Presales Week -1196

Tracklist
A1 Widow
B1 Hopeless
B2 Tailwind
Info:
Huxley follows up last year's '2.0' and the launch of his No Idea's Original imprint with 'Widow', released late Jan via
Will Saul's Aus imprint.
Huxley's '2.0' marked a new phase in Huxley's production output with the Brit eschewing his previous sample driven
work in favour of tougher drums, prominent synths and tweaky arrangements. 'Widow' continues Huxley's explorations
into pastures new with three tracks that fold a myriad of influences into refreshingly new shapes while highlighting
the producer's love of melody.




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12" with HQ Printed Sleeve

SSIDE A / KARMA
SIDE B / GUETO DE GENT
Phillipi and Rodrigo have a fondness for synths and classic Brazilian sound.
Side A is a playful acid sound created that’s been thoroughly road tested on the Despacio sound system.
Side B is a tight modern Balearic Beat for the slower dancefloor.
Sleeve design by Ill Studio.

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Tracklist 12":
A1. Have It Like That A2. No Time B1. Get To This B2. 120
Info:
Sublime and slinky four tracker from James Dexter on Dessous Recordings - Steve Bug's label for the deeper side of house. The Young Brit shows his mastery of the form with an EP that combines effortlessly club-ready grooves with exceptional sound design and a strong melodic sensibility. Dexter clearly know a thing or two about creating dance floor moments, with each track exhibiting a classiness that belies his age. Have It Like That kicks things off with a chugging, hypnotic feel and crisp drums providing the basis for a cool vocal hook and thick, warm bass. No Time gets a shade deeper and no less funky, while Get To This points a little further towards the center of the dance floor. Closing track 120 goes even further into the late night vibes with a seriously infectious groove.


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Tracklist 12":
A1 Altitude A2 Bucur B1 Neo B2 Permut
Short info:
Loco Dice's Desolat kicks off 2016 with a brilliant new EP from Romanian trio Premiesku aka long term friends Livio, Roby and George G. They have close associations with the label and have done for years, and after their great debut album Indirect in 2012, are now a very real force in the dance world.
The trio is also famed for its live show, which is performed using specially made consoles and has seen them headline all over Europe from Timewarp to Watergate to Rex in Paris. With releases on labels like 2020Vision and Vakant, this really is a fantastic outfit that once again comes up trumps here.
Opener "Altitude" is seven minutes or irresistible electronic funk. Jostling drums and odd synth sounds dance next to each other and you will too. Machines get loose and spit out soulful sounds and odd hooks and the whole thing keeps you locked for the duration. "Bucur" is a more peak time techno cut with forceful kicks driving it along, occult little alien sounds and snatched vocal parts that are fluid and free flowing and will really get under the skin of any dancefloor in expert fashion.
"Neo" then finds the Romanians going for a more minimal aesthetic with slick rubbery drums making a punchy pattern down below as heavenly female vocals up top add a key human element. Some spiritual melodies also explode above the groove and ensure that minds will be well and truly blown when this one is dropped. Lastly, the excellent "Permut" is a dubby roller with a fat and heavy bottom end that is impossible to ignore. It has some classic techno synths lighting it up and is the sort of hypnotic affair that will really stand out in the coming months.
With this essential new EP Premiesku continue to go from strength to strength.


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Tracklist: A1 Invisible Objects , A2 Unholy Trance , B1 New Age of Smokin , B2 Dance of the Drunk

Following an erotic adventure in the jungle on his own Moonlighting imprint, Øyvind Morken returns to Full Pupp, with Invisible Objects. Øyvind Morken ventures into the functional aspects of dance music for his latest EP, calling on his invaluable experiences from the DJ booth and moulding them into four dance floor tracks that highlight the more mysterious corners of Oslo’s dance floors.
Built on the foundation of syncopated high hats and elastic Juno bass sequences that have become the Oslo DJ’s trademark sound palette, Invisible Objects finds Morken in a coy mood. Catchy melodic phrases repeat over driving rhythm sections, constructed from Morken’s vast knowledge and experience of the dance floor. Øyvind ingrains a mysterious air in the title track as the main melodic phrase drifts off its central pitch in a woolly distraction from the precise rhythm section. Unholy Trance’s Theremin-like central motif carries this sentiment through on the A-side, creating a hazy B-movie aesthetic against the backdrop of the primal pulse that has transcended the jungle for the cold solitude of space.
Morken is nothing but a curator of mood, taking the experience of the DJ booth once again to the recorded format. As Invisible Objects moves over to the B-side, the producer tones things down with the lusciously serene New age of Faith, a cover of LB Bad´s classic Nu Groove record from 1989, before making the final ominous statement with Dance of the Drunk, a track forged in the bowels of an electro beat while metallic bass-stabs make a sizeable impression in the speaker cabinet, before moving onto its next victim.





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FURTHER 100! - CD Version - reverse board digipack cd
Fact Mag: Fans of austere and superbly crafted techno may be familiar with Nuel through his 00s Aquaplano Sessions with fellow Italian artist Donato Dozzy, which were deservedly reissued a couple of years ago on Spectrum Spools.

- 2nd album after his 2011 debut on Further 'Trance Mutation' and his first new music in 5 years

Tracklist CD:
1. Steppin' Stone (3:30) 2. Polaris (6:05) 3. Hyperboreal (9:10)
4. -Om (7:30)5. Be Well (8:01) 6. The Rest is Noise (4:07)

Italian DJ and producer Manuel Fogliata hasn't released a lot of records over the last ten years, but the few he has put out have always been worth tracking down. Perhaps best known for his work alongside Donato Dozzy in creating the much sought-after Aquaplano records at the tail end of the last decade, Nuel's solo outings have been just as consistent and just as impressive. Whether taking on metallic electro or syrupy, bass-heavy ambience, Nuel's attention to detail and his keen ear for a groove has made each release something to treasure.

Nuel's only previous full-length, Trance Mutation (Further Records, 2011), was a masterpiece of minimal repetition. It was possessed of a gossamer-light surface, all trippy rhythms and wonderfully playful melodies, but it was deep too. Made with just one microphone and a handful of instruments in his studio in a small Italian town, it's one of those records that can somehow present the whole of a track in the first few bars but stay fascinating for ten minutes or more. While initial impressions might suggest little in the way of continuity between the organic tribalism of Trance Mutation and the colder, more mechanic sounds of Hyperboreal, Nuel's ability to go deep into a particular mood, a particular sound, links the two. An expert in the art of minuscule variations, Nuel's compositions are always changing, always evolving somewhere within their ecosystem.

"Each time I decide to make new music I try something different, something never I did before, and I start thinking at the choice of the sources, the set-up and so on," says Fogliata. "It's really difficult for me doing the same thing twice. It's seriously a challenge, I don't know why. Maybe because part of the inspiration come from this process. The worst thing in doing the same thing twice is that the excitement for a new experiment and research is gone, and I can't go anywhere from that. So if there is any continuity between releases, which is not what I'm looking for, it could be some traces of my way of approaching music, and my taste."

Like its predecessor, Hyperboreal was made with the minimum of fuss. Recorded using just one semi-modular synth - the boutique and sadly discontinued Ekdahl Polygamist - and a handful of pedals, the album came together in just a few days while Fogliata was staying with Giuseppe Tillieci (aka Neel - famed mastering engineer and one-half of Voices From The Lake) at his apartment in Rome. The Polygamist's combination of modular flexibility with the aesthetic cohesion of a complete instrument was the inspirational spark which set the album in motion.
"I fell in love with it from the first sight," says Fogliata of the synth. "Aesthetics are very important to me, if I don't like the way a synth looks like I can't get anything from it. Just like when meeting a nice person but there's no physical attraction, it can be a good friendship, nice conversations but 'love' is missing, and making music is making love so this aspect has a huge influence on creativity. Being surrounded by beauty makes me feel better and reinforces the positive feedback."

Hyperboreal begins ambiguously, the fluttering dissonance of 'Stepping Stone' immediately setting the mood. It's dark but not gloomy, not resigned. There's something shadowy about its contained aggression, like it might lash out at any minute. It doesn't. Through the winding paths of the following tracks - 'Polaris', 'Hyperboreal', '-Om' - nothing becomes clearer, nothing moves towards any kind of resolution. The flutters of the opening track become a swirling mass on 'Polaris', and a venomous rattle on the title track. '-Om' sees things calm just a little - the maddening, almost frantic pulsations of the previous tracks slowing, evening out into a bed of twitching feedback and resonant echoes. There's even a hint of a regular beat, barely audible beneath the buzzing tones of synthesised electricity.

"Intensity plays a fundamental role in what I do," says Fogliata, and listening to the opening half of Hyperboreal, you'd have to take him at his word. These are not casual sonics.

'Be Well', the penultimate track' marks a change; from dissonance to a sort of consonance, a lifting of the shadows that have so far lingered around the record. It feels, in a peculiar way, almost uplifting, like watching ice melt in the sunlight. The record closes with 'The Rest is Noise', and though it seems to return again to a darker place, it does so with the memory of sunlight, warmth, and life. Suddenly the noise is not oppressive, but comforting. It is gentle, welcoming, as it closes around you.

As its title suggests, this is an album for colder climates, for stark and inhospitable landscapes. Its opening side is tough going at times, a truly unsettling void of vaporous tones, a blizzard of sound refusing to coalesce, refusing to make sense. Slowly though, Hyperboreal opens itself up to the listener, emerging patiently from an abyssal darkness into a beauty as still, as sharp and as breathtaking as an Arctic dawn.
















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FURTHER 100! - Deluxe LP w 180g Vinyl Printed inner sleeve and offset printed insert sheet (poster) with liner notes - MP3 Download
Fact Mag: Fans of austere and superbly crafted techno may be familiar with Nuel through his 00s Aquaplano Sessions with fellow Italian artist Donato Dozzy, which were deservedly reissued a couple of years ago on Spectrum Spools.

- 2nd album after his 2011 debut on Further 'Trance Mutation' and his first new music in 5 years

Tracklist LP/CD:
A1. Steppin' Stone (3:30) A2. Polaris (6:05) A3. Hyperboreal (9:10)
B1. -Om (7:30) B2. Be Well (8:01) B3. The Rest is Noise (4:07)

Italian DJ and producer Manuel Fogliata hasn't released a lot of records over the last ten years, but the few he has put out have always been worth tracking down. Perhaps best known for his work alongside Donato Dozzy in creating the much sought-after Aquaplano records at the tail end of the last decade, Nuel's solo outings have been just as consistent and just as impressive. Whether taking on metallic electro or syrupy, bass-heavy ambience, Nuel's attention to detail and his keen ear for a groove has made each release something to treasure.

Nuel's only previous full-length, Trance Mutation (Further Records, 2011), was a masterpiece of minimal repetition. It was possessed of a gossamer-light surface, all trippy rhythms and wonderfully playful melodies, but it was deep too. Made with just one microphone and a handful of instruments in his studio in a small Italian town, it's one of those records that can somehow present the whole of a track in the first few bars but stay fascinating for ten minutes or more. While initial impressions might suggest little in the way of continuity between the organic tribalism of Trance Mutation and the colder, more mechanic sounds of Hyperboreal, Nuel's ability to go deep into a particular mood, a particular sound, links the two. An expert in the art of minuscule variations, Nuel's compositions are always changing, always evolving somewhere within their ecosystem.

"Each time I decide to make new music I try something different, something never I did before, and I start thinking at the choice of the sources, the set-up and so on," says Fogliata. "It's really difficult for me doing the same thing twice. It's seriously a challenge, I don't know why. Maybe because part of the inspiration come from this process. The worst thing in doing the same thing twice is that the excitement for a new experiment and research is gone, and I can't go anywhere from that. So if there is any continuity between releases, which is not what I'm looking for, it could be some traces of my way of approaching music, and my taste."

Like its predecessor, Hyperboreal was made with the minimum of fuss. Recorded using just one semi-modular synth - the boutique and sadly discontinued Ekdahl Polygamist - and a handful of pedals, the album came together in just a few days while Fogliata was staying with Giuseppe Tillieci (aka Neel - famed mastering engineer and one-half of Voices From The Lake) at his apartment in Rome. The Polygamist's combination of modular flexibility with the aesthetic cohesion of a complete instrument was the inspirational spark which set the album in motion.
"I fell in love with it from the first sight," says Fogliata of the synth. "Aesthetics are very important to me, if I don't like the way a synth looks like I can't get anything from it. Just like when meeting a nice person but there's no physical attraction, it can be a good friendship, nice conversations but 'love' is missing, and making music is making love so this aspect has a huge influence on creativity. Being surrounded by beauty makes me feel better and reinforces the positive feedback."

Hyperboreal begins ambiguously, the fluttering dissonance of 'Stepping Stone' immediately setting the mood. It's dark but not gloomy, not resigned. There's something shadowy about its contained aggression, like it might lash out at any minute. It doesn't. Through the winding paths of the following tracks - 'Polaris', 'Hyperboreal', '-Om' - nothing becomes clearer, nothing moves towards any kind of resolution. The flutters of the opening track become a swirling mass on 'Polaris', and a venomous rattle on the title track. '-Om' sees things calm just a little - the maddening, almost frantic pulsations of the previous tracks slowing, evening out into a bed of twitching feedback and resonant echoes. There's even a hint of a regular beat, barely audible beneath the buzzing tones of synthesised electricity.

"Intensity plays a fundamental role in what I do," says Fogliata, and listening to the opening half of Hyperboreal, you'd have to take him at his word. These are not casual sonics.

'Be Well', the penultimate track' marks a change; from dissonance to a sort of consonance, a lifting of the shadows that have so far lingered around the record. It feels, in a peculiar way, almost uplifting, like watching ice melt in the sunlight. The record closes with 'The Rest is Noise', and though it seems to return again to a darker place, it does so with the memory of sunlight, warmth, and life. Suddenly the noise is not oppressive, but comforting. It is gentle, welcoming, as it closes around you.

As its title suggests, this is an album for colder climates, for stark and inhospitable landscapes. Its opening side is tough going at times, a truly unsettling void of vaporous tones, a blizzard of sound refusing to coalesce, refusing to make sense. Slowly though, Hyperboreal opens itself up to the listener, emerging patiently from an abyssal darkness into a beauty as still, as sharp and as breathtaking as an Arctic dawn.
















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Tracklist: A. Snake Language, B1. Calo, B2. Yama

For the 7th release on Love On The Rocks, we welcome the Mexican duo Zombies in Miami for a three track EP titled “Snake Language”. The title track is a raw an haunting drum heavy number. On the flip comes “Calo” with its twisting riffs that wind and turn alongside percussive interludes. “Yamo” changes the pace but is no less impressive with climactic flutes and a driving bass line. El Fuego completes the release as a digital exclusive. With this EP, the Zombies in Miami are literally on fire!

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Tracklist:
A. Ravisher
B1. Let Me Be feat. Jerry The Cat
B2. Let Me Be (Kirk Degiorgio Instrumental Remix)
Short info:
The Midnight Shift White Label series (MNSW) features full EPs from the label's artists. Where mood meets melody.

Following the emotive and personal 'The Journey' EP from Eddie Niguel, Kaspar (Lisbon, Portugal) and former RBMA participant in '05 now brings his 'Sisyphean Rage' EP to the table.

Of the legend of Sisyphus and his endlessly laborious and futile effort this EP is not. Instead, it is a remarkable breakthrough for the long-standing artist, with combined light from both Detroit's Jerry The Cat and the ever uncompromising Kirk Degiorgio for the remix.

The leading track, 'Ravisher' sees Ka§par flexing his mettle under the spotlight. The ruff n' tuff house-meets-techno tumble will perk the ears of even the most seasoned listener as ripe for the dancefloor. An original composition is paired with comfortable expression, and casts a new stone in the heart of both genres.

The B side shows the other side of Ka§par and delightfully, makes just as a powerful impression. One may know Jerry The Cat as a producer, DJ or percussionist on Theo Parrish and Moodymann productions, but the multi-talented cat puts on his singer-lyricist hat here for the personal anthem 'Let Me Be'. Backed by Ka§par's mod take on proto electro, it's a revival gem captured on vinyl.

On B2, Kirk Degiorgio completes the all-rounded package with a less-says-more emotional instrumental, waiting needle to groove for that perfect moment. A vocal version remix of 'Let Me Be' is also available from Kirk Degiorgio as a digital bonus.



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Beautifully Designed 1LP, 180g Vinyl

Press kit:
Following his Extended Play EP on Other People last year, Jream House is the turbulent and spiritual debut LP of Mark Hurst aka A Pleasure.

Blending mathematical composition with an unrestrained studio experimentalism, the sound of A Pleasure charts a space where formative influences confront the most immediate performative impulse. Using a process of numerical transposition, the names of personally significant bands and composers are converted into drum patterns. He then lets loose, improvising around these structures with a variety of traditional and unorthodox instruments: bass and guitar, bowed cymbals, drum machines juggled like turntables, blowtorch on aluminium, to name but a few. With his influences as start-points, he builds rhythmic structures literally in their namesake, blasting their hulls with walls of noise, monolithic basslines and any other jam-yielded shrapnel.

Despite the chaos and complexity of the process, the results sound neither clinical, nor garbled. The tracks always find their way to an emotive melody or strong groove. Lush guitar strums and yearning keys ride the high-speed beat of "Slow Channel", which seems to soar through cloud-cover as one snaking mass. "The Order of Things" folds a cosmic guitar-part into a backdrop of heavily side-chained noise. "Arthur Russell" features a neck-snapping rim-shot and crushed snare that splash up the bits of an elegiac vocal part. Through violent and idyllic atmospheres, Jream House jettisons its inspirations like landing shuttles, always in search of new ground. These are songs, not just experiments.

Tracklist
01 Durutti Gottsching, 02 Arthur Russel, 03 The Order of Things, 04 Grace , 05 Idoru, 06 Slow Channel, 07 Am Me Evol Eye



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VINYL ONLY
Tracklist:
A: Slam Dunx
B: Slangin Rockx

Info:
The first release of the Orakel X-Files series by O-Wells. Vinyl only.


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Tracklist:
A1. Hasu B1. Overwork B2. Resource
Info:
Tokyo touch down: Ovum welcomes one of Japan's most consistent techno producers in recent years… Ryogo Yamamori. The man behind the well-respected 951 imprint and a DJ schedule that frequently sees him demonstrating dark strategies from Korea to Canada, Ryogo makes his Ovum debut with a tight tech triptych. Crisp, penetrative and wholly uncompromised, each cut is detail designed for the dancefloor. We ignite with the vibrant hypnosis of 'Hasu'. Its literal translation of lotus means everything; from a sturdy stem of filtered hook insistency, grainy kicks and nutrient-rich bass, a bright sonic flower blooms in every direction.
'Overwork' follows: A lean mean groove machine galvanised by a woozy 808 that bubbles ominously. Occasionally dropping into a detuned pool of paranoia, our senses are heightened by metallic alien stabs that rise gradually and, at points, menacingly.
Proceedings are brought to a heightened warehouse-ready climax as we conclude with 'Re-Source'. An angular acid track that taps deep into the Ovum genus, it hits with timeless class as minimal elements make the maximum impact; a spiked out acid riff, thunderous kicks and precision-placed rifle-like claps ensure the full physical tech experience.
From blooming tech house to late night warehouse nihilism by way of lightning strike peaktime grooves, Ryogo has indeed delivered the holy tech trinity here. Let us know what you think…


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Tracklist:
A. Boca
B. No More Talking

Short info:
The inaugural release of T&W Records. Brought to life by Tiger & Woods and associates, this brand new record label will be a home to all things Tiger & Woods: from legit sample songs and upbeat boogie beats to darker deeds. It starts with the epic and infectious disco trancer "Boca" and its counter-part, the classic T&W sounding "No More Talking". Sampled and cleared, sliced and spiced! Powered by Running Back!


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Special remarks : 12" Vinyl, 135gr, Full Cover.
Tracklist
A1. Smile (Original Mix)
A2. Smile (Kris Wadsworth Venus Rx Remix)
B1. Lies (Original Mix)
B2. Lies (Matteo Luis Remix)
Info:
The second outcome on Retrograde signifies the first release of head-honcho Marlon Hoffstadt on his and Natureboy Gold's new imprint. After a short timeout the young Berlin producer presents his new work on this four-tracker in collaboration with Chicago House Music icon and pioneer Paris Brightledge, accountably for releases since 1987 on substantial labels such as DJ International Records. He recently delivered the vocals on Paranoid London's killers 'Paris Dub 1 & 2'. 'Smile' the title track of the EP, highlights Paris' ability to hypnotize the dance floor with his unique voice combined with Marlon's production smoothness. With 'Smile' Paris displays: 'torn from the angst of my soul concerning the tragedy of love and life lost'. 'Smile' got a special treatment by Detroit's very own Kris Wadsworth. His Venus Rx Remix lived up to its name and has some 'pretty nasty analog stuff going on' to catapult yourself right into the atmosphere. The B-side 'Lies' discusses how coming from the streets doesn't always allow feelings to be displayed in life or in love. It's a percussion driven, 303 based club workout. No rest for dancers on this one. Remix comes from label artist Matteo Luis, providing a more synth accented version, introducing an engrossing sound that will be continued on his upcoming RTGD 003. The EP is Paris' and Marlon's first collaboration and we can already promise it won't be the last one on Retrograde. Every copy comes with a full cover artwork by Hermann Reimer.


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1LP , Spalax Label. Distributed through MG.ART.
Belle Alliance is the second studio album by German electronic music group Ashra, released in 1980. It is the follow up to Correlations from 1979 with the same band members: Manuel Göttsching (guitar, synthesizer, sequencer) , Lutz Ulbrich (guitar, synthesizer, piano, mellotron) , Harald Grosskopf (drums, percussion, synthesizer). The two albums released before under the name of Ashra: NEW AGE OF EARTH and BLACKOUTS (released under the name) had actually been Manuel Göttsching's solo albums.


Tracklist: 1. Wudu (2:29) , 2. Screamer (4:26) , 3. Boomerang (3:29) , 4. Aerogen (3:54) , 5. Sansalito (4:24) , 6. Kazoo (5:42) , 7. Code Blue (15:03) , 8. Mistral (3:41)


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Special remarks: Vinyl Only - 12" with deluxe clear PVC vinyl sleeve in neon print

Short info:
Broken, bass driven, robotic grooves.

Tracklist:
A1) Speechless
B1) I Feel as Though






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Tracklist:
A Sharp Bust B1 Rushchamber B2 Flat Chat
Short info:
The energy and versatility we're used to when Reinier Zonneveld takes the decks is immediately evident in his latest EP. Opening preceedings with "Sharp Bust", a straight and to the point trancy bassline leads the way. Decked by mechanic stabs and hi-hats, the groove is simply hypnotic and relentless. "Rushchamber", on the other hand, bears a subversive groove, with a minimal and dark bassline. Glitchy cut up vocals give an eerie feel, as the whole atmosphere becomes more and more immersive by the way of multi-layered drums. The final offering, "Flatchat" is anything but flat. Its intricate groove shares the dark and immersive territory of the previous track, while another set of cut up vocals draw instant attention. A descending lead padded with reverb and stabby synths, the last track rounds up the release, ending on a grave and intense note.


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Tracklisting:
A1: Punta Christo B1: Reverse Polarity B2: Smell of Rain
Infotext:
VDR009 "Punta Christo" marks the debut artist EP of London techno duo Our Mutual Friend. Glenn Middleditch and Mark Leigh are primarily known around London for their monthly "Friends of Ours" night in Peckham, which has allowed them to hone their live set alongside guests like Jane Fitz and Juju and Jordash, and their recently launched "Mutual Friend Recordings" label which made a splash earlier this year with a strong EP from STL. It was in fact that acclaimed producer who first connected the pair with Voodoo Down when they began looking for other labels to branch out on.

The EP consists of three diverse but complementary tracks: the title track being the atmospheric club-ready anchor, "Reverse Polarity" a rolling bass-and-tom workout, and "Smell of Rain" the psychedelic slow burner. This record caps off a fruitful year for the group (the title "Punta Christo" pays homage to the Dimensions Festival venue where they played for the first time over the summer), and hints at great potential and willingness to explore.


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