Cracking remix, Shanti is always pure gold with he productions.

Leeds based party On Rotation launches it’s record label with a LP from resident Adam Pits. His debut album ‘A Recurring Nature’, draws inspiration from time spent in nature with friends during a year when clubbing was an impossibility. Over the course of 8 varied tracks, Adam moves between club slammers and spaced-out introspective downtempo with ease, showing off the production skills that have made him one of the most talked about names of late. 

Combining the unique style of his previous club EPs with organic sound design and his own classical cello background, the psychedelic sonic palette is reminiscent of long summer days foraging for mushrooms and other treats from the undergrowth.

More Exclusive Music

Premiere: Adam Pits 'The Age Of Ent'

Stream, download or buy the 12" vinyl: https://lnk.to/CrombyPH113

Following on from his 2021 debut on Phantasy, ‘Qué Sientes’ ft. Tee Amara, Cromby returns with another release that’s long been a secret weapon in his high-energy DJ sets everywhere from Berlin to his home city of Belfast, accompanied by an expertly-executed remix from Head High. Once again, Cromby provides one of his own sublime paintings as the artwork for 'Loving'.

Loving

Download or Buy 12"

Stephen Brown and Fossil Archive, aka Roberto, team up for ‘3D World EP’ this April.

Following his acclaimed debut album ‘Tungsten’ on Kneaded Pains in 2021, as well as the recent ‘Motionless EP’ in February 2022, London based DJ/producer Fossil Archive, aka Roberto, joins forces with Edinburgh’s Stephen Brown, an artist whose work has appeared on Subject Detroit, Djax-Up-Beats, Echocord Colour, and more throughout his illustrious career.

Leading the release, ‘Control C’ sees the duo effortlessly weave syncopated stabs, knocking percussion, and rattling hats together for a suitably trippy start to the EP. Title cut ‘3D World’ follows with dense, emotive pads intertwined into sleek, building arrangement, one for the early hours. ‘More House’ bring pounding kick drums under swathes of FX and flowing chords before the final track, ‘Travel’ brings the tempo down for a hypnotic journey built for eyes-closed moments on the dancefloor.

Founded by Roberto in 2015, the Fossil Archive label has released music by artists such as Voiski, DJ Rolando, Sterac aka Steve Rachmad, Roman Lindau, Robert Owens, and many more, including Roberto himself. As a DJ, Roberto has played at the likes of fabric, Tresor, Berghain and more.

Fossil Archive ‘Motionless EP’ drops on 25th February via Fossil Archive.

https://fossilarchive.bandcamp.com/album/stephen-brown-and-fossil-archive-3d-world-ep-fauk012

https://soundcloud.com/stephen-brown
https://soundcloud.com/fossil_archive_rmk

3D World EP

PREMIERE: Stephen Brown & Fossil Archive - More House [Fossil Archive]

Marionette

Marionette (Shanti Celeste Remix)

Hyper Epic

Mechtaya

In the Neptarion star cluster, the Cyborganos, biomechanical beings, fuse technology and biology to create an advanced and highly structured society. Under the leadership of Cybernetro, these beings explore the boundaries of science and technological innovation.

Nene Is Travieso

Buy → https://bluespring.luckyme.net

1 - Romance Dawn For The Cyber World
2 - Join Me Or Die. Can You Do Any Less
3 - Ecstacy Is On Maple Mountain
4 - He Has The Key
5 - Blue Spring
6 - 11.11.90 [Beat Version]
7 - Moon Scepter Elimination
8 - LeafCutAngelicDepths
9 - The Party We Could Have
10 - May All Your Bacon Burn
11 - Romance Dawn For The New World

Music by Nathan Micay. Art Direction by LuckyMe. Listen to the first release, a tribute to Akira → http://luckyme.net/bwana

(LM058) Nathan Micay - Blue Spring - May 3rd 2019

Blue Spring

The Party We Could Have

Brame & Hamo debut on Soft Computing with 3 original tracks of 'breakbeat-infused-synth euphoria' - having recently turned heads on Feel My Bicep + a stint of sold out b2b shows with Mall Grab - here they 'Goa' little deeper drawing influences from trance, deep house and breaks.

Retro Active EP

Retro Active

Aril Brikha - (A) Groove La' Chord [Fragile 1998 - FRG17]

We Are Not Nothing

Jeigo - We Are Not Nothing (Original Mix)

Octo Octa - River

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


Marionette (Shanti Celeste Remix)

Mathew Jonson

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