Tracklisting
A1 Wulffius - Monotone in G minor
A2 Wulffius - My Cosmic Synthesizer
A3 Wulffius - Frequency Piano Jam
A4 Wulffius - See That. Are That
B1 Wulffius - Heels At The Pebble Beach
B2 Wulffius - Typ Sounds Deep
B3 Wulffius - Grape Bounce
B4 Wulffius - I Am Weird

Release Note
Sorang, the debut album of Yalta native Wulffius, represents his work over the last eight years. The playful creature on the cover, Stone Eater, is based on childhood sketches of producer's father. The name of the album alludes to the first collection of his father's poems, which took its name from a short story by Konstantin Paustovsky, a master of nature writing in Russian prose. Sorang is the name of the south wind that "blows once in centuries", and you can hear its unique warmth in these tracks. There is a sense of wholeness here, and a palpable style and atmosphere that permeates the individual pieces.

Wulffius creates what he himself refers to as "B-sides": something too strange to be danceable, with "complex ease" and rhythmical variety. The music has a charming serenity and beauty thanks to Wulffius' intuitive approach, which is childlike and whimsical in the best possible sense. By the way, Paustovsky wrote Sorang in an hour and a half at a speed writing competition. You can hear a similar spontaneity here, but make no mistake, this is the work of a master and has been crafted over a period of years. It all comes from experience. More

The second part in the Dancefloor Records reissues on Emotional Rescue comes in the form a true House classic. Produced and released by the Chicago legend Andrew Komis, It's You is an original Deep House bomb and an education to those increasingly misusing the term today. Essentially a cover/updated version of the all-time early House classic in ESP's Its You, this 1989 update shows how much the scene was progressing in just 3 years with a tougher, heavier and deeper 12 that was all about rocking club sound systems. Coming out on Komis' own (Dancefloor subsidiary) Big Shot Records, this might not of been as big as Dionne's Come Get My Lovin', but has long been an 'in the bag' record for the likes of Derrick Carter and Solar. Just one listen spread across the time-defining Mixes and it's clear why. The stepping bass of the New York - London Mix was so indicative of the time. As the latter's ascent as a clubbing capital took hold, ears were pinned to what was emanating from across the seas, especially the clubs of NYC and 'Windy City'. Trademark Komis bass and hats ride are all here to allow the breathy vocals space to do their magic. However it is the Free House Mix that really shows where things were at. Skipping hats, electro-meets-Belgian bass and a dark synth line pull the track down before acid touches take the song to a much deeper place and has long been the favourite version for the discerning DJ. Ending with what was indicative of the time, the title says it all with the NU Style Mix. A drum heavy work out, taking in elements of successful records of the time, we get Break 4 Love percussion arranged around a NYC influenced Konder's style quick cut-up editing for a more 'freestyle' mix to round out what is simply, an underground bomb and therefore, worthy of what this label has always been about, bringing great records to new ears.
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For the 12th vinyl release Wicked Bass welcomes Galdoors co-owner Junes, who gives us the light again on his current music tastes through three rhythm driven, UK infected tracks made for the tight, sweaty dancefloor. More

Latest Wicked Bass instalment comes from lost 1990's tapes of an underground Estonian production group, Hupnosaurus. Side A opens with 'Muru', a simple ballad with its stripped kicks and funky string bass that gradually reach a lo-fi acidic house condition with psychedelic swirls appearing every now and then. Bookworms provides a remix treatment with thick, multi-layered overdriven & looped madness that strips the original to a simple bassline and occasional industrial stabs. On side B, 'Always In N' Out' starts out as unorthodox blend of a classic techno kick and speed garage percussion, but after a long building spacey pad breaks into a classic filtered house tune with transposed chords and cut-up vocals that runs until the end of the track. The last title track demonstrates heavy stomping kicks, swinging hats, familiar psychedelic whirls and a trippy, crushed vocal sample appearing out of nowhere questioning 'Where Am I?'.
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Next up on the Wicked Bass label is newly emergent Detroit talent Manuel Gonzales, aka MGUN. This is a three track EP from the man who has previously appeared on labels such as The Trilogy Tapes and Wild Oats that is aptly titled and that showcases his raw style perfectly. Opener 'Mono Port' is a sludgy, dirty track with scuzzy ambiance, grainy white noise and plenty of grit obscuring buried deep kick drums and raw synth patterns. Second track 'Frosted Lakes' is a just as knackered sounding bit of whacked out techno. Broken kick drums trudge below spiralling synths, static interference and the general imperfect buzz and hum of analogue gear and it builds into a loopy banger that will blow minds as well as speakers. Last is 'Chip Implemented', another dystopian bit of depraved sounding techno with groaning synths, hurried drums and plenty of stormy winds blowing across its face. This is hugely textured, darkly cerebral music that manages to be minimal in d esign yet maximal in impact from start to finish.

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We’re really excited about this unusual EP from the unusually talented PhOtOmachine, his first outing on Wicked Bass. 'Black Motorcycle' a dark but deep number, measuredly working its way down into to a solid groove before it lifts its eyes skyward for a breakdown made up of delicate synthwork. 'Good News...Bad Dope' is a more skittish cut, with its percussive elements laying low in the mix, whilst circling synths provide a menacing mood that juxtaposes itself with a well-placed vocal sample. A rough and ready, but nonetheless deeply considered track. Heading in a totally different direction 'Zapp' does weird and wonderful work with a decidedly disco palette, bringing out the toughness of the genre by emphasising a superbly dirty bassline. 'Special Luv' also wraps itself around a filthy disco sample, and indulges in a breakdown which is simply a condensation of sheer sexiness. Four pieces of brilliance from an impressive new talent - what are you waiting for? Stick it in your recordbag quicksharp. More

Our new release has a particular importance in the history of Wicked Bass, being incidentally both the latest and the first to appear on vinyl. The four-track record comes from our long-time favorite KC wunderkind, Huerco S., who evidently grasps his inspiration from literally everywhere, be it UK Hardcore, pitched down American vibes, or even modern art. Scoring No Jack EP with three original tracks and a remix by the US scene's fresh discovery, Braille (who is coincidentally 'one half' behind Sepalcure), as his first physical release, Huerco S. embarks on a far-lying journey with even more to come.
The opening and title track, 'No Jack', basically sets the mood for the entire record with its slow-paced tempo, deep chords, soultouching processed repeated vocal samples, spacey pads, reverb claps and an unorthodox bassline. Needless to say, all of these paradoxically sum up to an absolute dancefloor slayer, which is followed on the same side by 'Bypass', a nearly beatless, obviously difficult to repeat and surprisingly haunting work of art that stays in the minds of listeners for good. Flip the record, and you find yourself absolutely startled by 'Untitled', a more simple and common for Huerco S. piece of production with easy-going vocals, yet unbelievable in its perfection ? especially considering the Chords (only with a capital letter) that appear
towards the end; making you want to listen to it from beginning till end over and over again. What is left for 'dessert' is the long-awaited psychological re-interpretation of the above from Braille, who takes us 'deep, deep, even deeper', as sung in a popular house track, while reanimating the song, masterfully changing its mood and making it more optimist by adding some of his trademark displaced beats, and re-working the pads, synths, vocals in a manner in which Larry Heard would back in the days. The concept behind our long-awaited very first record is clear, and judging from the reaction we have already received, it will most likely please all kinds of audience, be it the bass heads, Chicago house lovers or even disco spinners. For the lack of better words, however, we'll leave it up to you to decide whether you will listen to it intimately at home or destroy the nearest dancefloor by
dropping it in the right moment.
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