Flatliner
Awakening EP

Phantom Island in-house music producer and sound magician Florin Büchel (also known as CCO) delivers a two-tracker that takes you on a journey through space and time. Florins spaceship is well equipped with analogue machines and features two befriended guitar players on board. Expect drum machines, deep synth pads, playful percussion, whistling oscillator birds and dubby guitars in dialogue on the way to the horizon. Mixing Funky and Reggae influences to conclude in beautiful downtempo dubbed tracks... Delivering a clearly fresh shot of vibrations ! We Love It and we are really proud to make you deliver this stuff.. More Phantom Island production should reach Le Discopathe in the monthes !

WEEDING DUB5 Years On The RoadStorming DubEssential Uk Dub StuffFor the third release on Storming Dub Records we are proud to have on our roster one of the more talented dub producer from France: WEEDING DUB. He's well-known for a good amount of killer dubs released over the years which have been played all over Europe and beyond from the biggest Sound Systems on the scene.

They may have expanded their musical horizons in recent years, delivering albums packed with glossier productions, soulful songs and revivalist boogie gems, but it was with funk-fuelled, party-starting breakbeat workouts that they started their career. This seven inch single boasts two killer cuts from their 2005 debut album, Boogie Angst. A-side 'Money In The Bag (K&S Remix)' brilliantly joins the dots between cowbell-driven funk, squelchy 1980s electro and hip-hop, in the process delivering a timeless slab of dancefloor hedonism. 'C'mon People (7" Edit)' is more straightforward - but no less incendiary - slab of mid-noughties funk breaks goodness laden with ear-catching samples.

Camion Bazar started out as a nomad festival stage, partying and playing hybrid sets all over Europe. Over the years the project has grown, becoming a well-known DJ duo, throwing notoriously crazy parties and also founding their own label, Jaki Records.Their debut EP, Honeymoon 20, plays like a trip, a nice, happy, smooth start to a strange year, getting progressively harder and darker. This release illustrates how they somehow got through it all.Kicking things off, "Beow" is a moody deep and dynamic Chicago house style tune. Featuring deft melodic touches and killer bass, the track is densely layered with piano and synth phrases.On flip side "Baby 100 coins" is an energetic deep house groove, made up of layers upon layers of pads, synths and rich melodies, a groovy warm-up weapon!Closing out proceedings, "YLB" begins like a classic 2-step garage track before moving into hard-techno territory, the tune grabs you and pulls you up, higher and higher, until you lose control and escape reality. Chopped rhythm, huge kicks, crazy breaks. Just let go!TRACKLISTA1: BeowB1: Baby 100 CoinsB2: Ylb (Vinyl Edit)PLAY ALL 3 tracks

Allen Ravenstine's turbulent futurism behind the synthesizer was a key ingredient in American post-punk innovators Pere Ubu's distinctive sound. Just as Brian Eno's malevolent modulations had adulterated the glam-rock swagger of Roxy Music before him, Ravenstine's corrosive tones oozed through his band's songs like radioactive seepage, illuminating their otherwise guitar-driven landscapes with a strange chemical glow.In addition to playing with them from 1975-1989, he also co-owned the Plaza, a historic apartment complex in Central Cleveland where Pere Ubu members lived and created alongside a vibrant community of other artists. Music took a backseat for Ravenstine afer leaving the group, among other things he obtained his pilot's license and wrote a novel. The invitation to spar with fellow synthesist Robert Wheeler in 2012 for Waveshaper Media's acclaimed synth documentary I Dream Of Wires reignited his dormant sonic interests. Since then, he's unleashed a handful of recordings.The analog abstraction for which he became known remains a significant part of Ravenstine's current sound palette, but recent years have seen him turn increasingly toward outlandish eclecticism as his foundation. 2018's celebrated Waiting for the Bomb (RER Megacorp) bounded freely between disparate styles and instrumentation, all the while managing to convey a cohesive (albeit of-kilter) identity.Ravenstine is now launching his much-anticipated follow-upon Waveshaper—a series of four EPs collectively entitled The Tyranny of Fiction. Materializing as a pair of LPs with one EP per side, or as two double CD sets, these works continue to chronicle the approach unveiled on their predecessor. The cheeky series title hints at a tension that's fundamental to these recordings. Ravenstine's use of genre suggests it's almost a literary device to him—unsurprising, given his forays into the realm prose. Styles will ofen allude to underlying thematic or narrative elements. However, friction begins to arise when this is juxtaposed with his surreal sense of orchestration. He takes pure electronic sound, nuggets of real -world recordings, live instrumentation and the latter's sampled counterparts and stirs them all together vigorously. This makes for decidedly unfaithful reproductions of the various musical idioms his composition cite, leaving the listener to contend with constant dissonance—every feature of the music feels at once completely familiar and utterly inscrutable.Even within the brief span of each installment of The Tyranny of Fiction, Ravenstine gleefully embraces a panoply of modalities. ElectronMusic, the first of the bunch, uses ornery ambient music as its jumping-of point, embarking on excursions into hyperreal chamber music, and swarming sci-fi synthesizer. Shore Leave announces itself with a spartan piano miniature decorated with a sof trickling sound before a meandering into cubist exotica, sinister new age music, and what sound like 21st century nocturnes. A host of other mongrel styles spill forth over the course of Nautilus. Each track weaves its own wayward travelogue amidst stray bits of audio verité and wafting musical fragrances—by turns tropical and foreboding. Rue De Poisson Noir takes cues from its fragmentary companion, slithering between cinematic intrigue, of-brand jazz, avant-garde mischief, and fried electro without batting an eye. At various points throughout, Ravenstine's fried citationality might recall a young generation of Ohioan oddballs, Orange Milk Records. Like many acts on the innovative electronic music imprint, Ravenstine's colorful, innuendo-rich music is restless, playful, inquisitive and most of all evocative—never resorting to irony or other such ploys.

PRETTY SNEAKY7.2Pretty Sneaky