Beatport

Jennifer Cardini, Ho - Stay (Roman  Flugel Mix) [Crosstown Rebels]

Pronto Arpeggio (KiNK Remix)

San Soda - Cocomo

112 KBPS FILES - DON'T BE A DUNCE!

Stream & Buy - https://razor-n-tape.fanlink.to/BenSun

With previous releases on Delusions of Grandeur, Voyeurythm and more, UK producer Ben Sun delivers a gorgeous blend of deep textures that hearken back to the golden era of NY and Chicago with his Distant Messenger EP on Razor-N-Tape. On the A-side, Transmission has all the vibey goodness of an early Strictly Rhythm record, while Sable Sun scuba dives into Larry Heard territory with lush pad swells and squelching acid lines.

On the flip, the emotive motion of Tremors builds through hypnotic arpeggiated synths, a slow-rolling bassline and crystalline melodies, and the record finishes in proto-house territory with the Peech Boys era Larry Levan-inspired Red Light. This EP may wear its influences on its sleeve, but it looks (and sounds) classy as hell.

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http://www.razor-n-tape.com​
http://www.razor-n-tape.bandcamp.com

Distant Messenger EP

Stream & Buy

Ben Sun - Red Light

Fire & Rain

https://gargaroche.bandcamp.com/album/ghetto-funk-ep-david-delgado-void-bloom-remixes
Sam Suffit steps into the misty Gargaroche Forest of Music, where species of different genres live in harmony and peace, and showcases his mastery of sound. Stomping with old-school funk vibes, as the name suggests, he blends a strong tech-house influence with the right vocal cuts that contribute to the landscape Sam creates in both 'Ghetto Funk Versions' and the dreamy, almost summerish Detroit stomper 'Booty Clap,' once again using the perfect vocals to create that authentic feeling we all crave at a party.

Remixes come from the experienced and well-known Berlin-based David Delgado, known for his cutting-edge minimal style and a regular at CDV, Berlin, under his party brand Meltdown. To finish off the release, Void Bloom delivers a peak-time old-school tech banger, rounding out this 5-track package.

soundcloud.com/samsuffittt
samsuffit.bandcamp.com/album/comfortable
www.instagram.com/sam__suffit__/
www.youtube.com/channel/UC4--HWlB6GGtEw-mGlu54wg

soundcloud.com/daviddelgado
www.instagram.com/ddelgado_wox/
www.instagram.com/beleejean/

Ghetto Funk EP

Buy Here

[GRR016] Sam Suffit - Ghetto Funk EP (David Delgado & Void Bloom Remixes)

Brassica returns with a brand new 12” single for Civil Music that includes new track "Get Down" and a remix of "Tears I Can Afford" from Belfast duo Bicep. 
‘"Get Down" arrives simultaneously with ‘Nature Isn’t Mute’; a deluxe extended edition of "Man Is Deaf", the producers debut album praised by Dazed & Confused and De:Bug and nominated for Album of the Year at the DJ Mag awards. "Nature Isn’t Mute" completes the Terence McKenna quote the album was named after and contains seven additional tracks.
On "Get Down" Michael Wright shows he hasn’t lost any of that Brassica magic with a heady 6 minute workout. As the track sprawls and unfurls, various elements come in and out of play, hinting at the foundations of the Brassica sound, with Wright guiding the listener along for a joyous ride. The single is backed by a remix of album track "Tears I Can Afford" courtesy of Belfast duo Bicep who embrace the occasion fully by extending the original to 8 minutes and playing with its acid elements in fine fashion.
Happier in the shadows than under the glare of projectors, Brassica continues to refine a unique sound and approach that has made him a favorite of your favorites. Already OUT, don't sleep

PREMIERE : Brassica - Get Down

Preorder here: https://17steps.lnk.to/BTWITHWEP

Alongside three whirlwind original tracks, the title cut on Bwana's new EP 'Three Is The Hard Way' features a remix from fellow Berlin-based artist, Avalon Emerson, another producer who's experiencing a blaze of glory surrounding her recent EP releases and widely-praised DJ sets. 

The two artists coming together is a match made in heaven and after they released a fantastic split EP via Emerson's​ Cybernedits series last year, it couldn't have happened again sooner.

Three Way Is The Hard Way 

More exclusive music

Premiere: Bwana 'Three Way Is The Hard Way' (Avalon Emerson Remix)

Stream, download or buy the 12" vinyl: https://lnk.to/JoshuaJamesPH85

Erol Alkan welcomes Joshua James to Phantasy for his debut release ‘Coarse’ featuring The Bunker NY producer Justin Cudmore on remix duties.

A fixture of London’s dedicated queer club scene, James maintains a trio of distinct residencies, including XOYO, the notorious 'Savage' parties, as well as fortnightly on Rinse FM. On this unapologetic and upfront track, the DJ-turned-producer instantaneously captures the raw energy and sexuality that underpin his life by night, backed by a remix from a key figure in the US underground, Justin Cudmore.

Designed with sweatboxes and serious sound-systems in mind, ‘Coarse’ wastes no time in establishing its rude intent; hammering jack-bass, orgasmic cut-up vocals and larger-than-life synthlines flirt expertly from the off, before the track descends into outright sleaze in the spirit the of gnarlier edge of acid-house. Only a series of breathless gasps indicate you’ve safely reached the other side... A personal weapon for James each week behind the decks, as well as for Phantasy founder, Erol Alkan, ‘Coarse’ is a powerful dancefloor paean with only one (well, maybe two) things on its mind.

Having turned heads with his own uncompromising acidic perspectives on labels such as The Bunker NY, Phonica White and Honey Soundsystem, New York-based DJ and producer Justin Cudmore unfurls ‘Coarse’ in a trippier, deeper direction, nonetheless still bumping in a style that subtly recalls the peak-time sound of classic 90s NYC clubs like The Tunnel.

Tracklist:
A. Coarse
B. Coarse (Justin Cudmore Remix)

Follow Joshua James:
https://www.facebook.com/djjoshuajames
https://www.instagram.com/djjoshuajames https://soundcloud.com/joshuajamesdj

Buy 12" + Download

Coarse

Nothing Much

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Mathew Jonson really is one of a kind.  
 
He's developed one of the most distinctive voices in electronic dance music: when you hear one of Jonson's tracks, you almost immediately know it's his. And yet there's no mistaking any given track for another. 
 
His music offers a rare fusion of populist intensities and nuanced musicality. With a keen understanding for the needs of the dancefloor and the universal laws of house and techno, he's thrown out the rule book time and time again, sneaking tricks learned from electro and even drum'n'bass into minimal clubs, and loading up his B-sides with tracks that do what they damned well please. (No kick drum? No problem.)
 
His standards for sound and presentation are exacting. Both on stage and in the studio, Jonson's fealty to analog equipment and real-time play—as opposed to mere playback—serves as a standardbearer for a kind of electronic music that goes way beyond the drag 'n' drop world of digital composition. Jonson has always been eager to get his hands dirty, and the music reflects that in gnarled bass sequences and long, intuitive lines. His sounds have serious teeth.
 
And despite his quick ascent through the ranks of the techno elite, Jonson hasn't just stayed personally grounded. He's devoted much of his energy to supporting his own close musical family, both in the groups Cobblestone Jazz and the Modern Deep Left Quartet, and with his Wagon Repair label, which he cofounded with Jesse Fisk, Graham and Adam Boothby, Frank Meyerhofer and Konrad Black.
 
He studied classical piano as a kid, plus jazz drumming, and played drums in a marching band —thus laying both the melodic and the rhythmic cornerstones of his music today. (Plenty of musicians claim to be "classically trained," of course, rendering the phrase all but meaningless. But here's something you might not have known about Mathew: he's actually begun studying piano again, which suggests a musical seriousness that's rare in the world of auto-didact button-pushers.
 
Thanks to his father's work with sound technology, he also got his hands on synthesizers at the age of 9. By the time he discovered hip-hop as a young teen, he was recreating its electro-based beats on his own rudimentary setup at home.
 
It was in Victoria, when he was 19, that Jonson met up with the crew that would help guide his musical trajectory: Tyger Dhula, Danuel Tate and Colin de la Plante, who were playing and DJing parties around the area. The four started playing in clubs together, an early version of the group that exists today as Cobblestone Jazz and the Modern Deep Left Quartet. (The Modern Deep Left Quartet was the original name for the foursome; after de la Plante moved to Montreal, the remaining trio carried on as Cobblestone Jazz.)
 
"It was all improvised," says Jonson of the group's early days. "We never really worked in the studio, we would just meet at the nightclub and jam. That's how it started. We did that for quite a while, and then it morphed into a residency at a club, once every two weeks." To keep it interesting, they would invite other musicians—on trumpet, violin, bass, sax, and rhythm sections—to join them.
 
After de la Plante left town, Cobblestone Jazz began focusing its efforts more squarely on the dancefloor, moving away from purely improvised sets to include composed and rehearsed passages. And Jonson gradually began honing in on his own sound, both in his productions and his DJ sets, inspired by a deeper, weirder sound that had begun filtering into the city's techno parties.
 
His first record, in 2001, was the first release on the B.C. label Itiswhatitis, appropritately titled "New Identity." Another followed in 2002, and in 2003. That year, he also made his first appearance on Perlon, "Alpine Rocket"—a track he recorded alongside Luciano during his first trip to Europe. And then, suddenly, Jonson was everywhere: Itiswhatitis, Sub Static, Arbutus, Kompakt, M_nus—and every track an anthem.
 
"I had all that music kind of saved up," says Jonson, "and then, just by chance, released it all at the same time. People criticized me for it, said that it wasn't a good idea. But it worked out for me. All the tracks did well. I wasn't saturating the market with bad music." He's right there.
 
In 2005, Jonson co-founded Wagon Repair, and it's been a blur since, a nonstop series of tours and recordings, solo and with his bandmates. Crucially, he moved to Berlin. Here, he and de la Plante—who moved over at the same time—have set up Cobblestone Jazz' European headquarters, providing not only the launch pad for European tours but, more importantly, the control center for the group's recorded activities. The studio is jawdropping, frankly: a semi-circle full of gear, from old workhorses like the 808 and 909 and SH-101 to unique beasts like their Cwejman and Roland System 100m modular system. Tate's Rhodes piano anchors one corner of the horseshoe, and everything feeds into a massive desk where tracks are mixed and recorded in real-time. Jonson makes his own music essentially the same way—only with two hands instead of eight.
 
Those two hands have come up with some remarkable material. Having perfected his brand of earthshaking epic with tracks like "Marionette," "Return of the Zombie Bikers" and "Symphony for the Apocalypse," Jonson has increasingly turned his efforts towards more personal, introspective music. He hasn't left the clubs behind—his new album, Agents of Time, features a number of tracks that are as hip-windingy wily as anything he's produced yet, full-on tracks like "Girls Got Rhythm" and "Thieves in Digital Land." But he's also taken advantage of the longplayer format to stretch out and indulge darker moods and slower tempos.
 
"I like to have phrases that sound like they're major, but then they go minor when they turn around," explains Jonson. "You think that you're in a happy place, but suddenly you're not. I like playing with that tension. When I look at the music I've made, the best music is always music that can stimulate any kind of emotion. It's more like a key, towards opening up whatever is inside of you -a gateway"
 
You can expect him to be unlocking even more emotions soon—ones you may not have even known you had—when he ramps up with Midnight Operator, a collaboration with his brother Nathan Jonson, aka Hrdvsion. With Nathan also based in Berlin, the two are finding common musical ground, expanding upon the platform they established with their lone, 2007 EP for Wagon Repair as they begin work on an album.
 
"Obviously, you can look at what I do with my label and the bands I have, to see what's important to me," says Jonson of keeping it in the family, so to speak. "I'm lucky because I have so many friends who are strong musicians. We can all feed off of each other.  You know, when you're doing music, it's such a personal thing. To have an outlet with the labels to be able to release our music, and be able to all stay together, I think there's a lot of strength in that. Everybody is stronger as a group." – Philip Sherburne


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Mathew Jonson

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