Back on Kalahari Oyster Cult after a maiden incursion in 2020, Brussels' boldest club explorer Andrea Mancini, alias Cleveland, resurfaces with “Golem” - a helluva four-track trip spanning Arcadian shimmers, bobbly swamps of disproportioned FX and other off-piste routes swiftly veering into the wild wild west of house production. Treating sound like an entomologist magnifies the dazzlingly lush shapes and colours of insects, Mancini overexposes his elements, clicks, percussions, pads, clicks, et al. to a profusion of playful procedures.

Opening cut “Forest” sets up the scenery into serenely alive woodlands, where slo-rattling percs and wonky polyrhythms gently coalesce with further entranced congas and alien gargling, shaping up to an off-beat symphony of sorts. Adding a steelier spin to his macro views of teeming cellular life, “Trullo” blends in a propulsive mix of dynamic drums, fluttering chimes, aqueous dub, and squelchy sub-bass moving incognito.

Dwelling the flip is the title-track “Golem” and fellow KOC affiliate Junes’ remix, each bringing along its distinctly unique palette of colours and sensations to the table. While the original mix rather focuses on the in-betweens and über-detailed immersive quality of its audio CGI, merged with a sixth sense for wrong-footing stop-and-go sequencing, Junes remix puts rhythmic straightforwardness back at the centre of considerations, cranking the tempo up a notch without stripping it bare of its vital textures and ideas lavishness.

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Electronic music has been quite obsessed with its past canon for a while. Ongoing trends such as the reissue frenzy or the obsession with vintage equipment make it harder than it should be to find music that feels absolutely contemporary. But Cleveland's 'nDSi' is a prime example of it. His new double EP showcases an evolution of his sound into more minimalist and forward-looking grounds. The crystal-like textures and playfulness are still there, but displayed with a much more ambitious approach. The seven tracks of the double EP are an exploration of futuristic soundscapes delineated with swirling tones, understated rhythms and ever-evolving patterns. Often drawing inspiration from "happy accidents with half broken synthesizers", Andrea Mancini works with the frictions of apparently contradictory ideas to come across a sound that defies the conventions of modern club-ready music without loosing its primary appeal. The textures might be cold but the vibes are warm, the sounds might be technological but the spirit is lively, the structures might be volatile but the impact is immediate. 'nDSi' not only creates a world of its own but also an impressively balanced one. As with any novelty, it might feel awkward at first, but its weirdness manifests itself in a refreshingly na?ve way, dodging any kind of excessive pretentiousness or overproduction. Truly one of the most stimulating works we've heard in a while. The double 12" comes housed in a sleeve by Barcelona based designer Guillermo Lucena.

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From Brussels comes Cleveland, born in Luxembourg from an Italian family, Andrea Mancini, a 28 years old music producer has been behind releases on John Talabot’s Hivern Discs, Oskar Offermann’s White, Munich’s Permanent Vacation (and others). Cleveland is able to enthral and captivate his audience, putting influences from various genres into one smooth hypnotic, adventurous and personal journey. Built around warm tones of analog synths, esoteric atmospheres and percussive drums, Cleveland's productions have an overall dreamy feel without losing its dance floor focus. He arranges every sound and movement to work in fluid harmony, gently lifting dance floors off the ground before they realise they're floating. He will release two new EPs in summer 2017.

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With a remix and a compilation cameo already under his belt, Canadian figurehead Priori makes his Kalahari return for the debut proper. 3 squelchy incursions complete with a hefty remix from fellow Oyster Cult acolyte Sansibar.

Known for traversing breezy, horizontal zones, the NAFF co-founder sets downbeat and ambient concerns aside for the direct and propulsive. Expect insistent, urgent forays down the wormhole as nocturnal jaunts made of ritual and darkroom throb coalesce with meditative, essential rhythm.

This is fractal gear born from the the traditions of European, Japanese and American Mid-West techno; tunnelling and immersive, conjuring moments of ascension for the gathered masses.

Finishing on Sansibar’s meaty refit, the one-two punch of seismic kick and dry-as-bone snare propels Priori’s original in a whole new direction. .

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Denizens of the Oyster Cult, rejoice. Elusive dancefloor operator S.O.N.S has followed last year’s compilation cameo up with the deadliest of full debuts.

Booting off with some rough ‘n ready gear, “Drive” is the latest chapter as S.O.N.S undergoes his metamorphosis into a more brooding entity. The esteemed Junction Records and Junction Forest proprietor oscillates between tunnelling acid techno and a darkwave-indebted workout somewhat reminiscent of Dutch pioneer Das Ding. Three night-stalking club trax rooted in ominous portent.

Trading the gentler touch and sound sensitivity of releases past for something tougher, and meaner, but there aren’t any diminishing returns. Quite a departure from the introspection of that aforementioned compilation appearance while retaining the transcendent qualities that always typified his work.

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Almost exactly a year since since ‘Felt Cute’ debuted on Kalahari and Blu:sh is back in the building. But this time around, it’s with a record evoking the muggy closeness of a dancefloor suspended somewhere between peak-time elation and wide-eyed vision quest.

Tweaking the blueprint to rapturous ends, the latest offering from this Blu:sh project propels itself forward with a muscle-bound groove. Six robust, deadly club trax replicate the breathy seduction of its predecessor, but this time, with added velocity.

Pinky Promise is full frontal and deadly while channelled through the same explorative prism characterising Benoit’s best work. Probably the toughest material the prolific shapeshifter has put out to date.

Nods to Eurocentric styles shine through with particular emphasis on the sexy and trance-inducing. It goes straight out the traps with a big dose of fractal fuel and stays murkily psychedelic to the very end.

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“Empty your mind, be formless, shapeless – like water. Now you put water into a cup, it becomes the cup, you put water into a bottle, it becomes the bottle, you put it in a teapot, it becomes the teapot. Now water can flow or it can crash. Be water, my friend.” The steadily brilliant French producer Nathan Melja – who’s made the rounds between choice outlets over the past half decade, from Mister Saturday Nights to Antinote, via Ninja Tune offshoot Technicolour and Opal Tapes, seems to have learnt Bruce Lee’s lesson by heart, and his seamlessly fluid, no-nonsense debut foray on K.O.C. is here to potently cement his status as one of Europe’s number one club trailblazers, and one that knows all too well how to turn any dancefloor into an infinity pool of pure liquid euphoria.
Drawing its name from the physiological and psychological process that results in a confusion of one’s sensory perceptions, ‘Synesthesia’ is indeed the kind of club single that shall trigger off massive reaction amongst right-minded bipeds and chromakey house suckers. Straightforward club business done right, Melja’s original is a vivid kaleidoscope of skittish drums, swampy bass stabs and a well-rounded, supremely curvy synthwork, tailored to take ravers on a flash journey through space and time without the help of Richard Branson or Elon Tusk (pun intended).

Called in on remix duty, TTT affiliate and Incienso co-founder Anthony Naples delivers a more fragmented and ambientish variation, though functional and club-ready in its own right. Brushing even wider verbed-out pad tapestries for your brain to wander in, the track expands to deeper organic horizons with a field-depth that can not but recall that of the KLF and Bochum Welt’s emotional soundscaping. Meanwhile, Karenn half Pariah takes care of whelming us deep into more techno-friendly terrains, true to his ever masterly touch for epic buildups and multi-level textural innovation, bringing up the acidic phlegm of Melja’s original as he treats us to a carefully orchestrated ballet of synthetic whorls, contemplative chords and propulsive drum programming.

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another repress coming mid/end of january 2025.

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All killer, no filler type biz as Naarm hardware donny Furious Frank makes his Oyster Cult return.

Strictly dancefloor wreckers from beginning to end. Girder-strength rhythm and driving, direct torque on the menu as Frank opts in favour of club-ready ordnance. Those with a taste for the rough n’ ready have never been in safer hands.

He’s bringing the heft like it's going out of style while keeping true to sci-fi and hallucinatory tendencies. Future-proofed forays into acid and trance backed with some of the toughest breakneck groove you’re likely to hear this summer. Darting synths, flourishes of 303; all the good stuff.

Dealing damage from the controls of his drum machine, urgent basslines and lacerating percussion are primed for maximum impact. Quintessentially Furious."

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Barna mainstay oma totem is dishing out the cerebral and dubby like it’s nobody’s business. 3 tripped-out accelerators courtesy of the Oyster Cult debutant, complete with an OK EG rework for good measure.

No messing with this purveyor of reverb-drenched dynamics and fractal polyrhythm. But this time, rather than the inward contemplation of releases past, we get something a little more full-frontal.

Robust club gear rooted in ominous portent, opener ‘The Trick’ recalls the heyday of early 00s bass music. It’s tunnelling prog caught on a dark side flex. Then, in a coming together of kindred spirits, Melbourne hardware duo OK EG take it upon themselves to provide some introspection. Expect depth charge bass-weight primed for meditative moments.

‘Choreos’ finds the Hivern Discs affiliate at his deftest. Intricate and kaleidoscopic with careful attention to rhythmic intricacies, but never at the expense of dancefloor propulsion. The same could be said for the follow-up.

Equal parts driving and trance state-inducing, closing number ‘Mania’ has oma returning to the inky abyss from whence he came. Detailed, dubbed-out and quintessentially Kalahari.

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The mercurial talent that is SW. back in the building with a new album, and if it weren’t already apparent, OYSTER45 goes some way to assert his place in the pantheon of pioneering producers. In fact, nobody can question his position right at the vanguard of forward-facing dancefloor dynamics.

myDEFINITION part II catches the SUED co-founder as vital as ever. Keeping it on that dusty, low-key flex that has long been his trademark, it harnesses ingenuity to conjure some of the most intriguing gear you’re likely to hear from a limited studio setup. Gone are the hi-tek jazz and ambient flourishes of the near-mythical ‘Untiled’ album, opting, instead, for pure dancefloor headiness. Precision-tooled breakbeats, opulent IDM cybernetics, tuff bleep n’ bass and late nite electro across 10 distinct trax.

Side quests into more abstract realms are fleeting. Dappled melodies evoke warmth in hues of pink and orange but any ambient-dub ephemera quickly dissipates into the peripheries in favour of club-ready pressure. The spectre of mid-‘90s dance music looms large but the SW. blueprint, with its captivating free-form approach, spins those vintage tropes into a distinct sound unto itself. Masterful, cinematic and hallucinatory.

Often drawing comparisons with B12’s seminal brand of ambient techno, SW. will surely be a stylistic reference point in his own right for years to come. Such is the indelible influence he has cast on contemporary electronic music.

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Pavel Milyakov, AKA Buttechno, coming through with the kind of impeccably-produced, trance-inducing deftness we've come to expect.

A kindred spirit of the Oyster Cult, this is a union long overdue. While he’s often found working in horizontal zones, inhabiting the intersection between ambient and downtempo, these are dancefloor dynamics for pure contemplation. Gone is the amorphous abstraction of releases like ‘PSY X’ and the kind output reserved for release under his birth name, instead opting for a lean, hypnotic kind of minimalism.

‘OYSTER57’ picks up where the ‘Inorganic Demons’ LP and aptly-titled ‘Minimal Cuts’ series left off. Saying that, the first three tracks navigate territory gloomier than the aforementioned; uneasy at times but deeply engrossing, smudged and frayed into heads-down interzones of tunnelling throb and icy melodic flourish. Girder-strength pressure primed for metaphysical experience.

Then, like a vestige of the finest turn-of-the-century progressive trance, ’bleeps’ ends proceedings on a slight departure. A showcase of restraint from the Berlin-based maestro and a fitting way to close.

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The Oyster Cult’s Naarm continent grows larger with the addition of Ebbs N Flow. The unholy alliance of Dashiell and Will Holden of Hybrid Man touching down with some precision-tooled tech house variants, and considering their only previous collab came on an Animalia compilation back in 2022, this has been long in the making.

OYSTER56 marks the first full release from this lesser spotted project. The handiwork of two producers, both accomplished in their own right but transcending their respective styles for a 4-track dose of late nite propulsion. Seductively stripped-back and engineered for optimum impact.

Flexing a deftness of touch, and a far cry from the smudged, dubby FX Holden tends to deploy under the Hybrid Man banner, these tracks set the duo’s stall out as purveyors of the nocturnal and club-ready. Sultry, sleek, and sumptuous like only the dankest cuts can sound.

It’s fitting that a track with the title 'Deeper Dream' might feature on a release feeling like a transmission from the other side; a parallel dimension where the after-hours never end.

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Six years, more than fifty releases, countless artists and multiple subsidiaries; the Oyster Cult’s reach extends far beyond what sceptics once thought possible. It’s only fitting, then, that we gather some of our finest under the Kalahari banner in celebration.

The anniversary release is upon us. Six whole years since Jacy helped inaugurate the label with a spin on Midwestern house, OYSTER40 signals a landmark occasion. 18 tracks, quadruple vinyl boxset action, and in true Oyster Cult tradition, it comes bearing pearls.

Dancefloor squarely in focus, the Cult assembles on a compilation spanning alumni and new inductees alike. It’s an assemblage of the fractal, explorative and ritual-ready; at once a focused distillation of the Kalahari sound and celebration of its many acolytes. Big on atmosphere, heavy on groove, we delve deeply into the musical DNA shared by all who grace the label.

Tough, direct cuts (Sansibar, Roza Terenzi, Big Zen, Maara & Priori) to the pristine and widescreen (S.O.N.S., Volodymyr Gnatenko, Adam Pits), this is all quintessentially Kalahari. Elsewhere though, the likes of D. Tiffany and SW. journey further into realms of abstraction: the former opting for hi-tech, dreamstate IDM, while the SUED co-founder dissolves a house template into dubby introspection.

Calling upon contemporary talents for the most part, there are also exceptions. Raymond Castoldi - the one-time house producer best known as Madison Square Garden’s music director - returns with an unreleased nugget from ’91, while an ‘Aliens’-sampling track from Detroit-indebted techno outfit Syzygy gets the reissue treatment.

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Kalahari Oyster Cult welcomes another from down under, Furious Frank with his very own Trip 2 Fantasy via OYSTER28. Three OG acid-licked club-ready rollers from the Australian 303-connoisseur plus a bonus destruction mix from trusted Frankfurt associate Ludwig A.F.

A1 Existential Crisis, aka the current natural state of the world, sparks fly with flanged percussion springing between damaging drum work, making space for the juicy acid evolution. The journey develops to include dystopian stuttered vocals, glistening bells and pads to form a melancholic driver.

Continue the mood, elastic processed rhythms roll and dip for the A2 Artificial Simulation, robotic mechanism holding hands with the heavenly, dream state timbre, fluttered and full of melodic resonance.

The title track on the B2 Trip 2 Fantasy opens bold and brave, a punishing bass line and commanding claps, hot syncopation aimed for bodies moving. Thundering toms run stealthily underneath an ascending motif of delicate synthesis. “Join Me in my Dreams, My Trip to Fantasy” echoing out in seductive bliss over the driving undergrowth.

The record is rounded off with an even deeper, throbbing rejig of the former from none other than Ludwig A.F. The “Floor destruction” mix isn’t coy about its intentions, risers, diced vocals and anticipation through the roof.

A record ready to explode, whenever and wherever that may be.

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Expanding on the blueprint of previous releases, Trieste-born, London-based producer Sohrab is the Kalahari clan’s latest inductee. OYSTER43 is a distillation of the Italian producer’s stylistic scope in its purest form; impeccably crafted dance music with a healthy dose of prog.

Running deep with this one. Smartly refined constructions primed for meditative club use, the first four tracks are rendered in pristine detail. From the widescreen and tunnelling to straight-up utopian, there’s a life-affirming vitality like only the most quintessential '90s prog-house can achieve.

The record begins to veer into realms of dilated abstraction on the second plate. Where ‘Fleeting Thoughts’ unfurls like a slice of hi-tech IDM undergoing an ayahuasca ceremony, ‘Sunseeker’ and ‘Deconstruct’ keep the ritual going at a lysergic, slo-mo chug. ‘Crystal Clear’, on the other hand, evokes the ‘70s with a bucolic, avant-garde synth lullaby.

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Rushing us headlong into a vorticist maelstrom of hard-edged drum stutter and polychromatic synth fragmentation, Sansibar sophomore long-player for Kalahari Oyster Cult - “Sans Musique” - tackles the very essence of post-trancey, breaks-loaded UK blends with unabashed joy to wreak havoc on his path. Throughout seven tracks oozing burnt kerosene and depleted uranium residue merged with a hint of sacred incense, Sansibar deploys his extra-wide vision for the present and future of dance music.

“Scully” attacks pedal to the metal, hi-intensity bass onslaughts and knee-buckling breaks roaring as the groove slings us at bullet-speed into a hot, narrow barrel of floor-focused aggression. Fusing rattling DnB engineering with Goa trance motifs, “Force of Equilibrium” showcases Sansibar’s hybrid attachment to functionality and headspace fractalisation. Hi-velocity rimshots, pep vox samples and alien basslines blazing, “NRJ” eases us into a shape-shifting network of underground tunnels dwelled by shady raving creatures, harking back to Prodigy’s early wares and subsequent offshoots of the 90s era.

One to bend your mind to, “Teal’c” taps into an even darker vein with its fast-cascading hats and von Oswald-ian dub whirlwind set against a surgically laid-down, unstoppable EBM bass comber. Jagged and oneiric to the finest extent, “Send It” peeps at prime Hokusai and Photek material in its first stretch, slowly making room for further spacious liquid junglism as bars run by. Cranking the 2-step/garage power levels up a notch, “Fantasmas” sends us spinning into orbit right away, while the LP’s closing track “Aurora” takes us on a languidly serene voyage of a finale, tempo slowed-down and suave trip-hop flavours exuding with increased sensitiveness.

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Hailing from Helsinki, Finland, Sansibar is a non-pareil cosmic traveller - also producer, resident DJ at Kaiku and Post Bar and wave agitator on IDA Radio and EOS Radio - whose genre-unbound sound credentials for the likes of Kalahari Oyster Cult, Natural Sciences, Émotsiya, Darknet, Avoidance et al. have helped establish as one of today’s most intriguing talents in the European scene.

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All (label, artist and distribution) proceeds of this next record will go to UNHCR, The UN Refugee Agencys' emergency interventions in Ukraine.

Third and closing chapter of the Oyster Tribe series, the revised single edition of Brent Lewis ‘1739’ oozes a mix of breezy outback dreamtime, red earth funk and sun-baked drum virtuosity. Originally issued in 2004 as part of his self-released ‘Drumsex’ album, Lewis’ mystique-imbued tune sculpts a tripped-out hybrid jam out of spoon percs and folk-infused broken beat; and who better than OZ home-boys FIO and Fantastic Man to add their masters' spin to that totemic chugger.

Whilst FIO cranks the BPMs a notch further and beefs up the bass to turn the OG mix into a serious contender for countryside banger of the year, Fantastic Man plays havoc with the whole of Lewis track’s DNA sequence, slicing, dicing and re-hashing its bits and bobs over and over again to form a Southerner variant of the Frankenstein creature, all sight set on busting dancefloors by the dozen.

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Exploring hybrid music styles and outernational, borderless musical influences, DJ soFa’s Elsewhere compilation series continues with a sixth instalment, and the second to appear on Kalahari Oyster Cult.

Always ahead of the tide, the Kalahari Oyster is a fine specimen when it comes to the discipline of next-level sound-snooping. Meticulously curated by Belgian sonic globetrotter soFa, Elsewhere XX showcases a dozen outstanding tunes, each dwelling in their own personal space between the imaginary worlds of post-kraut, DIY synth-punk and odd-pop ballads.

Melting these genres with contemporary club music is the mission here. Doused in a thick fog of arcane machine talk, tribal rhythms and cosmic synths, Elsewhere XX is an invitation to escape the hall of LED-backlit mirrors that we’ve so mistakenly come to call our “reality”.

Gathering artists from all corners of the globe – including Radio Hito, Anatolian Weapons, Eylul Deniz, Dame Area and Electronic Body Girl – soFa’s curation lays the groundwork for a unique and thoroughly immersive listening and dancing experience. Through a carefully selected suite of like-minded, yet diverse joints, we run the gamut from distorted funk (“Anita”, “Confiture") and cross-pollinated electroid blueprints (“Walk Away”, “An Abhainn Mhor") to oddball synthpop (“Credo” & Twin Peaks cover "She Can't Die"), reverb-soaked audio safaris (“Fifty Fifty (Anatolian Weapons Dub)") and static-filled postpunk (“Umani”).

soFa's Elsewhere series started in 2017 and this is the sixth compilation to date. Shifting focus with every new instalment, the compilations have previously appeared on labels likes Music For Dreams, Emotional Response and Crevette Records.

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Storming in with his newest slice of extraterrestrial swing-ology, Liquid Earth (alias Urulu under guise) returns to dish out the playful above all “Scope Zone” - a lush and bouncy gem primed for ecstatic workouts and bold galactic excursions, complete with a reshape from Scottish born, Berlin-based vibist, Youandewan. Flush with garage va-va-voom and low-end paranormal activity, “Scope Zone” indeed lacks no wide-screen power of crowd subjugation.

Taking us back to the 90s continuum with its astute mix of chopped-up vox, pong-like bleeps and propulsive buildup, Liquid Earth’s latest is a fun-loving ode to the kaleidoscopic sound of an era and its untamed flow of energy. True to his signature refined melodic touch and airy 4x4 architectonics, Youandewan’s version has us embarking for a proper deep, exhilarating ride across bumpy time warps and oddly familiar parallel universes.

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“It’s just too easy to make a standard dance track,” Aphex Twin said of his mindset back in 1992. “You’ve got to put a bit of thought into it to get something a bit different.” ‘Didgeridoo’ was released on the Belgian R&S Records label in 1992, and originally peaked at #55 in the UK singles chart in May of that year. Over the last 32 years the track has become one of the essential Aphex Twin tracks in a gargantuan catalogue that continues to amaze and inspire. “I wanted to have some tracks to play to finish the raves I used to play in Cornwall, to really kill everybody off so they couldn’t dance,” Richard D James, AKA Aphex, told Select magazine back in the 90s. “Digeridoo came out of that.” Released as a 4 track EP that also included early Aphex productions (now classics) including the industrial, acidic clang of ‘Flap Head’ and hyperbolic futurism of ‘Isopropanol’, the release cemented a relationship with the R&S label that went on to release the ‘Xylem Tube’ EP and the pivotal album ‘Selected Ambient Works 85-92’ in the same year. The label’s owner & A&R Renaat Vandepapeliere reflected “When I first heard Aphex Twin’s music I said, ‘This is it!’, and everybody else said, ‘You’re crazy!’ …a lot of the hardcore R&S fans dropped us. To them it wasn’t music.” ‘Didgeridoo’ (Expanded Edition) is the first time the EP has been re-issued with extra material. Whilst digging in his DAT archive (allegedly stored in an airtight military ammo box), Richard James revisited the recordings, encoding them through a Nakamichi CR7e cassette deck, using the customised deck with vari-speed to encode at speeds “felt right at the time”. Alongside these CR7e versions, the original mixes have been remastered by Beau Thomas at Ten Eight Seven Mastering, offering a dilated insight into one of electronic music’s most endearing releases.

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Almost exactly a year since since ‘Felt Cute’ debuted on Kalahari and Blu:sh is back in the building. But this time around, it’s with a record evoking the muggy closeness of a dancefloor suspended somewhere between peak-time elation and wide-eyed vision quest.

Tweaking the blueprint to rapturous ends, the latest offering from this Blu:sh project propels itself forward with a muscle-bound groove. Six robust, deadly club trax replicate the breathy seduction of its predecessor, but this time, with added velocity.

Pinky Promise is full frontal and deadly while channelled through the same explorative prism characterising Benoit’s best work. Probably the toughest material the prolific shapeshifter has put out to date.

Nods to Eurocentric styles shine through with particular emphasis on the sexy and trance-inducing. It goes straight out the traps with a big dose of fractal fuel and stays murkily psychedelic to the very end.

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Repress!
We are honored to announce the next 12" in Dark Entries Editions is one of the all time Italo Disco club classics: My Mine - ‘Hypnotic Tango’. My Mine were the trio of Stefano Micheli (vocals, keyboards), Carlo Malatesta (vocals, keyboards), and Danilo Rosati (drums, keyboards) formed from the ashes of Italian New Wave group Ipnotico Tango in 1982. They shifted focus from the experimental post punk sounds towards something more commercial with which to try and enter the market, namely to make a record. At that time Carlo was studying in Bologna and he had heard about producer and arranger Mauro Malavasi famous at that time for the many hits produced for Macho, Peter Jacques Band, Change, Luther Vandross, Ritchie Family. The group handed Malavasi a demo tape and four days later they were invited to Fonoprint Studios to record their first single, “Hypnotic Tango”.

Utilizing new electronic instruments like the now legendary Roland TB-303, Danilo improvised a simple but effective synthesizer bass line and passed it through the Roland Echo until something magical came out. “Hypnotic Tango” was released on Progress Record in 1983 and became an international hit across Europe and US dance clubs in New York, Detroit and Chicago, capturing the imagination of House and Techno producers. In 1987 the legendary Frankie Knuckles remixed “Hypnotic Tango” at Seagrape Studios in Chicago, with assistance from studio engineers Tommy White and Brett Wilcotts. Originally released on Danica Records as the “Powerhouse Mix” paying tribute to the Windy City club atmosphere and adding his own "sighs" in the track as well. The Hypnotic Remix This reissue presents 4 mixes of “Hypnotic Tango” including the “Hypnotic Mix” only appearing together once before in 1990 on Rams Horn Records. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original artwork and includes an insert with photos and liner notes by Stefano Micheli. “Look on the floor and all is spinning round, Someone told me this was just a dance And take a chance I ain't met before..Do you think I really have a chance??"

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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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Repress!

Re-issue of seminal Mr. Fingers album 'Amnesia', available officially for the first time in 32 years on Larry Heard's own Alleviated Records. This remastered collection of early Mr. Fingers works is an absolute must have.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Denizens of the Oyster Cult, rejoice. Elusive dancefloor operator S.O.N.S has followed last year’s compilation cameo up with the deadliest of full debuts.

Booting off with some rough ‘n ready gear, “Drive” is the latest chapter as S.O.N.S undergoes his metamorphosis into a more brooding entity. The esteemed Junction Records and Junction Forest proprietor oscillates between tunnelling acid techno and a darkwave-indebted workout somewhat reminiscent of Dutch pioneer Das Ding. Three night-stalking club trax rooted in ominous portent.

Trading the gentler touch and sound sensitivity of releases past for something tougher, and meaner, but there aren’t any diminishing returns. Quite a departure from the introspection of that aforementioned compilation appearance while retaining the transcendent qualities that always typified his work.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Tracklisting
A1 Steve Bicknell - Basic questions
A2 Steve Bicknell - Magnitude of such
B1 Steve Bicknell - Construction of thousands
B2 Steve Bicknell - Mobile terminals
C1 Steve Bicknell - A single process
C2 Steve Bicknell - Accelerating others
D1 Steve Bicknell - They speak
D2 Steve Bicknell - Adverse effects

Sales Note
RE-ISSUE / RE-MASTERED / RE-PRESSED
Steve Bicknell - Lost Recordings 1

This is a seminal double LP consisting of 8 tracks by Steve Bicknell (originally released in 1996)
from one of UK's most influential techno / electronic labels Cosmic Records - to introduce the incredible series LOST RECORDINGS

Rich, raw and unpredictable - every single one of these tracks sounds FRESH as ever!

In the 90/00's in London, Steve Bicknell was at the forefront of techno as a producer and DJ but also as a promoter (of the event series LOST)

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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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Tracklisting
A1 Radio Cargo - Like You Move
A2 Radio Cargo - Back To Me
B1 Radio Cargo - Happy Gang
B2 Radio Cargo - Final Answer

Sales Note
Parisian production duo Radio Cargo steamroll onto Shall Not Fade with the killer 'Like You Move' EP!

Like You Move EP showcases why the Paris duo are one of the most exciting names to watch in the current French dance music scene, their debut for Shall Not Fade is a luscious blend of groovy breaks, dreamy synths and warm basslines, all merging together to create a stunning body of work.

Like You Move EP drops December 6th via Shall Not Fade.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More