Houndstooth

We go through life. We shed our skins. We become ourselves.” This line from Patti Smith was going round and round Felix Manuel’s head as he gradually constructed Under Tangled Silence, his first album in six years and a record of a literal creative rebirth. Felix originally began it in earnest in 2020 Covid lockdown, but a catastrophic hard-drive meltdown destroyed almost all his work and sent him close to psychic collapse himself. However, ultimately this pushed him to rebuild from scratch and in so doing to confront and reassess every part of his musical and psychological processes. The result is utterly extraordinary. Felix was a child prodigy as an instrumentalist and his advanced musicality has always been prominent in his music, but here he has put himself front and centre as pianist, harpist and more. And this sense of exposure as a performer interweaves with an unflinching emotional openness too. Where sometimes electronic production as advanced as this can use intellect and techniques as shields from soul-baring, this is the sound of someone who can boldly say “I feel things, I cry all the time, and I'm not afraid to say it or show it in the music.” But this doesn’t mean there’s a move away from the soundsystems and dancefloors where Felix made his name as a uniquely innovative vinyl DJ. Even just in the opening track “A Tune for Us”, minimalist piano ripples and jazz drumming flow into the breaks of vintage jungle – and as the structure of the LP unfolds, a deep ambient meditation like “Hold” can sit very naturally in between the futurist dancehall of “L’Ancienne” and the high-definition acid house mind movie of “Galaxy in Silence”. In fact, as with the hands-on musicianship, that gutsy big-speaker electronic impact is delivered with more certainty, more expertise, more personal flourishes than ever. And all of those elements are more integrated than ever too: the sound of a total musical personality emerging afresh is truly something to behold. An already remarkable talent has been refreshed, reborn and is making the music of his life.

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Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity. It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving. Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties. The tone set, the EP moves through ultra-rarefied glass-like p

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‘Isthmus’ is Ross Tones’s 5th album for Houndstooth in 10 years. It only seems fitting for it to return to the eclecticism of 2014’s ‘Mosaic’. An isthmus is a narrow strip of land that connects two larger bodies. The two islands contrast in time, topography, chaos and character. One sears. The other, buried by blizzards. A land bridge fights the tide; offering harbour. Connecting the estranged. Giving battle to the noise. It is uncertain who won.

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Following her strong debut EP on Warp Records sister imprint Arcola, Copenhagen’s Anastasia Kristensen, renowned for her energetic sets, presents M A X I M A, a four-track EP of animated techno and elaborate sonic geometries. Kaleidoscopic patterns and angular drums launch straight through the spacetime continuum. Fusing elements both hyper modern and old school, Anastasia crafts an expansive package for the most discerning psychonauts. Released on Magenta colour vinyl

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Off the back of his killer album release, LOMA, Throwing Snow returns to Houndstooth for a fiery, politically charged EP; The Death of Pragmatism. As tension continues to rise in the UK around the Brexit debate, Throwing Snow channels the aggression into a 4-track release - showcasing some of his most intense work to date. To be released on the 1st November, the day after Brexit is executed, the EP opens with a percussive-driven record ‘Nought To Gain’. The idea is built around Ross Tones (AKA Throwing Snow) looking into the dramatic system modifications at play that change landscapes as a whole and when ’the supposed benefits of that modification no longer apply as there is now a different structure in place - there is nought to gain and all to lose’. The second track, ‘The Righteous Mind’, is named after Jonathan Haidt’s book subtitled ‘Why Good People are separated by Politics and Religion’. ‘His approach explains the current schisms and could act as a mediator for angry voices’, Ross says, giving a better understanding of the single as it allows for a moment of reflection before leading into ‘Ideolog’ - an ominous soundscape circling back to Throwing Snow’s half time DnB influences. ‘When staring into the abyss, a great orator speaks of utopias and rose-tinted cocoons. Ideologues are intrinsically reductionist, degrading the complexity of every single issue. Meshed interrelations are ignored, in favour of quasi-religious furore. Basically, it’s a shit idea to follow them’. Rounding off with ‘The Death of Pragmatism’, a climatic syncopated record focused on glass-shattering beats and piercing synths, Ross cites the world of Gödel and unyielding ideologies which suffer from their complex consequences. ‘Assessing the foreseeable aftermath within a broader context is a map through the madness. Otherwise it’s the death of Pragmatism’.

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ere From Where We Are’, Pariah’s first release in six years, marks a natural progression in his sound across nine interconnected pieces. After just six months messing around making his own stuff on Logic, Pitchfork coverage piqued the interest of the legendary R&S, and over the next two years he released three EPs with the Belgian label. Since then, Arthur Pariah has continued to DJ around the world and play live with Blawan as Karenn. ‘Here From Where We Are’ is inspired by a series of very personal reflections, responses and reactions. Pariah is keen for people to process it in their own way, free from interference. Opening with the transcendental ‘Log Jam’ which spills into the huge, empty and plaintive ‘Pith’, the artist distils his experiences into an album of nine moving, multi-layered tracks, where peculiar textures combine with rich harmonies and absorbing melodies into a heady mix of abstracted environments, formally structured songs and sound collages.

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Berlin based electronic mainstay Marquis Hawkes has announced details of his second LP ‘The Marquis of Hawkes’, due out 24th August 2018. Ahead of this, Hawkes will release a new single featuring acclaimed UK soul singer Jamie Lidell on the 20th July. The single, entitled ‘We Should Be Free’, features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by Hawkes himself. Both this, and the essential previous single from June, “Don’t U”, which featured the vocal talents of Ursula Rucker, will appear on the forthcoming album in an extended version. The album will be the producer’s second LP for us, following his critically acclaimed debut ‘Social Housing’ for the label, which was released in 2016. Entitled ‘The Marquis of Hawkes’, the new album adheres to a specific sound palette whilst still displaying eclecticism across its eight tracks. Opening with the beat-less droning ambience of ‘Beton Theme’, the album takes in a variety of themes from across the house music spectrum, from the deep and dubby meditation of ‘Instrument Of Thought’ to the body jerking rhythms and retro bass stabs of ‘Tough Love’, the introspective mood of ‘The Matrix’, to the soulful New Jersey styled House grooves with a contemporary twist of ‘Sunset’, building through the optimistic joyousness of ‘Hope In Our Hearts’ before closing with Lidell’s heartfelt and passionate emotional overload on ‘We Should Be Free’.

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Special Request joins forces with Nina Kraviz and Anastasia Kristensen, shattering the doors of perception over a four-track EP. ‘Through The Looking Glass’ drops July 20th on Houndstooth. On the A side, Nina Kraviz provides two interpretations of ‘Curtain Twitcher’. ‘Alice Was Here Remix’ takes the intensity of the original and boils it into a 4/4 spin of frenzied basslines and distorted acoustics, punctuated by her languid reading of the Mad Hatter. For the ‘Samba Version’, syncopated polyrhythms take charge of a fragmented melody. Opening the AA side, ‘Looking Glass’ lures you down the rabbit hole with mysterious bleeps, only to reveal a whirlwind of stormy breaks and junglist percussion. Closing off the trip, Anastasia Kristensen’s remix of ‘Tiresias’ marches its way through a field of swollen bass and glitchy percussion.

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Berlin based electronic mainstay Marquis Hawkes has announced details of his second LP ‘The Marquis of Hawkes’, due out 24th August 2018 on fabric’s in-house label Houndstooth (home to Call Super, Aïsha Devi, Special Request and more). Ahead of this, Hawkes will also release a new single featuring acclaimed UK soul singer Jamie Lidell. The single, entitled ‘We Should Be Free’, features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by Hawkes himself. Both this, and the essential previous single, “Don’t U”, which featured the vocal talents of Ursula Rucker, will appear on the forthcoming album.

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Marquis Hawkes is an alter ego adopted by long time electronic music producer Mark Hawkins, founded for his house music focussed activities. Hawkins decided it was time for a reboot after being head-hunted by old friends Dan Monox and Kenny Wasp, who had just founded Dixon Avenue Basement Jams in 2012, particularly as the material differed from what he’d previously released. Hawkins solidified his sound during this period, taking influence from house music’s Chicago, Detroit and New York home bases alongside the UK’s deep house sound. Fusing these styles with contemporary production values, he developed a style synonymous with his Marquis Hawkes alias.

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Special Request returns via Gerd Janson & Shan's studio, as they completely re-build both Brainstorm and Make It Real across four frenzy-inducing incendiary versions custom made for sending the rave over the edge...

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No Such Location (Marcel Dettmann Positive Remix) No Such Location (Marcel Dettmann Negative Remix) Moesha Moved To Margate (Radioactive Man Remix) Ajunlei 8 (The Exaltics Remix)

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Hyperdub + Warp Records artists Babyfather and GAIKA rework two 18+ tracks from their second album ‘Collect’. Hyperdub’s Dean Blunt, a category-rejecting artist and an art-pop provocateur tackles ‘Drama’ under his Babyfather guise, looping a low slung swagger beat under the vocals of DJ Escrow and Samia Mirza. Warp Records multi-disciplined South London artist GAIKA rips apart Glow into a discordant sub-low bassline drone, pitching Samia’s vocal as slow as can go, harsh high pitch tones and field recordings. “One of the strongest things we’ve heard from the divisive producer.” - boomkat. Strictly limited to just 200 dinked white labels - One for the collectors.

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Akkord return with their first original music since October 2015’s ‘Obelisk.’ Over the years Akkord have become known for their bloodied and brutalist, steely precision, focussing on sculpted, visceral sound design. Presented on 140gm vinyl. Cut & mastered by Matt Colton at Alchemy. Artwork by plusyes.com

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New Life Tones is the second 12” of 2016 for Call Super and heralds another subtle shift in his work. Puppet Scenes chisels a twitchy, snake-like path between dub and house whilst rejecting the standard templates for the usual melding of those two forms. New Life Repercussions is a transmission from the undergrowth. A sleek roller that surrenders to something broken and melancholic it represents another achievement in Call Super's increasingly idiosyncratic melodic portfolio.

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Returning to Houndstooth a year since the release of his One Sound / Layer Lock EP is Second Storey. After spending most of 2015 focussing on his collaboration with Laurence Osbourne - Second Storey & Appleblim present ALSO - over at R&S Records, Alec Storey came back into the fold as part of the Houndstooth 3rd anniversary compilation earlier this year. Now he returns to the label in full with a gleaming new EP, Bismuth. Initialising the release, title track Bismuth takes inspiration from a documentary on the visually impressive metal. Affected by its angular, complex 3D elements and fluid like structures the music itself mirrors the element’s appearance deploying the intricate precision of IDM creating its own multiplex of textures.Melodic poly rhythms and chord structures define the track from the outset which work neatly with Storey’s trademark tight percussion, which sits in that golden spot between bass and electro. Bringing the tempo up a couple of notches, Grand Rapid lives up to its title. Urgent in nature, it reflects the environment it was created in - crafted on a laptop while speeding through the countryside on a train. Propelled by its ever-present bassline groove, percussive elements speed and whir by in this pacey venture. Finally, Helicat completes the EP, built around the interplay between the main riff and synth percussion elements; from the outset bit-crushed bass drops and pommels out an electro-esque off beat rhythm while the synth line gives its circling answer.

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Fresh from live performances at Bonobo’s Outlier festival, The Quietus stage at The Great Escape, and supporting Max Cooper, London-based production virtuoso Guy Andrews revisits his acclaimed debut album ‘Our Spaces’. Informed by audience reactions at these shows, he takes two of the LP’s standout tracks and reconfigures them for the dancefloor, with devastating results. Meanwhile two like-minded artists tackle the album’s lead single ‘In Autumn Arms’. Max Cooper crafts a formidable collage of IDM textures, with staccato beats punctuating the lilting guitar riff, whilst DJ Mag’s former ‘Best Breakthrough Producer’ Ben Pearce takes the track into the main room, turning in an elemental 4/4 floor-burner.

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Almost a year after his last outing, London-based Vester Koza is making a welcome return to the fray with a new EP entitled OTR. Featuring four atmospheric cuts, for the first time it finds him step away from his own Maslo label to join Houndstooth. Fusing elements of dub, ambient and IDM into moody sound worlds with you right at the centre, he has a subtle but seductive touch that has always marked him out. An on-going interest in security, technology and privacy characterizes his work, as does a passion for the vintage and modern gear he uses when producing. All of that is evident here in his most cerebral and conceptual release yet.

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Three ultra exclusive remixes of arguably the most upfront track on the forthcoming Marquis Hawkes album on Houndstooth, which features legendary soul diva Jocelyn Brown on vox. Fell off the back of a warehouse, and in short supply, so don’t sleep on this!

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2016 sees the 3rd anniversary of Houndstooth, and the label mark this with their 50th release. ‘Tessellations’ is a compilation of brand new, exclusive tracks from each of the 14 artists to release on the label. The release serves to simultaneously trace common threads and highlight tensions within such a stylistically expansive roster. This 12" sampler collects four dancefloor-leaning cuts onto vinyl for the first time. The atmospheric jungle of Special Request's 'Live From Alpha Centauri' could be the soundtrack to an intergalactic chase scene, whilst Akkord's 'Vector' grinds gradually towards an explosion of mechanistic breaks, like an ancient machine brought to life. 'Can't Stop' sees Marquis Hawkes dusting down the 303 for a playful yet powerful acid banger, before Second Storey's 'Elephant Ride' draws syncopated funk from his machines in his inimitable style.

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Aïsha Devi's 'Of Matter And Spirit' LP encapsulated the spiritual metamorphosis and transcendental journeys of this other-worldly figure. 'Of Matter And Spirit Remixes' offers a series of new perspectives on the sonic wonders hidden within. Irish duo Lakker’s take on 'Anatomy Of Light' adds a heavy dose of syncopated percussion. Recent Ninja Tune signing Throwing Shade transforms 'Kim & The Wheel of Life' into an introspective session. The remix EP boasts two reworks of 'Mazdâ'. Berlin's Mind:Body:Fitness interprets the track as a whirlpool of trance, and the spooky Killing Sound version features MC/vocalists Rafael Shafique and Bogues. The collection enhances and twists the ethereal beauty within 'Of Matter And Spirit' and leads this singular, meditative artist straight into the ritualism of the dancefloor.

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London-based producer Guy Andrews is renowned for creating textural electronic music, combining influences from post-rock, techno, ambient and afrobeat. After releasing on Hemlock, Hotflush and Pennyroyal, scoring for photographer Nadav Kander, and remixing Massive Attack’s Robert Del Naja, he makes his Houndstooth debut with ‘In Autumn Arms’. On the title track, a simple guitar melody falls melancholically over a bed of synth loops and string ensemble, while snares and thundering drums meld with distortion to heighten the tension. ‘Let Your Shadow Decide’ is the A-side’s darker, downbeat counterpart, opening with tremolo strings and a weighty bass-line, while emphatic drums build toward the track’s climax. Although seemingly disparate, Guy’s use of wall-of-sound noise and softer strings is skilfully mixed, carried forward by the stark guitar lead. Cut and mastered by Matt Colton, the 7” single is pressed to dinked vinyl in autumnal orange, and limited to 300 copies worldwide.

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Akkord return with their first original music since June 2014’s ‘HTH020’ EP. ‘Obelisk’ is a study in rhythm and frequencies, suspended in space. On the minimalistic ‘Monolith’, a single element is moulded into a 3-dimensional sound sculpture, an aural illusion of a lead weight that floats away into the ether. In contrast, ‘Megalith’ has a pulsing gravity, drawing in laser-guided blasts of bass, broadsides of pitched-down jungle, and echoes of distant birdsong and telecommunications as it journeys through the static of space.

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Marquis Hawkes returns with a new EP for Houndstooth, ‘Sweet’. Pairing up a sugary R&B sample with his signature swinging but slamming beats, opening cut ‘When I Get Home’ is a return to the flavour of last year's summer smash ‘Can't Find A Reason’, although this time around, it's more tracky and introspective. Next up, a different facet of Hawkes’ production talents is reprised with ‘At The Witness Stand’, a trippy take on classic NY freestyle. Opening the B-side, title track ‘Sweet’ furthers Hawkes’ trademark rough and ready house sound with distinctive vocal hooks and a hip-twitching rhythm, whilst bringing up the rear, ‘What A Relief’ is a raw but inescapably funky drum workout that would make the likes of Traxmen & Eric Martin proud.

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The second 12” of 2015 for Call Super sees him contemplating the dancefloor once again, much in the manner of his previous releases ‘The Present Tense’ and ‘Fluenka Mitsu’. On ‘Migrant’, the enigmatic artist returns to Houndstooth with two tracks that develop his detailed, quixotic sound with his palette of shady drums and svelte bass work. Dreamlike pieces to rotate you into the night.

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18+ return with their ‘They Remixes’ EP, a collaboration with artists they respect and admire, with a purpose to reinvent their favourite tracks taken from their critically acclaimed debut album 'Trust'. Featured artists include the distorted trap beat darling Suicideyear (prod. for Yung Lean), experimental grime producer Mr. Mitch, and the cult Portuguese collective Tia Maria Produções. The final feature is relatively unknown Puerto Rican artist Audri Nix, whose unofficial remix for ‘Crow’ first caught the attention of the band for its similarities to their own aesthetic and magpie-like approach to art. Sung all in Spanish, Audri provides original lyrics just keeping the band’s beats.

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An exploration of spiritual identity and femininity, the new EP titled ‘Conscious Cunt’ from Swiss-born, Nepalese-Tibetan electronic producer Aïsha Devi is the latest release to come from fabric’s Houndstooth label. Besides founding her Swiss-based imprint, Danse Noire, releasing leftfield electronic music from the likes of IVVVO and Vaghe Stelle, Devi’s latest solo productions are further testament to her personal evolution. Devi’s reconnection with her origins meant a newly formed approach to music production under her birth name. “‘Conscious Cunt’ embodies different perspectives on womanhood and the dichotomy between materialistic femininity under societal pressure and spirituality.” Devi says. “It’s an EP about sluts, awareness, death, and women in a patriarchal society… enlightenment, violence, resistance, mothers, daughters, consciousness, Guy Debord, Vedas and eternity. It's also a high-five to my grandmother who raised me and passed away early this year.” Heavily influenced by her dedicated practice of meditation, Devi’s work is often visceral and ritualistic, fusing her intense, warped vocal samples with sombre, and at times industrial instrumentation. “I’ve been meditating for six years and it has a huge influence on my music. In my way of production, the practice has transformed me, opened my cosmos, expanded my skills, extended the knowledge that I’m modulating in music.” Devi says. “My voice and my machines are the vibrations of my soul, mind, and body and out of body explorations. Both meditation sessions and music production merged into one same ritual.” This meditative process extends into the live experience where she incorporates the overtone and guttural chanting techniques she learned, as a healing method through frequencies. The lead track, ‘Kim & The Wheel of Life’ is a whirling melodic vortex of echoing synths underlaid by deep rumbling kicks and melancholic undertones before morphing into a vocal-centric piece. “It’s a cynical comment - societal emptiness vs dharma & eternity... or the complete fail of modern feminine icons, empowered but still complying to patriarchal and capitalist codes” The beatless ‘Aurat’ is an Urdu/Hindi poem written by Pakistani feminist, Kishwar Naheed. “It’s about revolt inside the marital system and revolution in a conservative society.” says Devi. “That track is the second ‘vox tool’ of a series, where the idea is to invade the club with my voice, spreading some political, spiritual and subversive matter that can be mixed by DJs in clubs and raves. Since my previous EP, ‘Throat Dub’, I’m including a tool in each release and the seriality is the idea, like a collection.” Whilst ‘The Saviour on Spilled Blood’, a reference to motherhood, is a slow-building epic, using Devi’s dark, chanting voice to accumulate energy and emotion. Arriving as a precursor to her debut album described as a ‘materialisation of her initiatic journey through her spiritual and origin quests’ due later this year, the EP will be out on Houndstooth on 24th July 2015.

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The aptly-titled 'Raw Materials' sees Marquis Hawkes making a welcome return to the primitive house rhythms for which he became known via his early work for Dixon Avenue Basement Jams. Highly influenced by house originators Ron Hardy, Gene Hunt and Roy Davis Jr, 'Raw Materials' updates the form with modern production techniques whilst preserving its authenticity. The title track eases us in, with dreamy vocals, dusty pads and deep 808 beats. The flip, however, takes no prisoners with two cuts of raw drum machine clatter and strained vocal cuts on ''Ave That' and primal analogue tones on 'Jerk U Later': deadly dancefloor destroyers designed to drill straight to your core. Cut to 140g vinyl by Matt Colton at Alchemy Mastering with Houndstooth printed inners.

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Formerly known as Al Tourettes, and half of R&S's ALSO (alongside Appleblim), Alec Storey unveiled his Second Storey project in 2013. 'One Sound' is the second single from his debut LP 'Double Divide', and intertwines Second Storey's electro and bass music influences over six restless, bouncy minutes. Brand new 'Layer Lock' is equally frenetic, but echoes IDM in its micro-melodies and unconventional structure. Two of Storey's idols take up remix duties. Luke Vibert provides a sampladelic version of 'One Sound', adding splashes of colour in the finest cut 'n' paste style. Meanwhile Cristian Vogel transforms 'Layer Lock' into a shape-shifting head-nodder whose rhythmical shifts delight and confound in equal measure. The 12" is cut to 180g vinyl by Matt Colton, and limited to 500 copies.

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Germany
Contact: gpsr@wordandsound.net

Houndstooth present the debut album from 18+, 'Trust'. The band, Boy and Sis, have operated since 2011, evolving through several media formats of music, performance and visuals which graphically explore identity, gender, sex and morality. The sound of 18+ has bewitched its audience, sonics which are at once over-bearing and subtle, the delicate voice of Sis spitting sweet nothings over fucked-up beats and hooks which permanently hack their way into your subconscious. Their mixtapes have existed in the internet's dark underbelly, and their debut single 'Crow' sold-out of physical copies in unbelievable time. Hunted by Prada to soundtrack campaign videos, 18+ have been performing unique shows in art galleries across the globe and will be doing select shows in the last quarter of 2014.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Houndstooth present the debut album from 18+, 'Trust'. The band, Boy and Sis, have operated since 2011, evolving through several media formats of music, performance and visuals which graphically explore identity, gender, sex and morality. The sound of 18+ has bewitched its audience, sonics which are at once over-bearing and subtle, the delicate voice of Sis spitting sweet nothings over fucked-up beats and hooks which permanently hack their way into your subconscious. Their mixtapes have existed in the internet's dark underbelly, and their debut single 'Crow' sold-out of physical copies in unbelievable time. Hunted by Prada to soundtrack campaign videos, 18+ have been performing unique shows in art galleries across the globe and will be doing select shows in the last quarter of 2014.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Following a run of four incendiary 12-inches on his own imprint that drew attention from right across the dance music community, UK producer and DJ Paul Woolford delivers Soul Music, his debut full-length album as Special Request - diving even deeper into the raw energy of UK pirate radio influences that informed his previous EPs. CD & digital versions include a bonus volume featuring the Special Request VIP of Tessela's 'Hackney Parrot' alongside the remix of Lana Del Rey's 'Ride', further tracks from the previous 12-inches, plus unreleased reworks from Anthony Shakir, Anthony Naples, Kassem Mosse & Mix Mup, Hieroglyphic Being and Lee Gamble. The triple vinyl edition is cut to heavyweight 180g vinyl by Mastering Engineer of the Year Matt Colton.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Snow Ghosts is the collaboration between Throwing Snow & recent Phaeleh collaborator Augustus Ghost. Recently releasing debut album ‘A Small Murmuration’, they’ve been The Guardian’s ‘New Band of the Day’, Zane Lowe’s ‘Next Hype’, and have played a live acoustic session on Dermot O’Leary’s BBC Radio 2 show. ‘And The World Was Gone’ pins a sense of unease to an acoustic guitar riff, cello and Augustus Ghost’s most affecting vocal. Remixes come from Roly Porter (one half of bass duo Vex’d), who brings out the track’s darkness, whilst D&B maestro Calibre emphasises the melancholy in its melody. Finally, in-demand Bristol producer Kahn provides the most arresting cover version imaginable. The 12” is cut to heavyweight 180g vinyl by mastering engineer of the year, Matt Colton.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

House of Black Lanterns is the new project from Dylan Richards, formerly known as King Cannibal (Ninja Tune) and Zilla (Warp). You, Me, Metropolis , a sci-fi-influenced, juke-tinged bassbin-botherer, is amongst the standout tracks from Kill The Lights (Q Magazine s Electronic Album of the Month). HoBL supporters were drafted in to provide remixes, with Houndstooth label-mates Dave Clarke & Mr Jones showcasing the electro aspect of their _Unsubscribe_ project on their take of Broken . Meanwhile, Breakage (who described Kill The Lights as the album I've always wanted to make takes Leni Ward`s vocals to the centre of the peak-time dancefloor. The EP closes with the epic, melancholic melody of brand new track Worthless. The 12" is cut & mastered by Matt Colton onto heavyweight 180g vinyl.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net