The Prodigy Carlos Nilmmns Is Back on Skylax With Once Again a Splendid 12 Inch! His Style Is a Mixture of Refinement and the Most Beautiful Things That House Music Has Ever Produced, Moodymann, Theo Parrish in the Lead but Not Only That, We Must Also Add the Masters Lalo Schifrin, Donald Byrd and Even Henry Mancini. This Ep Starts With a Bang With the Sublime "Nes", Three Letters Which Alone Sum Up the Small Miracle of Bringing Together Both the Ghosts of Detroit and the Most Beautiful Cinematic Music Directly Inherited From the Glorious 70s. "Believe" Plows the Same Furrow With a More Mental Universe and to Conclude "Parisian Nights" (Jazz Version) Which We Swear Would Not Have Been Missing on an Impulse Album. Side B Opens With "Celebration" Which Sounds More Club Tool for Once With Obviously This Je Ne Sais Quoi That Is Far Superior to All Current House Productions. and This Ends With the Club Version of "Parisian Nights", a Real Volute of Sound. His Style Reminds Us Very Strangely and Quite Paradoxically of the Illustrious Terre Thaemlitz Aka Dj Sprinkles. Music for the Soul and the Body.....

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Germany
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SKYLAX RECORDS, THE company focused on realeasing original obscure dance classic and everything’s that sounds fine to their ears !
For this new release serie, we decided to bring you guys a regular member of the crew & one fo the most talented producer : CARLOS NILMMNS. Indeed, the man is back on Skylax! The Scottish producers skills again ranging from soundtrack to dirty machine funk. Songs such as "BROOKLYN WALK" and "MOMENTS OF HAPPINESS" demonstrate time and time again why many critics are calling him the next Lalo Schifrin. Hardrock Striker Skylax mainman & Optimo once said about his music "should be signed to a hollywood movie studio!" "RAW TAPE CUTS" and "I THOUGHT I HAD YOU" take things onto the dance floor. The listener is greeted by a healthy range of classic machine workouts and Nilmmns signature old school technique's. "GWENS SONG" captures moments of Paris and the good times. "SOUL PATROL" track contains elegant synth work and beautiful live keys which kind of reminds one of Drexciya or music from The other peoples place. "106" shows hardware programming at its finest with lush sounds creating warm fuzzy moments perfect for the warm weather. A timeless record packed with imagination, talent and skill. A record that we believe will still hold relevance in 30 or 40 years time, C L A S S I C ! A must to have in every djs collection. Essential Item No Digital .

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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
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SKYLAX RECORDS, THE company focused on realeasing original obscure dance classic and everything’s that sounds fine to their ears !For our 26th release, we ‘re back with one of the hotest producer on earth right now : Chris Mc Millan as CARLOS NILMMNS (!). This brand new EP (after his fabulous work on the ultra respected Ornaments records from Berlin) is simply one of the best thing we’ve heard this year. It goes from the purest techno to deep house, creating some cinematic landscapes that really touches our hearts. He really have his own soud, deep as hell. One of the most original musician we’ve heard from UK from a long time.This is the kind of release that will remind you what’s house music is all about. Useless to say that Carlos Nilmmns is writing some future & cult club classics. A must to have in every djs collection.



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T4TLUVNRG returns with a new release from Rrose, an artist who has been broadcasting transmissions of esoteric minimalism to the worldwide underground for nearly three decades. Stretching across eras and intentionalities within their work, they invite listeners to inhabit unfamiliar realms of phenomena in the dance. Influenced by the surrealist whimsy of Marcel Duchamp & fellow provocateurs in the Dada movement; the artist as self, subject, and instrument is disassembled, embraced, & reassembled back again into an enticingly abstract form under the sonic melding of experiential sound & techno as the medium. Rrose’s captivating dexterity & evocative tension courses with an arcane fluidity throughout each of the record’s three tracks; their entrancing qualities perfect as tools to supplement the rhythmically inclined DJ bag, or as standalone experiences in circadian perception. “Second Coming” arises in vaporous glamour & undulating perceptive shifts, unfurling an atomic web of percussion occupying an elegant liminality evolved by the listener as participant. “Triplicate” expands our journey further, a dance of glimmering waves inside an elastic cocoon, molting with new anatomical downloads in between spaces of stillness, movement, & rippling kinetic vectors. As the B side morphs into “Silhouettes”, we glide onwards in a dance of smoldering glow, threads of energy conduction meld & drape themselves over subsonic pulsations, free flowing into constellations of momentum over a sprawling canvas.

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Sasha returns with atmospheric gem 'How to Wear Raybans Well' Featuring remxes from heavyweights Roman Flu¨gel and Nathan Fake. Electronic luminary Sasha has had a busy 2024 that has so far yielded standout collaborations with the likes of Super Flu & Sentre and a solo single 'Florian Drift' that proves he remains at the cutting edge. His Last Night on Earth label continues to serve up a rich mix of melodic house and techno from the most exciting names in the scene and this latest solo single finds the boss head into new realms once more. The superb 'How to Wear Raybans Well' is awash with fizzing dub chords and electric lines that flash about the mix. The deep rooted drums have a subtle bounce as they serve to sweep the floor off its feet and lock them into a state of melodic techno bliss. First to remix is Nathan Fake, a UK talent who has always had his own unique sound. It's based on his mastery of synths and melody and has arrived on labels like Ninja Tune and Border Community as well as his own Cambria Instruments. His remix ups the ante and strips things away to bring more defined drums and crisp hits. The synths bring a range of emotions as they unfold with a mind of their own throughout this most captivating track. Roman Flu¨gel has been an ever present in the electronic world almost since the start. The German's output has covered endless ground from micro house to acid to techno on the most tasteful labels from his own Playhouse to Mule, Dial and Live At Robert Johnson. His remix is timeless surging techno that comes with waves of warming synths and unrelenting drum pressure designed for peak time dance floor wig-outs.

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Returning to Classic with his first solo original in 20 years, prolific producer and audio engineer Lance DeSardi unveils ‘Higher’, a three-track release featuring vocals from Jesse Rennix. A frequent studio partner of Luke Solomon, Lance DeSardi has collaborated with the label boss on numerous projects, including on Luke’s Powerdance project and Honey Dijon’s LP ‘Black Girl Magic’ which garnered significant media attention, appearing in The Guardian, Pitchfork, NME, The Line Of Best Fit and more. Now returning to the label, Lance DeSardi showcases his original sound alongside singer, songwriter and producer Jesse Rennix, an established dance vocalist who has released on Om Records, Wolf + Lamb and Legwork. Together the two create studio magic with their EP ‘Higher’, opening with the sultry and expansive title track, stuffed to brim with bright synth goodness as Jesse’s haunting vocals build with menacing intensity. Next up, Lance delivers the ‘Higher’ Space Dub, before ‘The Runaway (House Is A’ Pealin’)’ closes the release with its wickedly dark yet deliciously intense underground club sound.

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“After releasing my album 'ÖÐRUVÍSI,' which was a very personal and emotionally challenging project, I felt the need to make something weird and energetic for the club. I’m really into tunes that feel both slow and fast simultaneously. The first track on the EP, 'Let’s be Havin u,' was initially hard to place genre-wise, i ended up sending it to Darren, who loved it and wanted to sign it. Releasing on Exit kinda feels like earning a black belt as a producer hah. I never imagined that a decade after buying Exit 12”s in 2014, I’d be releasing my own music on the label. When I started making the EP, I had just begun performing again. I often saw people on the dance floor, too out of it to enjoy the music and often some of them having to be carried by their friends to backstage. This made me wanna make tunes for the dance floor as a bit of a statement on this. I first tested 'Let’s be Havin u' at Prikið in Reykjavik, sounded mad on the little old funktion one. The moment I knew that I was onto something with the EP was when I was Performing in Bristol at Thekla for my friend Boofy. It was wild, the ceiling started leaking during the show. I Love Bristol, feels like home to me. Most of the percussion and hats on the EP are made with an Elektron Model Cycles, and the synths and pads are from a 80s Yamaha hybrid FM/sample synth I found at a thrift store. It doesn’t have MIDI, so I have to record perfect takes for chords and melodies. I often use pedals afterwards or resample the sounds for more tonal control. I enjoy digging for records with unique breaks to sample, as I feel this is lacking nowadays. I usually make all my drums from scratch but when I use breaks I like it to be something I haven’t heard before. The alien percussion sound in the last track is actually me biting my teeth together, resampled repeatedly and ran through pedals and interfaces. I also recorded myself chewing gum for the second track to give it that hand on the hip feel. Most of the EP is made with hardware, outboard gear, or real-life recordings. I’m not concerned about the EP fitting a specific genre or playlist. Too many artists play it safe by focusing on their Spotify stats and abandoning projects that don’t work instantly. I think also Obsessive nostalgia stifles innovation, keeping things stuck in a loop by replicating to the tee, tunes from 2 decades ago. I get it, but there has to be a middle ground sometimes.

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