Finale Sessions is proud to annouce a new member to the record label Tolga Fidan. He is really big with the Romanians right now and we at Finale Sessions are big on his production and we bring this 4 track heater to let you know he does not fool around


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The Standard of Moonstarr is a Toronto artifact excavated from what had been the Royal Cemetery in the ancient intersection of Dupont. It's approximately 4,500 years old and was probably constructed in the form of a hollow wooden tones with flourishes of jungle and techno represented on each side through elaborately inlaid programming. Although interpreted as a standard by its discoverer, its original purpose remains enigmatic. It was found in a royal tomb in Toronto in the 1920s next to the skeleton of a ritually sacrificed man who may have been its bearer. It is now available, in a reconstructed form, on New Kanada. The "Metropolitan" had survived in only a fragmentary condition. The ravages of time over more than four thousand years had caused the decay of the wooden house frame and bitumen glue which had cemented the baselines in place. The weight of the tracks crushed the object, fragmenting them and breaking the end frequencies. This meant that excavating the tracks were a challenging task. New Kanada excavators had been told to look for hollows in the ground created by decayed samples - and to fill them with bruk breaks, or wax to record the shape of the objects that had once filled them, rather like the famous parties of Columbus, Ohio and the entire Midwest. When the tracks of the Standard were discovered by the excavation crew, they found that the referential pieces had kept their form in the vinyl pressings while their digital frame had disintegrated. The present form of the "Jump Steady" is a reconstruction of this time, presenting a best guess of its original sound and aesthetic. It has been interpreted as a hollow funk break measuring 21.59 kHz, inlaid with a mosaic of 90's era jungle, red house painters and techno bravado. The track has an irregular shape with end pieces in the shape of truncated acid symbols, making it wider at the bottom than at the top, along the lines of the dark period of Reinforced. Inlaid tonal panels cover each long side of the "Highs and Lows". Each presents a series of scenes displayed in three registers, upper, middle and bottom frequencies. The two isolated EQ's have been dubbed "Highs" and "Lows" for their subject matter, respectively a representation of a morning feeling, and scenes from a deserted campfire.


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The Maaskant polychoral style was a type of music of the late modern electronics and early indie eras which involved spatially separate voices singing in alternation. It represented a major stylistic shift from the prevailing polyphonic writing of the early electronic generation, and was one of the major stylistic developments of the 90's which led directly to the formation of what we now know as the pure modern style. A commonly encountered term for the separated analog choirs is cori analogici spezzati — literally, phased choirs. The A-side, featuring Eyo Olokun, signifies unfathomable deep grooves. That is, the instinct that there is something worth knowing, perhaps more than can ever be learned, especially this bassline that most people spend a lifetime pondering.



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This holographic release was inspired by black hole thermodynamics. In the case of Omni, the insight was that the sound content of all fallen objects might be contained in surface fluctuations of the event horizon. Siren To Siren is microscopically random, like a hot gas. A known configuration of classic tape sounds has zero entropy: there is nothing random about binary configurations. If one throws a hot gas with entropy into the G Count, the entropy would disappear - producing aggressive bandwidths, and ragga baselines

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For New Kanada, thermo acoustics is the area of sound that seeks to reconcile the laws of sinuous audio strands with the existence of black hole event horizons. Much as the study of the statistical mechanics of body radiation led to the experience of quantum sub dynamics, the effort to understand the statistical mechanics of bass has had a deep impact upon the understanding of holographic principle, leading to the formulation of these tracks.


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GRAZE minerals possess a superlative lustre, which is most notably seen in diamond. Such frequencies are transparent or translucent in nature, and have a high refractive index . Tones with a true adamantine lustre are uncommon, with examples being cerussite and zircon. MWeapon minerals display luminous bass bands, which appear to move as the specimen is rotated. Such frequencies are composed of parallel fibers, which reflect sound into a direction perpendicular to their orientation, thus forming narrow bands of light. The most famous examples are FM and subtractive, but the effect may also occur in other sound banding - such aquamarine, moonstone and tourmaline. Scrap minerals consist of thin transparent co-planar sheets. Light reflecting from these layers give them a lustre reminiscent of pearls. Such minerals possess perfect cleavage, with examples including muscovite and moss opal.


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These track's magnitude and direction is best understood when the dislocation-bearing crystal structure is first visualized without the dislocation. In this release structure, once the encompassing track is drawn, the dislocation can be introduced. This dislocation will have the effect of deforming, not only the perfect crystal structure, but the track as well. The direction of the vector depends on the plane of dislocation, which is usually on the closest-packed unit of a low-frequency cell.


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Exposed within the interior of these tracks are a variety of intrusive and extrusive igneous structures. They include the extensive hydrothermal alteration of rhyolites and gabbros and a central megabreccia created by hydrothermal dissolution and collapse. The siliceous megabreccia is at least 40m thick in its center - to only a few meters thick along its edges. The breccia consists of fragments of white to dark gray cherty material, quartz-rich bass, diagenetic clap nodules, and stromatolitic snares. It is intensively silicified.



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'Chaos' is a tough, NY-house jam with 909 trim. First 3 minutes for the mix, then ending up just north of hypnotic bell house. Strictly for the floor.
'Memphis' is a broken shell of a sampled break; worked and loaded under Matt Maaskant's emotive freestyling on a Concertmate MG-1. 'Trace' is the wandering groove of an excited arpeggiator, after the drum machine has left the building.

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Diva is a project which explores the outer regions of techno's psyche - combining the trippy sensuality of Chris & Cosey with the brutalist analogue aesthetic of the likes of Robert Hood or Liasons Dangereuses. Inspired by the vocal histrionics of strobe lit sirens such as Loleatta Holloway and Jocelyn Brown, Diva calls on the protean roots of basement club music. Lead track 'Paris Stabbing' is a stunning excursion into motor city madness, abstracted disco vocals clash with a broken digi-arpeggio and hooverish bass break down, whilst the flip side 'But I've Never' imposes a detuned synth siren over an industrial bass sequence and sp1200 piano stabs to eerie effect. Also included is the 'Paris Stabbing (Beats)' which pares down the original, adding detuned melodic percussion into a minimalist after hours tool.


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New Kanada enters the Fall 2012 season with some dark angular acidic house.Black and Medley's "Roll The Dice" - featuring the voice of Rosina – is an old-school blend of disco, NY house and classic Toronto warehouse vibes. Slightly acidic, with it's bubbling Juno bassline – and slightly techno with the driving, repetitive beat – this house track should rock the deepest of dancefloors. File somewhere between Henry Street and early Adonis. 5am - no earlier. For the flipside, Adam Marshall sits down at the controls for a clinical, tight, stripped-down scrubbing; turning the original into a late-night fear edit. Broken, diffused drums and lots of black empty space in this one. "The Lights Go Out – Blackout".


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New Kanada enters the third season with two white hot electronic tracks."White Mouse" is an acidic stormer which winds it's way from old-school house - into serious dark club territory. With a shifting, swinging bassline, tough metallic toms and some killer drops - this one is a weapon in the mix. Sounds like Tevo Howard meets Luke Slater. Kind of. "Spectrum"'s deep, digital radio dub floats freely - somewhere between Baby Ford and a broken FM receiver. Drifting melodies, haunted white noise and serious house beat. A track for late night driving, and early morning warmth.

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New Kanada enters the summer season with a hot three-tracker from Toronto's XI (Orca, Hotflush). Fusing techno, house and "what-ever that sound is coming out of London" these days, Christian Anderson (aka XI) brings the futuristic party to the shaking subs of the nation. "Joy / Fear" is a monster bass killer dropping somewhere between Sheffield and Chicago. Aggressive, powerful drops, splintering swing, and a melody that will stick in your head until the early morning. "Nitelif" is the gentle bass jewel sweating in the corner of the room. Delicate, rushed and heavy - this one breathes space and suffocates the bins. The closing cut, "Antikythera", pulses with night moves and summer heat. Tricky, twisting basslines give way to blacked out campfire anthem. Pure tension.


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Powerful track excursions from Adam Marshall. "Bass Tracking" is a raw, throbbing techno bounce with jamming claps and a grizzled analog bassline that will tear out the speakers. "Holding Down", and the alt "Beatless" version are trusted mixing weapons for early mornings or dark, heavy nights.


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Montreal-native Tazz delivers New Kanada three jacking and psychotic beat trax for an aggressive entry into 2012.Tazz and Bacanito unravel the threads of aggression in the lead cut "Cosmic Sex". Metallic heavy machine funk for those winter nights. "Wanderer" is a late night ode to Model 500, with waves of synths burrowing into the ground to produce a dark wave classic. Cold, pure and supple."Mermaids and Mermen" is is the tough club killer in the package. A deep tricky dub transforms into an underwater symphony of rusted hooks and FM pads... A serious "lights out, head down" burner.+ all tracks mixed and spiced by Anton Makdah


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New Kanada welcomes The Mole back into the fold with a heavy image two-tracker from deep in the forest. The slo-mo A-side "Dog River" is heavy and raw and dripping with calcified disco echoes. Tweaking distant bass, tugging percussion and psyched vocal loops.... a serious main-floor builder. On the B-side, Colin gets tougher and darker and crafts a potential blackout bomb. Grinding pads mix with a morphing bassline to form a dubbed out late-night track - made for the mix.

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New Kanada welcomes London's Bob Bhamra into the chamber, with this two-track breaker from his West Norwood Cassette Library (WNCL) guise. "Say What?" is a broken sub workout, with a strong nod to the hardcore continuum. Distant alarms, aggressive drums, and deep bass drops make this a floor-killer for all sound camps. "Flashlight" is an aqueous solution of damp funk that will resonate the head and drop the lights. Gaseous and moody.
On the flip is a slow burner remix of "Flashlight" by Adam Marshall - sitting somewhere between tired breaks and acid reggae. 11 minutes of Moog.


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New Kanada wades deep into the white waters of bass for this black summerdub."My Best Dress" is a tough, confident jacker with awesome, mystic
vocals by Rosina of LAL. 808 thumps, Moog whispers, and a serious CR78 swing – Nicholas Murray (aka Murr) really massages the mixing board on
this one, and the resulting production shimmers with unexpected aggression. Adam's remix extends the raw groove into a 12-minute journey that beats the wooden floorboards into pleasant submission. Disco hats, B52 bass lines and Suburban Base drops – the new feel for the old style. New Kanada goes blue

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