Fade to Zaire Records returns. Cottam opens the emotive and percussive floodgates, twisting and weaving ritual sitar sounds, signature percussion and subconscious bass lines. ELLES' deconstructed dance therapy rmx is finally out after melting minds all Summer at the forest raves and warehouses of Walthamstow marshes and beyond.A1. Distressed, B1. Drift, B2. Distressed (ELLES dance therapy rmx) More

For the 5th in the Ele Records catalogue esteemed producer Cottam brings two killer edits to the table. The A side sees a joyous disco rework, extending and expanding elements to really hone in on that exuberant bassline and string section. Flip it over and ‘Jigsaw’ delivers a dusty mixture of afro rhythms and stirring spoken words to entrance any audience it’s set before.
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FCR’s first release is the deep future classic ‘I Can’t Carry On’ by Cottam, accompanied by a remix from Detroit’s Todd Modes on the flip.
'I Can't Carry On', is a proper Chi-style-deep-house-classic-in-the-making, whose layers subtly build over 12 immersive minutes. With a raw driving bassline, deep strings and killer underground vocal sample, it stands up easily against early Ron Trent and Lil Louis favourites.
Cottam shot to notoriety in 2009 with three limited edition 12"s that blew up the underground deep house and nu-disco scenes with no advertising and no info - combining neo-soul, afrobeat and hip hop with slo-mo house grooves all three sold out in double quick time and ended up in many 'best of 2009' charts. Since then, Cottam has concentrated on developing his own style of sub-aquatic acid house - remixes for Luv Jam on Phonica's label, Pattern Select on Delusions of Grandeur and Morning Factory on 20:20 Vision offshoot Fina have complemented original tracks on Quintessentials, Wolf Music, German undercover label Story and the summer anthem 'Sunrise Sunset'. The journey continues with his most accomplished tracks yet on the Deep Deep Down EP for Aus Music and a remix for Geoff Leopard on Endless Flight.
A burgeoning career behind the decks has seen Cottam DJ around the world from London & Ibiza super clubs to the dirtiest basements of Berlin and Manchester.
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Cottam returns to the eponymous label that started his musical journey with a couple of first for the label – more than two tracks and a step away from the reworks that have usually characterised this label to more original work with a minimum of samples, all with a nod to Paul’s continued struggle with illness.Raising the temperature, Heat Stroke has a dub techno vibe, mixing classic house drums with crunchy percussion and disembodied voices for a tripped-out old school Chicago feel. Lymph Nodes drops the pace and drops the bass, an almost unmasterable bassline mixes with far-easten strings and percussion for a heavyweight head-nodder that builds an unsettling vibe, proper haunted house.
Wall of Sound is nothing to do with Phil Spector but is a real builder, starting like (proper) minimal house and working the percussion & effects, with warning shouts, ghostly cries and ethereal voices that spin in & out of the mix. A real change of mood track that will freak out the floor without resorting to obvious build-and- drop tactics.
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After the success of his release on Versatile and a string of top productions on his own Ruff Draft label, Ferox is proud to welcome Cottam to the roster with this two tracker. 180g vinyl only release.
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Like the proverbial bus, you wait five years for a Cottam release and two turn up within 6 months. ‘Consciousness’ on the A re-works the soundtrack to a classic Japanese film into a devastating club track; ghostly vocals combine with dub effects and acid riffs for an unnerving slice of headfunk. On the flip ‘Rivers of Blood’ starts with a deep bassline and keeps on cranking up and piling on the pressure, until the synths wash in after four minutes and the track becomes a tempestuous torrent of Detroitian hi-tech jazz.
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Ruff Daft returns, and after a various artist EP for number 7, number 8 on the label goes back to the founder, with three new tracks from Cottam 'Washed Out' kicks things off, at the cross roads between Mood Hut & Basic Channel where dub techno sensibilities meet dreamy chords for a delectable deep house track. 'Horns' harks back to Cottam's earliest releases, with an afro-ish horn loop teased out over four minutes until the full loop and bass kick in to devastating effect. 'A Ruff Draft' sees Cottam look back towards his techno roots, with a killer kick drum and raw acid lending an abrasive edge to a well rounded EP of varied styles.
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Paul Cottam was diagnosed with Encephalomyelitis disseminata, or multiple sclerosis, just as his first records were released in 2009. The symptoms can come and go, one day you can feel OK and the next day a relapse can floor you. The last 2 or 3 years the relapses have become more frequent and aggressive. Both these tracks were written in the depths of a relapse; constant severe pain, couldn't walk or even stand for long enough to play some records. He was housebound, and cabin fever was setting in. So he sat at his computer and let the way he felt influence the music. The A side ‘Breaking through the pain barrier’ is the soundtrack to a late night chemist run, with a deep brooding bass and a tension that builds like your mind working against the disease. The B side ‘Encephalomyelitis disseminata’ has warm bass and a lively percussion groove twinned with a killer acid line and mournful strings. These tracks helped Paul through the worst of times, kept his mind off the pain and focused on something, and thankfully something positive came out of it. More

2 Detriot style house tracks from Cottam. on a brand new sister label to Moton Records. Cottam has been spinning other peoples records from the age of 14 after borrowing his brothers 80s soul and early hip hop he discovered house music and was hooked. Clubbing in the north through his teens, as acid became rave because progressive djs like Dave Clarke introduced him to harder techno techno & Electro, a love that still lasts to this day with djs like Surgeon & the black country crew introducing him dupstep in to their sets.. Previous releases from Cottam have featured on labels such as AUS Music, Wolf Music & Use Of Weapons More

Cottam is proud to present the first release on his new label, Ruff Draft. Paul Cottam came to wider attention with a series of limited edition blank-label 12s released from 2009 onwards, showcasing his production talents by re-working afro-beat, neo-soul, funk & hip-hop into deep house burners, but Ruff Draft is all about original tracks, and the first release sees three tracks from the man himself. 'Lost In My Brain Fog' comes in two versions, the super deep original is an ethereal trip of shimmering strings and delayed percussion, but with a kicking distorted thump at the bottom end to still work the floor - a real trip. The Medicated Mix has a mystery vocalist mixing with dub techno chords and jacking percussion for a late night trip to the back room of a dark warehouse. The EP is completed with 'A Variation on a Theme', a gem of a deep house groover with beautiful chords and acid that creeps up and sidles its way behind and around you before pinching your wallet and necking your drink. The first release on Ruff Draft sets a high standard, pressed on 180 gram vinyl and cut loud. Keep a look out for further transmissions in the near future, from Cottam and other artists as they keep it deep and keep it Ruff.
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The first release on Use of Weapons saw heavy support from DJs across the board - jocks such as Jimpster, The Revenge, The Unabombers, Bill Brewster, Tornado Wallace and more all gave their support to the inaugural release. Following on from Deep Space Orchestra’s “Trust Skynet” EP, Cottam heads up Use of Weapons 002 with a killer track already turning the heads of those that know. Needing no introduction after a series of sellout releases on his own self-titled label, the mysterious Lancastrian brings strings, acid and a building drum track to a release that is sure to widen eyes on the dancefloor and beyond. First up to the remix plate are label heads Deep Space Orchestra, currently making waves with releases on Foto, ART and Winding Road. Taking the acid lines and strings of the original while upping the tempo and adding layers of bass and synths, the track jacks hard while maintaining the original’s soulful vibe. Second up is Berlin’s Hunee. Quickly garnering a reputation for accomplished DJ sets and blistering house productions on labels such as Rush Hour and Drumpoet, he does not disappoint and twists the original into brand new territory with a Detroit-influenced workout, replete with immense analogue synths, added vocals and driving snare rolls. More

A Rubadub classic repressed.


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Exciting new electronic project E&D burst onto the scene in stunning style with the exhilarating ‘Not Enough’ and ‘Runaway’, released on FCR on 14th June and backed by remixes from acclaimed electronic producers Mall Grab and Ali Berger.
London based E&D have unleashed two scintillating vocal cuts which have UK clubbing culture at their very core, featuring classic Garage influences. The theme of heartbreak runs throughout both ‘Not Enough’ and ‘Runaway’ with an emphasis on harmony and melody which will be integral to the identity of the E&D project.
The deep and atmospheric ‘Not Enough’ presents a beautiful yet powerful female vocal whose tone and expression perfectly emphasises the message of lost love. E&D perfect balance this with contrasting shimmering and stabbing beats to produce a track that already has the hallmarks of a classic.
‘Runaway’ is an up-tempo, vintage-sounding UK Garage themed cut with poignant undertones, as the gorgeous female vocal again mourns a relationship which has moved on.
For the remixes, E&D have called upon two of electronic music’s most respected producers – Mall Grab and Ali Berger. Both offer a completely fresh perspective to the originals. With his remix of ‘Not Enough’ celebrated Australian Producer Mall Grab takes the original into deeper, tougher territory, stripping back and lowering the vocal and adding intense, almost tribal, percussion alongside vintage acid house beats.
FCR favourite Ali Berger also takes his working of ‘Runaway’ deep into the underground, emphasising the bass, cleverly layering the vocal and building to a peak-time floor-filler. More

Acclaimed electronic producer Matthew Hodson presents his exciting new project, MATTHS, with ‘Velocet’ released on FatCat Records’ sub label FCR on 17 May 2019.
With his debut MATTHS release, the Brighton-based artist presents two stunning, atmospheric soundscapes ‘Velocet’ and ‘Loop’ which both immediately captivate the listener with their masterful, brooding beats. Using a bespoke modular synthesiser setup, MATTHS has designed and compiled a unique musical instrument that enables the creation of textures and tones specific to personal creative concepts.
Title track ‘Velocet’ is a dynamically charged sonic excursion which keeps on building throughout to a powerful crescendo, providing a clever balance of familiarity and disconnection.
‘Loop’ complements the title track perfectly, an ambient yet powerful cut that develops with layers of rhythm and melody, drenched in arrhythmic delays and swashes of reverb.
Recent MATTHS performances include opening for Wire; supporting Alex Banks (Monkeytown Records), Ulrich Schnauss and Rival Consoles (Erased Tapes). MATTHS has worked with the original BBC Radiophonic Workshop on their new material at Peter Gabriel’s Real World Studios. In May, MATTHS will play the Superbooth Festival in Berlin. More

Detroit’s Ali Berger returns to FatCat Records’ sub-label FCR with a follow up release entitled ‘Keys The Door EP2’.
After his ‘Keys The Door EP1’ that picked up support from the likes of Ben UFO, Artwork, Huerco S and Machine Woman, Michigan’s Ali Berger returns to the FatCat Records off-shoot FCR which features releases from Cottam, DJJ and Project 223. Ali’s previous releases on Clave House, Firm Tracks and Isaiah Tapes reflect his keen ear for slick, stripped back house productions that’s gained the attention worldwide resulting in him being signed to FatCat and regularly featuring in clubs all over the US.
‘Grease Trap’ kicks things off with a wavering acid line, robust melodies and outlandish oscillations before ‘Heard’ drops low-slung bass grooves, emotive leads and rhythmic tombs reminiscent of early Larry Heard productions. ‘Hit Piece’ introduces eccentric synth shoots, bubbling percussion and glistening rhythms until ‘Keys The Door’ rounds things off with a cheerful house cut fusing dreamy piano chords and a stimulating drum sequence.
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Detroit’s Ali Berger joins up with FatCat Records’ sub-label FCR to release four acid-tinged cuts entitled ‘Keys The Door EP1’.
Michigan’s Ali Berger has been making music for nearly ten years now and was first introduced to house and techno in 2012 through a party at New York’s Dope Jams. Later that year he went on to release his debut EP on Militant Science and has since gone on release music via Clave House, Isaiah Tapes and Firm Tracks. Ali represents a new wave of producers coming through the US scene earning him regular slots at venues across the country. His ‘Keys The Door EP1’ sees him join Brighton’s FatCat sub-label FCR which launched with two releases from Cottam, in addition to records from DJJ and Project 223.
Ali uses mostly hardware from the 90s and early 2000s to make his music and the stripped back nature of production is a constant feature throughout the EP. ‘Badlands’ opens things up with a chugged out groove immersed with weaving 303s and eccentric modulations before rhythmic synth stabs, angelic leads and delicate chords take the focus in ‘Love In This Box’.
‘Secrets’ maintains the attractive atmosphere through a lusciously deep bassline, a haunting acid line and inviting oscillations until ‘Sleeves’ finishes things off with a raw drum sequence, illustrious melodies and alleviating pads in the second half.

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On this new EP, DJJ’s trademark jagged take on filtered French house is still present, but with Chicago bump, techno and more random elements thrown in for good measure.

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FCR’s first release is the deep future classic ‘I Can’t Carry On’ by Cottam, accompanied by a remix from Detroit’s Todd Modes on the flip.
'I Can't Carry On', is a proper Chi-style-deep-house-classic-in-the-making, whose layers subtly build over 12 immersive minutes. With a raw driving bassline, deep strings and killer underground vocal sample, it stands up easily against early Ron Trent and Lil Louis favourites.
Cottam shot to notoriety in 2009 with three limited edition 12"s that blew up the underground deep house and nu-disco scenes with no advertising and no info - combining neo-soul, afrobeat and hip hop with slo-mo house grooves all three sold out in double quick time and ended up in many 'best of 2009' charts. Since then, Cottam has concentrated on developing his own style of sub-aquatic acid house - remixes for Luv Jam on Phonica's label, Pattern Select on Delusions of Grandeur and Morning Factory on 20:20 Vision offshoot Fina have complemented original tracks on Quintessentials, Wolf Music, German undercover label Story and the summer anthem 'Sunrise Sunset'. The journey continues with his most accomplished tracks yet on the Deep Deep Down EP for Aus Music and a remix for Geoff Leopard on Endless Flight.
A burgeoning career behind the decks has seen Cottam DJ around the world from London & Ibiza super clubs to the dirtiest basements of Berlin and Manchester.
More