edition

          Tusco is one of the many pseudonyms that legendary composer and producer Piero Umiliani uses to not overcrowd the sonorization market with his name. Umiliani was a well-known Italian soundtrack composer and jazz musician. He was one of the pioneers of styles such as exotica and lounge and used a lot of funk moves in his soundtracks, too. He also composed a lot of library album covering genres such as spaghetti western, giallo, sex films and documentaries all self-produced in his mighty SoundWorkShop Studio, equipped with the most advanced screening and editing systems of that time. 'Suspence Elettronica' is a very rare experimental / ambient electronic album from the early 80s with a great use of synthesizers. Long time forgotten masterpiece of electronic music reissued for the first time ever!


          The Stitch Up

          Massive secret weapon packing stadium destroying potential on this one-sided 12" which has got us all scratching our heads to its proprietor. (ed - turns out it's the one and only Objekt!). "The Stitch Up" has a rolling, acidic bassline looping over and over as lysergic, metallic effects career through the thick mix with ease, splitting craniums in two as they do so. Building to a soaring, piercing, almighty climax before dropping back into its infectious rolling grooves. A headturner from the higher echelons, grab this unsanctioned piece of club firepower before it receives trade restrictions and cease and destroy orders imposed on it.

          DJ support: DVS1, Surgeon, Four Tet, Pariah, Darko Esser/Tripeo, Pangaea, Perc, Call Super, A Made Up Sound, Untold, Errorsmith, Anthony Naples, Cosmin TRG + more.


          Matt says: Stadium-destroying, cranium-splitted artillery that's surely gonna be the subject of a UN weapons embargo at some point. Black market firepower - most recommended. EDIT - one of my biggest and most under-the-radar secret weapons gets a timely repress. Criminally slept upon 2 years ago, don't miss this chance to grab this dancefloor nuke.

          Gelert takes a short journey from Nant Peris up to the peak that is Elidir Fawr. We don’t know a great deal about Elidir but Elidir was a giant of a man. The 4th highest peak of the 3000’s is set at 3029ft (923m) - 3000.4 delivers more nippiness with Luv*Jam inviting tropical heat master Damian Schwartz, and new nipster Jack Beavers to the team. Schwartz's "Dancing Plague" is exactly the kind of synthetic, ultra tantalizing Snowdonia house music Luv*Jam invented with these labels - crisp, full frequency rub downs with as much for the mind as there is for the body. Swartz follows up with "Ian Rush" and "Take Two"; the former a frenetic acid body track which tickles all the sweet spots while the latter is a low slung and languid deep house jaunt; in a strange way the sonic equivalent of taking a paraglider off the edge of Elidir Fawr on a blue sky day with light fluffy clouds accompanying your decent. Newly anointed Jack Beavers keeps the emotive, rich side of the house music cannon well stocked with "Something Happened" while "Quit Your Job" is a future-proof beatless ballad with darting synth work, clever vocal manipulations a real glacial, lost-in-the-clouds aesthetic. Finally old pal Bob gives us a tasty, tongue-in-cheek skit to complete the mission and descend the peak back into the lowlands - let's head to the pub and give those tired legs a rest! Join the Rucksack Club and collect all 14 peaks along the way, keeping an eye out for the secret peaks beyond. Recommended.

          Starting life as a small New York event aimed at raising awareness for Fela Kuti's musical message, Rich Medina's Jump N Funk party has now been rocking dancefloors across the globe for over 15 years. Honouring Fela's contribution to music as well as his political and cultural legacy, Medina has made his events a platform to celebrate Afro-life across the black diaspora.

          With guests such as Wunmi, the cast of Fela! On Broadway, Asiko and Antibalas providing captivating live performances, Jump N Funk is so much more than a club night. In creating this compilation to represent the spirit of his events, Rich Medina has chosen an eclectic selection of undeniably afro-tinged, unashamedly life-affirming music. With most tracks either referencing, sampling or inspired by the great man, the record also includes material by Fela himself, as well as son Seun Kuti and long-time band member Tony Allen the inventor of the afrobeat set drum syncopation that is equally as notorious as Fela and his message... The album's artwork has been lovingly created by Lemi Ghariokwu, the fabled Nigerian artist who designed some of Fela's most iconic covers. From the record's sleeve to the music contained within, Jump N Funk is a cultural artefact with one foot in the past, the other in the future. An echo of Fela's message: a reminder to celebrate, to empower, to progress.


          2xLP Info: 2xLP + 7".

          In 2016 Dekmantel will see the launch of both a limited-capacity festival and compilation series, both bearing the Selectors name. The compilations will come first, with Motor City Drum Ensemble, Young Marco, and Joy Orbison at the helm of the initial three chapters. These are not mix CDs; every Selectors compilation will include a collection of hand-picked, unmixed tracks personally curated by the artist.

          Admittedly, drawing a line between "selectors" and mere DJs is an all-but-impossible task- it's essentially a "you know it when you see it" proposition - but it's hard to argue that Motor City Drum Ensemble (Danilo Plessow) doesn't tick all of the required boxes. He's been digging for records since his teenage years, and his DJing has become the stuff of legend.

          In truth, Plessow's relationship with Dekmantel dates back to the earliest days of the Motor City Drum Ensemble project, making him a natural candidate to head up the inaugural Selectors compilation. As expected, he's thrown himself into the task; selecting a want list from his collection of 15,000 records was no easy task, but getting permission for the final tracklist was even tougher.

          One song in particular, Raphael Green's "Don't Mess with the Devil," required him to personally call up a church in St. Louis, Missouri. "The guy, he's a Bishop," he says. "When the Ferguson protests were happening, for example, he was on CNN explaining his thoughts on the whole thing, so he's a known public figure, but nobody really knew that he had this amazing record that was recorded in '79 or '80. His voice is just unbelievable. It's the kind of record that when I heard it the first time, I couldn't believe that there had only been like 100 copies pressed, and that this wasn't actually big."

          Motor City Drum Ensemble's record bag is full of these kinds of gems, but he has no qualms about sharing a few of his secret weapons with a wider audience. "I wanted to get some of the stuff that is really, really hard to get, and make it available for younger people," he explains. "I used to be in the same situation. Back when I was 18, I would listen to a Rainer Truby mix and he would only play these $400 Brazilian records. I was like, 'Fuck, how am I ever going to be able to afford these?' I was glad when there was a reissue, and it's a bit the same with the compilation now."

          "Basically," he explains, "the approach for the compilation was, 'If I walked into a record store, what kind of compilation would I buy?' That's what I did." 

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