CoastDream from Brazil is the third artist on Deeptrax Records. Again a full 4 track EP, with raw massive beats over a 90's feel, ecstatic house landscapes which has that totally unique, beautiful naive and devastating dancefloor destruction factor.Going from glorious overwhelming power house to ‘Prescription’ like deep groovy house towards 'tape techno' basement tracks to familiar sounding anthems with that deeper than deep underground feel. It's all there..... made for dope sounding sound-systems drowning into dreamy worlds.Again greatly analogue mastered by Thee J Johanz from Ballyhoo Records.

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Rapid-fire with the releases like it’s effortless, minimal donny Velvet Velour steps up with his latest 4-tracker. Strong tech house currents in a similar vein to Kepler’s recent ‘Lowlife’ EP, but with extra zonk - it’s a head turning label debut.

The growing catalogue of releases belies a relatively short time spent producing. That said, he’s already a key proponent of the sound’s contemporary vanguard and XK035 might be the most vital effort to date. More

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In dialogue with both past and future, Slapfunk protégé Julian Anthony drops his debut solo EP and touches down with a 4-track invocation of classic 90s house templates.

Tripped out sensibility meets sci-fi tendency as ‘Full Moon Fever’ and ‘Open Minded’ deliver full-bodied exercises in total dance floor immersion. Fractal fuel for the vision quest, they’re sophisticated like the finest dream house while channelling the buoyant, jacking heft of timeless Chi-town material.

Wide eyed but tuff, ‘Stormy Tuesday’ rolls in with more of the groove-forward drive that typifies Anthony’s best work. It’s just the kind of immaculate gear we've come to expect from the Dutchman, and evoking golden era Dream 2 Science, ‘Virtual Reality’ ploughs the same furrow of propulsive, ‘90s-indebted house. Deep space projections radiating togetherness and warmth from the start. More

Minimal don Kepler strikes a balance between dancefloor utility and introspection on his latest record, and debut for X-Kalay. Big house and techno incursions straight out of Yorkshire – Leeds, to be precise. It’s a strong testament to the region’s long standing reputation as a hotbed for late-night minimalism.

Subtle flourishes and details stand out across all four tracks. Uncovering relics from ancient futures, ‘Lowlife’ stimulates the pineal gland with a mescaline-strength take on classic ‘90s tech house. While it dials the trippier elements down just a tad, ‘Control’, like its predecessor, recalls golden era Wiggle or Asad Rizvi under his Silverlining moniker.

No half measures on the next one. Bringing heft in spades, ‘Stranded’ comes hurtling in with swinging, jacking 4 AM NRG. It’s some serious gear, which makes the EP closer such an unexpected left-turn. ‘Need’ offers proper heads-down introspection, complete with widescreen, nebulous chords that ripple out into the vastness of space. More

Qnete’s back in the building for a third X-Kalay release and it’s an anticipated return for the prominent purveyor of prog. Four diverse but coherently related tracks with pit stops in deep house and electro territory.

We open proceedings with a dose of the lysergic sound that has become his trademark since debuting on the label in 2021. Evoking ritual and ceremony, ‘Going Short‘ commences with choral pads that beckon to the altar. A slo-mo exercise in dancefloor hypnosis with trace echoes of bleep.

Where ‘Wrapped’ takes a turn toward mellow, ‘Stepperals’, like its A1 counterpart, recalibrates trance tropes into something more chugging and restrained. Another example of Qnete smudging his third eye on a tunnelling, wormhole flex.

And finally, the Leipzig native signs off with a nod to the American Midwest. Opening cerebral gates in a way that recalls classic Detroit In Effect, closing track ‘Circuit Friends’ taps into the futurist utopia imagined by Detroit electro’s pioneers. More

Familiar Strangers founder Remotif heralds the 30th release, complete with a digital-only remix from Youandewan.

The first half finds the Bristol mainstay at his deadliest. Harnessing pure proggy momentum, peak-time scorcher ‘In the Blink of a Cosmic’ comes hurtling out the tracks. ‘It’s Inside U’ then keeps pace with more of that driving, fractal pressure. Tunnelling wormhole torque straight out the nether-realm.

Comparatively restrained but no-less mind-altering, the B-side embarks on a full-blown vision quest. Where breaks-fuelled cut ‘For Love or Money’ nods to early ‘90s bleep, ‘In The Mo¨bius Strip Club’ ushers into a chugging, ritual-ready space. Proper third-eye dilating stuff. More

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Maara makes seductively uninhibited, proggy dance music. In fact, she’s quickly becoming one of its foremost exponents. Barely pausing for breath between releases, ‘Spiral 2 the Other Side’ finds the Montreal artist summoning divine feminine frequencies with a hypnotic, ritual-ready 4-tracker.

Some Maara productions are shot through with an almost radiant optimism, but here, darkroom throb prevails. Big on the gated vocals, ‘Spiral 2 the Other Side’ achieves cybernetic sensuality through trippy,

moire´-d electro, while ‘Take the Wheel Miss Sweetie’, with its driving, fathoms-deep approach, provides a direct take on the blueprint.

The Canadian assumes the role of high priestess on the flip. ‘Forget the world’ is a ritual incantation for bridging seen and unseen worlds; prog house magick with shades of ‘90s trance utopia. Rounding things off with a tunnelling electro tripper, ‘Doom Quest’ references the vortex-dwelling atmospherics of early tribal modes to mind-altering effect. More

Next up on X-Kalay it’s fresh heat from one of the finest among a current generation of prog-inclined producers. Guy Contact’s ‘Out of My Head (Into My Body)’ speaks to a sublime, utopian conception of dancefloor utility; dance music primed to achieve ascension through collective physical experience.

Navigating mystic, offbeat zones, Contact sets out his stall from the start. ‘Out of My Head (Into My Body)’ is as pristine as it is expansive, inducing trance states as trippy flourishes oscillate over driving rhythm in impeccable lysergic style. Then, with another dose of melt-on-the-mind groove, a radiant bliss-out arrives in the beautifully buoyant flex of ‘Sacred Mist’.

Taking its name from a part of the brain associated with emotional processes, ‘Amygdala Tongue Wobble’ propels into fractal introspection with dense, insistent pulse. Finally, ‘Optimystic’ finds Contact channelling new age spirits as he assumes the role of innerzone healer - wide-eyed downtempo to close things out. More

The first X-Kalay release of 2022 finds Melbourne’s Escape Artist traversing wormholes, complete with an assist from the ever-prolific Roza Terenzi.

Picking up where a 2019 Salt Mines debut left off, ‘Wanna Dance’ allows proggy tendencies to flourish across some mind-altering electro. Portals to higher planes of consciousness and uncharted star systems fling open as widescreen, celestial pads make way for lysergic climax.

Ramping up the intensity with her ‘Bassbin Mix’, Roza Terenzi jumps on remix duties; another electro workout, but this time more urgent, more propulsive. Bringing the tribal-breakbeat pressure in spades, it’s quintessential Terenzi.

More prog, but leaning further towards cosmic techno percolation, ‘Levitator’ finds mazy arpeggios in seemingly infinite ascent. ‘Time Knife’, on the other hand, is a radiant, beatless highlight. Deploying cascading synth arps to truly mesmeric effect, it sees the Antipodean achieve sublime tension in a rare moment of introspection. More

Lewis “LT” Taylor returns to X-Kalay and follows up 2019’s “Staminize” with his latest effort, “Disc Trail” - two tracks of blistering proggy techno and hazy breaks backed with a remix from fellow label artist No Moon.

Spanning the full A side and cut to a crisp 45, “Disc Trail” is an epic 9 minute peak time destroyer. A huge proggy roller complete with trance inducing breakdown, it goes for days and absolutely slaps at 140 BPM.
On the flip, Grain sees Taylor in familiar territory; lush enveloping pads cascade over a finely crafted breakbeat and pulsating sub - the adeptly syncopated percussion perfectly showcasing his first love and talent as a trained drummer.

Topping things off No Moon is on remix duty, reworking Grain into a chugged out 4x4 with some expansive arrangement and jacked up bass >:) More

XK025 sees a fresh label debut in the form of Cloudsteppers - a collaboration between Toronto based artists Ciel and Dan Only. Born out of an impromptu jam session at Dan Only's NDG 208 Studio in late 2019, the pair quickly hit it off. Ciel brought her trusty Korg ESX-1 sampler, and alongside Dan Only's arsenal of vintage synths and samplers, they quickly wrote the first two cuts of what would eventually turn into the first Cloudsteppers EP. After getting great feedback from playing them on tour and sharing with friends, the pair wrote the last two cuts when lockdown restrictions loosened during the summer of 2020.

Both artists are instinctively melodically-inclined producers, so for this release they tried to focus more of their attention on the drums and fx, while limiting the amount of melodic parts in each track. Working within those parameters resulted in what is now their debut EP.

Title track, “The Limit”, is a huge undulating cut of 160bpm energy - it shimmies effortlessly between skittish jungle, breakbeat and techno rhythms, centred around a tripped out sample of Manchester’s finest physicist, Brian Cox. “Slinky Bork” brings a distinctly UK Tech House flavour reminiscent of Housey Doingz, Get Fucked and others of the Wiggle/Euka House era - underpinned by a solid 4x4, subtle rhythms and spacey atmospherics abound.

On the flip, “Diva Loops”goes in hard with a pounding kick, warbling bass and some massive clattering drums before breaking out into a playful melodic refrain. Closing things out, “Trigger Happy” is another functional 4x4 club cut full of skippy tech styles and punchy rhythms. A dreamy melody floats along into a tension building crescendo, complete with massive reese-ish bassline. Big! More

Rising Australian DJ and producer Andy Garvey debuts on X-Kalay showcasing her take on deep and breaksy electro. More

Another X-Kalay OG returns to the label this summer and we couldn’t be happier :) It’s not a huge overstatement to say that Lucas’ first record on X-Kalay, “Ataraxia”, was somewhat of a milestone in the development of both artist and label, and it has been a huge pleasure to see him go from strength to strength since its release just over two years ago. These days it’s fair to say that Lucas is one of the most exciting young artists in the game - with a finely crafted knack for electro, and the 303 in particular, pretty much second to none. We’re super proud to welcome him back with his next effort -“Lifeforms”.

The emotive opener is “Amongst us in Harmony” - steadily building through deep pads and bouncing arps, the now trademark Lou Karsh acid bassline ever present. Coming in over 8 minutes, it’s a truly galactic track. “Internally Vexed”is a more stripped back affair. The breaksy groove is underpinned by the snappiest of snares and shrouded in celestial pads, the masterful use of the 303 demonstrating one of the sharpest and slickest basslines you’re likely to hear this year >:0

On the flip, “Alien With a Subwoofer (Skyline Mix)” is pacey club material built around deep wobs, a seriously wiggly 303, and carefully constructed pads building subtle tension. The sound of aliens redlining straight through your hood. Rounding things off, title track “Lifeforms” is beautifully crafted deep electronica; full of emotion and lush pads, otherworldly atmospherics and yearning synths.

This is a special record, and some of Lucas’ best work without a doubt. Don’t sleep!
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It’s been long overdue but finally No Moon is back on X-Kalay and we are HYPED. A lot has changed in the three years since his debut on the label but Fred’s ability to turn in forward thinking and original electro definitely has not. This latest effort is the work of an exciting producer on the rise.

Opening the A side “CPU Limit 99” is full of jungley skittish breaks, acid bass and off kilter rhythms. By the time we hear the voice of Agent Smith creeping out in the first break we could be forgiven for casting our minds back to Metalheadz circa 2002. Next up, “Aoe_Rushin” is the pick of the bunch for us and continues The Matrix theme, albeit less explicitly, via a full on bonkers trip of searing acid, razor sharp drums and smashed up vocals.

On the flip Adam Pits switches up “Aoe_Rushin” into a pacey 4x4 club joint utilising some expansive arrangement and lovely speed garage-esque bass. Closing things out, title track “Set Phasers to Stun” winds things back and rounds up with a deep and meditative cut of melodic electro. More

Kask returns to X-Kalay with an EP of deep and raw house. Features a remix from Rudolf C and plenty of nostalgia.

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Another Italian hero for the well know JohNick Collection series! It's time to dance with Alex Neri and the masterpiece "Play The World"!
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Second EP from Eros, and it's another mindblowing 4 tracker of lost classics from the raw, decadent and formative birth of club music re-programmed for modern floors More

A new outlet for lost classics from the raw, decadent and formative birth of club music re-programmed for modern floors More

“They say the soul cannot rest until it finds its match, then it ignites”

Chaos In The CBD put forward two intriguing, sensual and romantic tracks, aimed at audiophiles who celebrate their beauty and cherish their fantasies.

The Intimate Fantasy EP opens with the title track. A deep house cut with a groove like a single flower blooming in an endless desert. The drums are warm, comfortable and smooth and the track is decorated with irresistible guitar licks.

Flip the record over to find "Club Miyako", a cut that is alive with enchantment and rich with the thrill of the chase. An intoxicating bassline weaves through the pads and piano stabs to form a love potion of sweet temptation and sensuality.

IDWT012, a new fragrance by Chaos In The CBD in stores Nov 21st More

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Peckham-based DJ and producer duo Chaos In The CBD have announced their new 12” ‘Come Together / Digital Sound’ on their In Dust We Trust imprint, out October 28th 2019.
Consisting of New Zealand brothers Ben and Louis Helliker-Hales, the duo’s new release features two excellently crafted club cuts that display their flair for creating deep house soundscapes, from the jacking, percussive heavy hitter ‘Come Together’ which features searing synths and a fierce bassline, to the expressive rhythmic stylings of ‘Digital Sound’, which features driving percussion and atmospheric synths.
Since moving to Peckham in 2012, the duo quickly became an integral part of the South London electronic community with their standout releases, including records on Rhythm Section, Mule Musiq and their own In Dust We Trust imprint, which they co-founded with fellow kiwi producer Jon Sable. This combined with the infectious energy of their magnetic and accomplished DJ sets have propelled them to play at some of the best clubs worldwide.
Chaos In The CBD say: “The purpose of IDWT has always been to serve as an outlet to release our own music without being at the mercy of external labels, whilst also retaining full control of the project both musically and aesthetically. Our goal has always been to release timeless music that we will be proud of for decades to come.”
With their new release, Chaos In The CBD continue their rise as refreshing producers in the electronic scene, and look set to close out 2019 on a high with a jam-packed worldwide tour ahead, including their In Dust We Trust label tour, and stops at Tokyo, Melbourne, Bali and London. More

Dance music has always been grounded in a sense of place. Chicago, Detroit, London, Berlin—a zip code can tell you as much about the music as the year it was made.

But beyond the nuts and bolts of the here and now lies a netherzone where some of the best electronic music floats, impossible to pin down. Swayzak’s Snowboarding in Argentina is one such record.

The title hints at its uncanny placelessness. The music has nothing outwardly to do with Argentina, for one thing. The work of UK producers David Nicholas Brown and James S. Taylor, it was recorded in a number of locations—mostly bedrooms—around London. Yet there is little that is quintessentially British about the music. Instead, Brown and Taylor drew much of their inspiration from, on the one hand, the luminous chords and silky heft of Detroit techno, and on the other, the staccato drums and clipped textures that were then beginning to bubble out of Berlin and Cologne.

That brings us to the question of time. For if Snowboarding in Argentina belongs to nowhere, it is equally a product of nowhen.

On a practical level, the music took shape in the mid to late 1990s, although it took nearly 10 years for it to come to fruition. Brown and Taylor began jamming on instruments, then machines, in the late 1980s. Then,
after Brown suffered a serious car accident, the two musicians began working together more seriously. Trial and error yielded a promising single with a downtempo vibe that a hired-gun studio producer promptly ruined; Swayzak retreated to their bedrooms. They learned about Chain Reaction from a radio show, found new ways to burrow into the circuitry of their machines, and by 1996 they had hit upon their sound. brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.

A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.

Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publish nine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after
its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working
off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars.

The core of Snowboarding in Argentina appeared on a series of three two-track singles in 1997. (Taylor brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.

A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.

Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publishnine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars. More

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Munich duo COEO joins the RNT family with a pack of reworks destined for dance floor greatness! Heretofore known for deep house goodness on Let's Play House and Toy Tonics, the boys flex their edit muscles on these 4 tracks which range from the soulfully sublime "Like It Is," to the disco house fury of "Long Night Ahead," to the best
damn Fela edit we've ever heard.

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