Sistol/Pole
The SYNTH Huckaby Remixes 12"
Slices Of Life

Slices Of Life presents tracks from Vladislav Delay's Sistol and Pole projects, remixed by Mike Huckaby. To start, "Keno" is transformed into an outstanding, dubby, Detroit-house masterpiece -- exclusively released as an extended version. On the B-side, Huckaby remixed a track originally produced in the same time period: Pole's "Silberfisch." In 2011, Mike Huckaby keeps the dubby and slightly melancholic, crackling atmosphere of the original, but his "S Y N T H Remix" beams "Silberfisch" straight onto the dancefloor.

Purchase Synth Remixes here



Portable
Into Infinity 2LP
Perlon

On the fifth album by Alan Abrahams aka Portable, he teams up with Efdemin, Johannes Schön and Süd Electronic label-mate Lakuti, to lead us Into Infinity. During the last 15 years, Alan has lived and composed in South Africa, England, Portugal and Germany. He has released records on Background, Context, Karat, Musik Krause, ~scape, Spectral, his very own Süd Electronics label and Yore.

Purchase Into Infinity here




Theo Parrish / Burnt Friedman
Meet Mancingelani and Zinja Hlungwani 12"
Honest Jon’s

Transept
TRSPT001
Dronehenge

Debut LP from UK prog-drone trio is heady mix of beautiful yet dour space rock that recalls PINK FLOYD & TANGERINE DREAM with soundtrack-like bliss. Melodic but with grit and bite, it's for fans of FLYING SAUCER ATTACK, EXPO 70 & DEMDIKE STARE. 4 stars in MOJO! One-time pressing!

Purchase Transept - TRSPT001 here


Joy O
WADE IN
Hotflush

Since his debut anthem "HYPH MNGO" was dropped in 2009, JOY ORBISON (now JOY O) has been making waves globally. Taking a more straightforward, classic house approach, "WADE IN" has rolling, acidic basslines and "JELS" is full of uplifting melodies.

Purchase Joy O - Wade In here



Lawrence
Sorry Sun
Smallville

With his first release on his co-owned Smallville label, Lawrence, aka Peter M. Kersten, celebrates another tribute to more than 20 years of house music. Beyond his club influences, Kersten was mainly driven by slow Detroit jazz from the early '70s and classical minimal music which colors the palette of this EP. With "Sorry Sun," Lawrence invites us on another adventure into the miracle of a cozy dancefloor, letting only the music shine and the people close their eyes and smile.

SHED
Traveller
(Ostgut Ton)

This is the second full-length release for Berlin-based DJ/producer Shed. The Traveller is not the perfectly planned-out escape into the safe haven where perfect tools worship the primetime DJ, but rather it's an ode to the heart of electronic dance music that still pumps loud and vigorous. For Shed, that very heartbeat was never clearer, more concise and genre-defining than in the UK in the early '90s. Detroit, Chicago, Berlin: get in line, you've had your time. Needless to say, Shed is not in this to become the copycat of some of rave music's perfect key moments. The Traveller is not another chapter in the ongoing history of the "anything goes" cult, not an overcooked stew praising the power of eclecticism; instead, it is simply an example of untamed fascination for sound. Frankly, Shed masters this almost naive approach perfectly and slaps the guards of the status quo right in the face. Again and again, Shed pulls little melodies from the depths of his studio and lets us discover our enthusiasm for the moment anew. He applies breakbeats bearing more history than the 909 bass drum where the 4/4 attack would have been the obvious choice, grants grandpa acid only a brief yet overwhelming guest appearance and deals with minimal dance music's heritage in a completely new, unexplored way. Always present: euphoria. With The Traveller, Shed manages the intangible and translates techno tracks into a shorter, yet crisper format, playing with tempi and moods. And yet each and every beat is right where it belongs, helping to merge every ingredient into an adventurous trip through a night one always dreams of and yet hardly ever gets. The album resonates from start to finish, is full of ideas, speaks dubstep and chooses radical approaches where other producers opt for the emergency exit of the lowest common denominator. The Traveller is the perfect base for everybody still willing to take a chance.

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HAITO GOPFRICH
Fiat Lux
Boxer

This is the debut full-length release from Berlin producer/DJ Haito Gopfrich -- the man of innumerable faces and the Doctor Mabuse of German dancefloors. Hooked by the eclectic early DJ-work of Hans Nieswandt and Eric D. Clark, Haito is now well-trained on Berlin's Loveparade vehicles, and as a result, his work has been pressed onto vinyl by labels such as Kickboxer, Malatoid, Spagat, Low Spirit and Acker Records. With Fiat Lux, Haito tells us his stories from the club in a colorful, thrilling and filmic way, emphasizing a diversified, round dance of styles, genres, ideas, sounds and beats. From the exhilarated groove of a gritty high-school comedy ("I Ro Love"), over the sticky heat of a foreign marketplace demolished by a wild chase with James Bond ("Pusher"), to the fizzling noise of a motor in a SF manga road movie, Haito seems to know how to set everything to the music he's got in mind. The hardcore continuum is cultivated by elegantly-rushed drum patterns ("Drugpeople"), Alfred Hitchcock's shower curtain knife-scene is shot into the universe via electro-funk ("Freedub"), and a harmonized depth of field meets a roughened, saw-tooth discourse ("Disconnect"). Even the Yakuza smasher with Renaissance costumes filmed in Andalusia finds its true destiny in the spinet rave of "Non Plus Ultra." And above all, intelligent sample editing, four-dimensional, fluffy synths and springy percussion sounds can't be wrong. The peak of the album is the 2009 version of "E-Love," a revised version of the 2008 hit released on Kickboxer: a couple of tricky samba piano sounds are smuggled into the pockets of a subtly-bouncing clapper trailing a comet-tail of synths. Last but not least, after the Wall Street psycho thriller "Mummy," and "Komm Mal Klar," you'll find "Good Times, Bad Times" -- a hymn for the closing credits with vocals by Eric D. Clark that pulls out all the emotional stops to keep the audience enthralled and teary-eyed.