On HRM002 Marquis Hawkes delivers his take on Georgian myths. Each track of the EP is dedicated to one realm in the Georgian cosmology. A1 'Zeskneli' takes us to the white heavens, where the gods reside. A raw and hypnotic house track, deep and celestial. On the B-side we are bound to the earthly plane of 'Ukana Skneli'. Trippy yet percussive, Marquis Hawkes shows off his funky side. His vision of the underworld 'Kveskneli' is rich in soul and unapologetically dancy. A beautifully crafted journey through mythology and sounds.

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Marquis Hawkes kicks off 2019 debuting on UTTU with 4 romantic house gems aimed at the mind, body and soul of the dance floor.

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Berlin based electronic mainstay Marquis Hawkes has announced details of his second LP ‘The Marquis of Hawkes’, due out 24th August 2018. Ahead of this, Hawkes will release a new single featuring acclaimed UK soul singer Jamie Lidell on the 20th July. The single, entitled ‘We Should Be Free’, features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by Hawkes himself. Both this, and the essential previous single from June, “Don’t U”, which featured the vocal talents of Ursula Rucker, will appear on the forthcoming album in an extended version. The album will be the producer’s second LP for us, following his critically acclaimed debut ‘Social Housing’ for the label, which was released in 2016. Entitled ‘The Marquis of Hawkes’, the new album adheres to a specific sound palette whilst still displaying eclecticism across its eight tracks. Opening with the beat-less droning ambience of ‘Beton Theme’, the album takes in a variety of themes from across the house music spectrum, from the deep and dubby meditation of ‘Instrument Of Thought’ to the body jerking rhythms and retro bass stabs of ‘Tough Love’, the introspective mood of ‘The Matrix’, to the soulful New Jersey styled House grooves with a contemporary twist of ‘Sunset’, building through the optimistic joyousness of ‘Hope In Our Hearts’ before closing with Lidell’s heartfelt and passionate emotional overload on ‘We Should Be Free’.

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Berlin based electronic mainstay Marquis Hawkes has announced details of his second LP ‘The Marquis of Hawkes’, due out 24th August 2018 on fabric’s in-house label Houndstooth (home to Call Super, Aïsha Devi, Special Request and more). Ahead of this, Hawkes will also release a new single featuring acclaimed UK soul singer Jamie Lidell. The single, entitled ‘We Should Be Free’, features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by Hawkes himself. Both this, and the essential previous single, “Don’t U”, which featured the vocal talents of Ursula Rucker, will appear on the forthcoming album.

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Marquis Hawkes returns to where it all began! 4 club ready bangin' body jerkers. Limited hand stamped vinyl with inlays

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Marquis Hawkes returns with a new EP for Houndstooth, ‘Sweet’. Pairing up a sugary R&B sample with his signature swinging but slamming beats, opening cut ‘When I Get Home’ is a return to the flavour of last year's summer smash ‘Can't Find A Reason’, although this time around, it's more tracky and introspective. Next up, a different facet of Hawkes’ production talents is reprised with ‘At The Witness Stand’, a trippy take on classic NY freestyle. Opening the B-side, title track ‘Sweet’ furthers Hawkes’ trademark rough and ready house sound with distinctive vocal hooks and a hip-twitching rhythm, whilst bringing up the rear, ‘What A Relief’ is a raw but inescapably funky drum workout that would make the likes of Traxmen & Eric Martin proud.


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The Homesick team have broken into Marquis Hawkes secret vault and dug up four great edits that have had great responses from his public during the past few months. Now available on a solid 180g records meticulously mastered to sound as awesome and modern as they were when they first got released.



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The aptly-titled 'Raw Materials' sees Marquis Hawkes making a welcome return to the primitive house rhythms for which he became known via his early work for Dixon Avenue Basement Jams. Highly influenced by house originators Ron Hardy, Gene Hunt and Roy Davis Jr, 'Raw Materials' updates the form with modern production techniques whilst preserving its authenticity. The title track eases us in, with dreamy vocals, dusty pads and deep 808 beats. The flip, however, takes no prisoners with two cuts of raw drum machine clatter and strained vocal cuts on ''Ave That' and primal analogue tones on 'Jerk U Later': deadly dancefloor destroyers designed to drill straight to your core. Cut to 140g vinyl by Matt Colton at Alchemy Mastering with Houndstooth printed inners.

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We had an inkling that it wouldn't be long before Marquis Hawkes reared his mysterious ass again. Even after the success of his last drop for DABJ we're no closer to finding out the real identity of this cheeky funkmonger. He's probably holed up in his caravan right now, taking massive bong hits, fingering his 808 and having a good old laugh at us all. And if he isn't doing that then he's most certainly at the club, double-fisted with two fine single malts and draped in wimmin, while the DJ drops his shit. "Higher Forces at Work" is a solid entry in what is rapidly becoming a signature sound: raw ghetto elements mixed with deep and melodic arrangements. The rolling funk of "Automatic" is the most minimal Hawkes production yet but we're not talking no Teutonic functionalism here, just a stripped-back deep-bass bliss teetering on the brink of a disco meltdown that never quite happens. Title track "Higher Forces" and "Divine Intervention" are the best examples of Hawkes Ghetto inclinations here. Both have that ripping, flanged percussion that cuts dancefloors to ribbons, with "Divine Intervention" acting as a sort of acid-driven counterpart to the electronic soul of "Higher Forces". "I Want You" is almost this E.P's answer to the righteous thunder of "Sealion Woman" from the last cut. Although, the tracky punishment of the latter isn't quite present on here, Mr. Hawkes certainly knows how to wield an old-time sample in a deft fashion and the surging bass and jungle percussion of this track will take the heads to elevated levels. To cut a long story short: Marquis Hawkes delivers another hit of real, rockin' raw shit mainlined straight to tha jugular and every ounce of hype he's been graced with recently is utterly deserved.

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Limited reissue of the classic Exaltics 2011 release on Creme Eclipse aka The Living Planet. Housed in a full sleeve with fantastic previously unreleased artwork by Godspill. Dont miss this masterclass in brooding and dark electronix tech-fi. It may sound scary at first but lucky for you it all ends in a crop circle rave!

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Part 1 of a retrospective of sorts, compiled from dozens of unreleased tracks from literally two decades of producing, these gems were collecting dust in the vaults of Ekman. Evocative and eerie electro from the Dutch master. We think we can let the music speak for itself in this case, as it's unique and instantly recognizable.

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Part two of our retrospective takes our journey deeper into the woods with his unique brooding electro, vivid sparkling soundscapes and minimum for the maximum dirty brown The Hague Acid (TM). Whatever, I'm just gonna go ahead and say it... gorgeous and essential.

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For the first time ever on vinyl, Iv/An's spectacular debut album Self and Selfish. Toiling away for years in relative obscurity, this Ex-Yu cult vocalist has a slew of highly sought after releases on his own boutique label as well as Austrian Tonn Recordings and more recently Fettkakao. Blending New Romanticism with a stern style of Cold Wave - he sings and produces every song himself - Iv/An has been a staple of the Balkan and Austro-Hungarian live scene for close to a decade now. Recently he started to make waves internationally with a stellar live set for Intergalactic FM, where his sleeper hit "Loopholes" turned more than a few heads. He featured prominently in Henry Rollins' 2022 end of year radio show and is constantly performing and honing his vocal craft. Strictly limited to 400 copies on White Vinyl in exclusive sleeve design, so whatcha waitin for?

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Repress!
New album by the irrepressible Dutchman... The '2080' part of the album title is taken from the Roland JV2080, a legendary digital synthesizer from the nineties that was used a lot in the making of the album. Bought second-hand in Tokyo for a couple of hundred dollars, it lends the record a very dewy eyed soul, whilst the 'Crystal' part of the title stands for the self-made 'DIY germanium crystal compressor' Legowelt used throughout the writing process. The album itself features ten new tracks of pure Legowelt music mainly recorded in De Hague in the past year, but also on the road during tours of LA, the Californian desert, Tokyo (which spawned 'Crystal Cult 2080') and Tejada Gran Canaria (where 'The Future of Myself' was written.) Where his last album The Paranormal Soul was an organic trip into misty forests, this one seems more concerned with medieval spirits; it's deeper, darker and the whole thing is tied together by a more coherent sense of ancient alchemy. Gi ven the use of a DIY germanium crystal compressor during production, it's no wonder everything feels warm, fuzzy and mystic in a way that draws your attention in like that fabled philosopher's stone... glare too long and you might just turn to stone. Right from the opening track the mood is so encapsulating you are drawn right into Danny Wolfers' mysterious electronic world. From there various different tempos are explored and plenty of famed synthesiser work comes to the fore, wrapping grooves in trippy themes, impish spirits and plenty of organic lushness.


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A spectacular debut by this mystery production team by way of London and Berlin. Deep EBM influenced Electro from beyond the rim with a dash of acidic retro futurism.

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Remastered re-issue of this all-time classic alien-funk electro by Aux 88!

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Bristol based Rhythmic Theory, known for working the dark and mysterious edges of bass heavy techno and drum & bass, returns to Creme Organization. After his first work for the label in 2017 he now brings a fulsome nine track mini-LP 'Mechanised Dreaming', exploring the dark corners of ambient and synth based intrigue. Previous releases landed on his self-titled imprint and labels like Idle Hands, BRSTL and Blackest Ever Black offshoot A41. Atmospheric sound design is at the fore here, with cinematic soundscapes crafted from broad synth smears and plenty of subtle little motifs. The music paints pictures of a metropolis during the dead of night, or a former industrial factory reduced to a hall of echoes and shadows. There is subtle tension built from sustained chords and plenty of suggestion of weird lifeforms in the icy ticks and scuttling footsteps of thew a-side. Side b is less dark and dank, with slightly brighter synths and wider horizons all explored. This is a truly immersive and emotive listen that always keeps you absorbed.

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Chicago house and Detroit techno devotee Simoncino is a master of authentic analogue wizardry. The HotMix Records boss joins the dots between the past and the future with his deep and dreamlike tracks and put out an album on Creme Organization back in 2015, and has remained hugely prolific ever the years. Here he explores a full range of sounds, starting with the slow and mysterious deep house of Housetime, which has beautiful synth patterns unfolding throughout. Two mixes of It Up explore ambient with a pained vocal loop and rubbery bass, and a loose and cosmic dub house cut that Larry Heard would love. On the flip, the roomy Tribu has dreamy Italo bird calls and glistening synths paired with punchy rubber kicks that set your mind wandering and Una Notte Con Michelle is expansive deep house with drums that march, tinkling bells and a squelchy bassline that is perfect for the intimate back rooms. Digi bonus Timezones rounds things out with smoky and atmospheric deep house that is filled with deft little details that occupy your mind as much as your feet.

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Dona is back with another EP of emo-jakkin Mediterranean style dark-side. He walks the fine line between hope and hate on this one, mood-swinging his way through various shades of azure and off white.

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Next up on Creme Organizaiton is Lake Haze. The Hague based Portuguese artist is a regular on this label having put out four EPs in the last two years. He's also linked with Unknown to the Unknown and Shall Not Fade so is an esteemed talent with a blistering sound that fuses futuristic techno and electro into storytelling dancefloor dynamite. Space Reservoirs kicks off this EP with slow but heavy drum work, acid twitches and spooky cosmic echoes. The Observer picks up the pace with quick and slick kicks from the streets of Detroit overlaid with ripping electro basslines and deep space atmospherics. Unexplored Oceanic Territory is expansive electro with busted drums and echoing pads that add real scale before more acid finishes things off with real rawness. Prototype is dark and heavy, with another searing baseline and crisp metallic hits, then Into The Unknown is a blissed out electro roller with dreamy pads and twinkling keys melting into the cosmos. It closes out another essential EP from this timeless producer.

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Creme Organization's latest missive comes from Fabio Monesi, an Italian with a gritty house sound that is aimed squarely at the club. He's served up punchy beats on labels like Russian Torrent versions as well as his own Wilson Records before now and has a simple but effective sound. 'Riot' kicks us off with rock slid kicks and lithe synth stabs fleshing out the macho groove. Clever vocal samples bring some steaminess and ensure this one will do plenty of damage on the floor. 'Last Friday' is a raw and lo-fi affair with rattling, sharp edged hits and hissing synths all softened with jazzy chords. House drums and rolling bass prop it up in groovy fashion, then 'Reduction' is a frazzled brew of spiting hits, jerking machine grooves and busted frequencies that is as raw and tough as you like. Last of all, the excellent 'Ozyork' rounds us out with punchy drum programming, intoxicating and off kilter chords and brain frying sonic imperfections that are perfectly imperfect. Add in a deep acid line and you have a surefire house bomb with real meat in its bones.

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Creme Organization welcome a new producer to the ranks for their next EP: that man is Rhythmic Theory, a mysterious artist from Bristol who has years of experience of DJing, producing and running labels behind him. Most recently he has been in charge of his own eponymous label, and has close involvement with the BRSTL imprint as well as releasing on Idle Hands and Happy Skull. Across four track he shows a number of different sides, all of which are fascinating and inventive. Pessimists' opener Empty House (RT's Choppage Mix) is a sparse and broody track with, at first, only the occasional kick drum beneath sooty synth smears. Its from a post-human world and eventually turns into a lurching, off beat track that rises form the ashes of jungle and dubstep with real menace. Outlawed From Reality is another slow and purposeful track that is eerie and cinematic: the off beat drums and spooky atmospheres are full of intrigue and suck you right in, then Cyclic Motion continues to bring a paranoid and unsettled feel to the EP with its layering of elastic drums, naught sine waves and scattered drum hits. Last of all, Rachael's Theme mixes up passages of blissful cosmic ambient with loose, rumbling drums and a general vibe that feels something akin to passing from this life to the next.


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After an EP on Creme Organization off-shoot Jericho One as DJ Plant Texture, Dona Basile now assumes his Dona alias for a new EP on the main label. Entitled The V.G.P Sessions, it features four new cuts from the Italian. Up first is a live cut version of 'Energia', a bristling electro track with globular bass and coarse hits. Turbulent but full of synth based serenity, it is a fine start. 'Cigarettes' is rugged and broken, with glossy IDM synths and corrugated drums all loosely arranged into something prickly and unsettling. 'The Deads At Twelve' then gets even more fucked up, with rusty synths and blown out drums making for a dystopian house groove that will likely soundtrack the apocalypse. Last but not least, 'Nr. 13' mixes up Detroit synths, wild acid, heavenly chords and chopped up, buried deep vocal samples into something that will fire every synapse in your body. This is outlier stuff from Dona that sounds like little else.

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Next up Creme Organization is a return by regular artist Lake Haze. Following his Natural Insight EP earlier in the year comes Intergalactic Communicationz, four more fresh tracks of acid, techno and electro that is brilliantly evocative. The Portuguese artist known as Goncalo Salgado also please son labels like Unknown to the Unknown and is a real hardware master. At The Gates ov Futron is a turbulent lack track with zipping acid and a cacophony of percussion that is visceral as well as cinematic. Drexciyan Aquarium is, as the name suggest, an aqueous electro track that slithers and slides through an expansive underwater world. Poseidon's Dream then offers a more rugged electro groove that is backed by heavenly pads and a real sense of loss in the synths. Last of all, Intergalactic Communication closes out this far travelling and intergalactic EP with a sci-fi deep house track that is filled with light, 909s and a sense that the end of the world is coming.


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The next chapter in the Creme Organization Ecplise series comes from Cosmic Garden with three original tracks and one remix from Orgue Electronique. Little is known about Cosmic Garden other than he is from Southern Italy and has had two EPs out in 2016, one on HotMix and one on Cosmic Rhythm. He heads out the blocks here with 'Reptilian Treant', six minutes of lo-fi deep house that is roomy and atmospheric. Lazy synths bring soul and a gentle chatter of claps and hits helps drive it along. 'Rare Centaur' is also way below the surface but is darker and more celestial, with turbulent bass, frantic claps and angelic chords glowing like a white light at the end of a tunnel. Dutch house and electro don Orgue Electronique then remixes 'Reptilian Treant' into something that is slick and serene, with metallic lines dancing above rubbery drums as big piano chords boucle up top. It is joyous and colourful and truly majestic before final track 'Apocalyptic Moose' takes us back down into a mournful house vibe that echoes Chicago with its roughhewn analogue textures and lovestruck chords.

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The last few years have seen Belgian artist Innershades turn out plenty of rugged house on labels like Creme Organization and Pinkman, and now returns to the former with a four track EP on Dutch label Creme. The prolific producer shows he still has plenty of tricks up his sleeve across all four cuts and stitches in acid, jack and Chicago styles with his own sense of charm. The Kings comes hard and fast out of the blocks with big hits, wild synths and raved-up vibes that will have you punching the air. Knowledge is another banger with powerful kicks and globular bassline run through with more ravey sirens, but this time is a little more haunted. Crossing Paths is all about a simple but effective bassline that bounces along and takes you with it in ways similar to an Omar S joint, then Wait is the most stripped back and mysterious of the lot with cosmic melodies panning about in a spacious and airy deep house groove. Utterly timeless from start to finish, this is another massively effective offering from Innershades.

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