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Roland Clark has without any doubt written house music history. Under names like South Street Player, Dark Clark and of course Urban Soul he has influenced the evolution of house music like only a few others. His different vocals on Fatboy Slim´s records are timeless, such as - What the f*ck and - Song for shelter .

Gourmets of old school house music become excited when they listen to Roland´s - Alright . The song, released in 1991, became a milestone in terms of soulful house, in the same way like Adeva´s - Respect and Terrence Parker´s - Love´s got me high .

Marc Romboy has re-explored this pearl for his series - Lost Treasures and was able to convince Roland to release it again, fort he nyoung generation and fort he old school lovers.

The package comes along with a respectful interpretation of no one else than Gerd (Clone, 4 Lux) and the fine remaster of the original club mix from more than 20 years ago.

Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.



Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.



Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical

revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.



Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'

This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.



While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.

Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.



The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.

The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!! Analog Africa compiles a complete collection of Amara Touré's Afro-Cuban compositions, originally released between 1973 and 1980."Lamento Cubana and Temedy are the two finest Afro-Cuban compositions ever recorded. As if they were played in a smokey, poorly lit ballroom where dark rum was sipped ever so slowly" - Vikram Sohonie - Ostinato Records
Analog Africa to release a compilation by Amara Toure, the enigmatic Afro-Cuban musician from Guinea-Conakry, showcasing all of the 10 songs he ever released between 1973 and 1980.
"Latin music, is it really foreign to us Africans I don't think so. Listen to the drums, to the rhythm. It all seems very close to us - it feels like it's our own culture," declared enigmatic singer Amara Toure. It is the late 50s, and Senegal is going crazy to the groove of Son Montuno and Patchanga. Brought to West Africa by Cuban sailors in the early 40s, these styles were immediately adopted by a flourishing music scene that did not hesitate to embrace the Caribbean sound, mixed it with their own Folklore, and, in the process, created something new. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound - the format was reinvented. Producer Ibra Kasseì and his Miami nightclub acted as the spearheads of this movement. They brought a breath of fresh air into Dakar's nightlife, further energising one of West Africa's most exciting cities. The demand for ballroom parties and live acts exploded, attracting numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Toureì, from Guinea-Conakry. Spotted by Kasseì while performing with Dexter Johnson, Toureì was asked if he would like to be part of a new project. Little did he know that this project would become a phenomenon.Immensely important for the development of Senegalese modern music, Le Star Band de Dakar, led by Mady Konate, became a sort of musical incubator and workshop, where many musicians learned and practiced their trade before moving on to become stars in their own right. Toureì's talent on percussion was undeniable, but it was his powerful and raw voice that captivated the producer. The fascinating way Toure interpreted Cuban music was unparalleled, and it was this feature that encouraged Kasse to recruit the unknown artist.
Although already brimming with incredible talent, Amara Toure's joining of Le Star Band de Dakar in 1958 began the band's meteoric rise to the top. The band quickly became Dakar's number one orchestra, and it cemented the reputation of the Miami nightclub as the hottest spot in the country. The place was packed nightly, and Dakar was boiling.
Amara Toure's Senegalese adventure lasted for ten years when he received an irrefutable offer and in 1968, joined by a few talented Senegalese musicians, headed to Cameroon and immediately formed the Black and White ensemble. Many live gigs later and it was time for the first songs to be recorded. A total of three singles were produced between 1973 and 1976. These singles, representing the first six songs on this compilation, fully epitomise and distill the essence of what Toureì had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered - the perfect foundation for the Toureì's Cuban interpretations.
If Toure's intention was to create the most sensual music ever recorded in Africa, he might very well have reached this goal. The musicians on the recording sound like they are playing in a smokey, poorly lit juke joint, where dark rum was sipped ever so slowly, and the pulse of the music took up a life of its own. How many couples have danced, swayed, and melted together to the distinct sound of Amara Toure Nobody can say for sure ...
Amara Toureì's success poured across the borders of Cameroon, and in 1980 he went to Libreville, Gabon, to team up with the powerful Orchestre Massako. Toureì recorded an LP at that time which is hailed by many music aficionados as one of the very best African albums. The songs from that LP are the last four on this compilation. It took only ten songs for Amara Toureì to become a legend. These ten treasures, representing Toure ìs complete discography, have been carefully re-mastered from original session tapes and vinyl records, and will be released by Analog Africa on 22 June 2015. After the release of his LP in 1980, Toureì seems to have disappeared. Apparently he was last seen in Cameroon but it is unknown if he is still alive today. His music though is definitely alive.

Zaquoir alias Matthias Groß is a producer and musician currently living in Leipzig. After sending us more than 10 GIGABITES of great music, we sat down together and tied a selection of his really eclectic styles of production together into one LP, creating some sort of showreel created in the timespan of over 15 years.

Zaquoir himself sees the record as a reminiscent mood of a donkey in the Sardinian sun and describes the record as a trip in itself, allowing the listener to traverse the lines of various acoustic landscapes.

The tracks on the LP where produced in six different places, including a historic house in the centre of Vilnius, the artist residency "Blumen" in Leipzig, a French-German art association and a village in Northern Bavaria.

2015 ist das Jahr des neuen Albums von Alex Bau, das Ende April seine Definition von modernem, intelligentem Techno mit einem düsteren und zugleich auch organischem Touch präzise definiert. Ein klares Bekenntnis zum Sound. Frei von Hochglanz-Bildern und ablenkenden Elementen kommt dies Album mit Techno in seiner unverfälschten, puren Form mit einem einzigen Fokus: die Musik selbst!

Nach 5 Jahren quasi überfällig ist es definitiv an der Zeit, daß einer der am meisten für ihren Sound respektierten Technoproduzenten nach mehr als 100 Produktionen und Remixes auf szenerelevanten Labels wie Chris Liebing`s "CLR", Techniasia`s "SINO", dem englischen Technoaushängeschild "Sleaze Records", dem legendären Harthouse oder auch kürzlich auf Sven Väth`s "Cocoon Recordings" nun erneut ein Techno-Statement in Form eines Full-Length-Albums zu setzen.

Und genau hierfür kam nur eine Plattform in Frage: Alex` eigenes Label "Credo", das vor allem in den letzten beiden Jahren mit seinen eindrucksvollen Releasaes mehr als durchgestartet ist.

2015 will see alex baus new album 'musick' to be released end of april showcasing his definition of slightly dark shaded, organic sounding and intelligent modern techno. A clear statement, free of hi-res artistpics or diverting elements, just the music in a very pure and straight way.

after 5 years it seems to be more than overdue that one of the most respected producers throughout the technoworld delivers a new full-length album after far more than 100 productions and remixes on well established labels like chris liebing`s clr, technasia`s sino, uk top notch label sleaze records, legendary harthouse or most recently also synewave and sven väth`s cocoon recordings.

anyway... it was clear that there just one spot on the label-landscape for his new longplayer: credo, his very own label which was kind of outperforming throughout the last year.

Six years on from his debut album on Cadenza, Swiss DJ/producer Mirko Loko comes with the follow up to 2009's 'Seventynine' as he catapults us into the techno and electronica galaxy with 'Comet Plan'. 'Un voyage entre toute mes influences,' Mirko Loko shares, breaking into his mother tongue to describe the essence of his sophomore longplayer that was conceived in Berlin and later birthed in his hometown of Lausanne after a two-year gestation period. Literally translated as 'to travel between my influences', it's a fitting summation of an artist whose work has respectfully mined early inspiration from Detroit and Chicago that laid the foundations of the emotion-filled productions that we know of him from today. In addition to this, Mirko sees his connection with Luciano's Cadenza Music, a relationship that's been in existence since dot one and saw the likes of Ricardo Villalobos, Melchoir, Pedro and Rahdoo make up one of the most innovative crews in dance music, as leaving an indelible imprint on his musical DNA to this day. It's Mirko's strong sense of musical identity that is at the core of 'Comet Plan', a work that's equally informed by the artist's spiritual connection with the Motor City as his halcyon Cadenza roots. And one thing's for sure; he knows how to captivate: take 'Venus' whose trickles of melody and syncopated drum rhythms increases in intensity with each bar towards an eerie crescendo. Then there's 'U Special' that builds the kind of subtle party vibes you could imagine Luciano dropping to create one of those moments to a heaving blissed out dancefloor. 'Kolor' - the album's early single (also remixed by Carl Craig as part of an excellent EP package) is sprinkled with a dusting of xylophones, chimes and other bells as the melody is driven forward for a heady trip across the electronic galaxy.

Originally released in Japan only, back in 1979, Prone is considered by most aficionados to be Ned Doheny's crowning glory. Even better than the superlative Hard Candy. So quite why this AOR/soft-funk gem has not been available legitimately on vinyl for over 35 years is anyone's guess.

To celebrate 'Be With Ned' - the West Coast maestro's first ever tour of the UK and Europe in March 2015 - Be With Records proudly present the first ever officially licensed reissue of this forgotten-funk classic. What makes this release truly special is the inclusion of the full-vocal version of jazz-funk classic To Prove My Love. It's the version of Prone that everybody has been waiting for.

Produced again by the legendary Steve Cropper, Prone's super-smooth grooves showcase Ned's beautifully laid-back vocals, virtuoso playing and forever-wry lyricism. Aside from To Prove My Love, it boasts some of Doheny's most under-appreciated tracks: witness the slickness of Think Like A Lover, Guess Who's Lookin' For Love Again and Funky Love.

Pressed on audiophile 180gram vinyl and featuring the original artwork for both jacket and lyric-insert, this limited reissue is one to treasure.

* Hospital Records present their latest compilation 'Fast Soul Music' - a welcomed lesson in the art of soul-inspired drum & bass of the high-speed variety. After nineteen years spent building upon it's lounge-core esthetic their extensive library of smooth-rolling sounds is at the ready, now it's time to get retrospective.

* From the work of thirty artists, a carefully selected forty-six tracks highlight the quintessential sounds of soul music in the Hospital Records back catalogue. Not only effortlessly blending classics from Hospital mainstays London Elektricity, High Contrast, Danny Byrd, Nu:Tone, S.P.Y and Logistics but also showcasing the fresh wave of talent that's reached our ears in recent years. The work of Fred V & Grafix, Hugh Hardie, Keeno, Etherwood, Anile, Tokyo Prose and Technimatic showcasing just how prominent soul music is in drum & bass today.

* Accompanying this two-CD collectors item is a perfectly polished mix by longstanding practitioner and newest member of the Hospital A+R team, Nu:Tone. With over two hours of soul-inspired sounds that effortlessly create the ideal soundtrack for any daydream-filled afternoon.

* With a nod back to London Elektricity's '03 classic 'Fast Soul Music' and a look forward to the fresh influx of talent passing through, Hospital Record's latest compilation provides any drum & bass fan with a chance to rediscover those once forgotten gems and dust off the cobwebs from their favourite nostalgia-fuelling drum & bass anthems.

* Digital Marketing: Youtube upload schedule for music and video content on Hospital Records YouTube channel - (260k subscribers), cross promotion exclusive mix upload with UKF Youtube channel.

* Press / Promotion: Comprehensive campaign in-house serving all UK music and dance titles as well as national, regional and student press - Mixmag, DJ, Trap, Notion, Music Week, Future Music, Time Out, Metro, London Evening Standard, The Guardian, The Independent, Dazed + Confused, Vice, The Wire, The Fly, Vice Magazine, Clash. Kmag (interview), D&BA (interview). UKF Website and Youtube Channel. Reddit AMA, FACT Mag TV interview.

* Radio / Internet: Comprehensive in house campain from Hospital Records. BBC Radio1 & 1Xtra support from Mistajam, Friction, B Traits, Annie Mac, Andi Durrant (Kiss), Eddy Temple-Morris (X-FM), DJ Hype (Kiss), D&BA TV Takeover, Rinse FM Hospital Records Show, Hospital Podcast Hospital Records Podcast USA series, Kmag Podcast, Ministry of Sound Podcast. D&BA Podcast, Hospital records Website, Hospital Facebook (262K Likes), Twitter (64K Followers), Soundcloud (48k followers), YouTube (238k subscribers), Hospital Records Mailing List (53k Subscribers)






aG CD 1-7 | Logistics feat. Nightshade and Sarah Callander 'Crystal Skies'
















DISC 2

Speedy Ortiz is proud to announce their sophomore album, Foil Deer, which will be released via Carpark Records on April 20th.

'Major Arcana' released in 2013 won them glowing reviews , features and several UK tours (highlights below):

- 4 PAGE NME FEATURE

- 9/10 LEAD REVIEW IN NME: 'One of the reasons 'Major Arcana' works so well is because it's addictive and fun. The guitars and bass sound incredible, like the last Deerhunter album without the Yankee Doodle Dandy'

8/10 Drowned In Sound : ' Speedy Ortiz are way too euphoric and glorious to suffer for their artfulness. Stripping away the frills, at heart Major Arcana is a mournful treasure that asks to be celebrated.'

*NME RADAR FEATURE: 'What's miraculous, though, is that Major Arcana doesn't sound at all self-pitying; it's torrid Slint-meets-Pavement rattle bolsters Sadie's relished words so that yelling along is an exercise in gleefully exorcising your own demons'

8.4 ON PITCHFORK: : 'There's the squalling, guitar-on-guitar carnage of Archers of Loaf, the grungy mysticism of Helium (Dupuis lifted the title Major Arcana from a book she was reading on black magic), and of course the deadpan wit of vintage Liz Phair ('I was never the witch that you made me to be,' Dupuis tells a burnt-out old flame on 'Plough', 'Still you picked a virgin over me').

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
Deluxe LP Is as above but with metallic gold coloured vinyl, and sticker.(200 ONLY FOR UK)
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge!

When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first few years teaching writing at UMass Amherst. She's drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band's 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock.

The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members' lives in general. They would get the damn flowers themselves.

Dupuis wrote much of Foil Deer at her mother's home in the Connecticut woods, where the songwriter imposed a self-regulated exile and physical cleansing of sorts, finding that many of the songs came to her while running or swimming alone. "I gave up wasting mental energy on people who didn't have my back," she says. "Listening to our old records, I get the sense I was putting myself in horrible situations just to write sad songs. This music isn't coming from a dark place, and without slipping into self-empowerment jargon, it feels stronger." Many of the songs deal with a similar sense of starting over, editing out the unnecessary drama. "Boys be sensitive and girls be, be aggressive," she sings on "Mister Difficult."

And while their debut album was recorded on the fly, Speedy Ortiz spent almost a month in the studio on Foil Deer. Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style. "The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy," Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike. For all the lyrical complexity and guitar-based excursions Speedy Ortiz have built their reputation on to this point, Foil Deer has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Hot off the back of the their successful inaugural release from Quenum & Cesare vs Disorder, the young Barcelona label continues to drive forward with their mission to move people by drawing from an expansive and expressive universe of melodic and rhythmic sounds. The result of this is a carefully curated, limited edition of vinyl and digital releases, and next in line is a brand new EP from Russian producer and DJ, Tripmastaz. Andrew Guyvoronsky (aka Tripmastaz) is the one of a few underground producers from Russia to make serious tidal waves in the dance community gaining world-wide recognition and respect from fans, media and DJs alike. On top of his tracks being featured in a variety of famous compilations such as Fabric and DJ-Kicks, Tripmastaz has been focused on a busy touring schedule and on making Russia decidedly more funky for the past 10 years. This new EP melds the stripped back with the downright, dirty bass bombs synonymous with Tripmastaz's style. Title track 'Ain't Made 4 U' is a swirling house-funk journey that is built to move bodies across floors. 'Live from the Basement' takes things back a little with a more minimal approach to percussive techno then Christian Burkhardt & Andre Buljat's remix of EP opener slams us back to the heady, peak-time dance floor, before HITCH closes out the EP with his rolling and hypnotic take on the A-side. Good taste will always prevail.



[C] B1 | Ain't Made 4 U (Christian Burkhardt & Andre Buljat remix)

Buena Vista Social Club release 'Lost and Found,' a new rarities compilation packed with previously unheard live and in-studio material.

Coming almost two decades after the release of the original Grammy-winning, self-titled LP, the new album is a collection of previously unreleased tracks—some of which were recorded during the original album's sessions in Havana and others from the years that followed. Lost and Found is available to pre-order in iTunes and the Nonesuch Store (and outside of North America in the World Circuit Store) with an instant download of the album track "Macusa."

The studio tracks on Lost and Found were recorded at the 1996 Egrem studio sessions in Havana and during a period of rich and prolific creativity stretching into the early 2000s following the recording of the original album. Lost and Found also features live recordings from the world tours of Buena Vista's legendary veterans.

"Over the years we were often asked what unreleased material was left in the vaults," says World Circuit's Nick Gold. "We knew of some gems, favorites amongst the musicians, but we were always too busy working on the next project to go back and see what else we had. When we eventually found the time, we were astonished at how much wonderful music there was."

The original Buena Vista Social Club album became a surprise international best seller and the most successful album in the history of Cuban music. It was recorded for World Circuit Records by Ry Cooder over seven days in Havana in 1996, bringing together many of the great names of the golden age of Cuban music in the 1950s, several of whom were coaxed out of retirement for the sessions.

Revered Belgian DJ and producer Mugwump proudly presents his longawaited debut album on his Subfield imprint. An impeccable nine track LP, informed by two decades as a globe-trotting DJ, producing tracks that have inspired everyone from Andrew Weatherall to Mr. Scruff. A mainstay from the Belgian club scene, on the ground in Ibiza in the early 90's, behind the cult Food Club in the late 90's, now running his own Leftorium clubnight in Brussels, with releases on the highly influential Kompakt label but also on R&S, Gigolo, Cocoon, Gigolo, Eskimo, Permanent Vacation or Throne of Blood... Mugwump has the CV to deliver one of the year's most eclectic and inventive studio albums, a timeless excursion into modern-day, leftfield dance-pop and mutant disco with heavy New-Beat influences. Produced with his partner Olivier Grégoire, it also gathers a solid list of collaborators : Circlesquare's Jeremy Shaw (!K7/Output), Brussels guitar wizard Raphael Lee (aka Spookhuisje), Luke Jenner (ex-The Rapture), Norway 's cosmic disco lords Päl Nyhus of Mungolian Jet Set and Tore Gjedrem from Ost & Kjex, Belgian multi-instrumentalist Stephan Fedele, Philip Janzen (frontman of Cologne's Krautrock-Disco band Von Spar) and Sami « Morpheus » Birnbach from 80's cult punkfunk/new-wave band Minimal Compact.

KEY POINTS
-Mugwump's SF001 and SF002 releases have been supported by Pachanga Boys, Ivan Smagghe, Horse Meat Disco, A Love from Outer Space, Huxley, Jack Savidge (Friendly Fires), Sasha, Ben Pearce, Groove Armada, Andrew Weatherall, Erol Alkan and featured in Mixmag, Clash, Ransom Note, Resident Advisor, DJ Mag, Phuturelabs, Insomniac and repeatedly in France's prime-time news show Le Petit Journal (Canal +)

-This album will be supported by a 4/5 piece live band, with SF002 collaborator DC Salas plus Raphael Lee (Spookhuisje), Stephan Fedele and Mugwump, plus a live drummer when possible. Early tryout dates already scheduled in Brussels (23.01 Maison du Peuple/20.02 Central)

-Freeman PR will be handling the full album UK campaign targeting all the major blogs, webzines, specialist and mainstream print medias with also tba UK plugger targeting radios. Two original videos are being finished right now.

-Mugwump co-runs and resides at the highly-rated Leftorium clubnight in Brussels and has a weekly radio show on FM Brussel, running for 10 years now.

11 years after HURENS last discharge on ZHARK (cat 18) and nearly 20 years after his bombardment that
brought cat 07, 08, 09, 11, 13, CD 01 and CD 02 the HU is back.
Nearly 100 unreleased tracks have been recovered in the last years from the lost DATS & Cassettes from
the Zeckendorf Phase 96 up to NEEDLE EXCHANGE Compilation 2002: 2 tracks from this phase are
presented on this EP + 2 new Trax, straight from the Canadian Bunker.

Producer CRISTIAN VOGEL, born in Chile and in raised in Bristol, England, represents an inner turmoil within the history of electronic music and techno. Like only a few other artists such as Aphex Twin, he personifies the second wave of techno during which authorship, previously pronounced dead, returned in full force. The former punk, who had completed studies in composition (20th century classical music in Sussex) conveyed a powerful force in his music, which now finds its place very naturally as electronic music; back then, it did more than just shake up the concepts of techno. Complex and intricate rhythms (Süddeutsche Zeitung) dig deep chasms in dark (listening) spaces.

In 1996, together with JAMIE LIDELL as SUPER_COLLIDER, he made a final attempt to breathe life into electronic music, which was still primarily seen as dance/rave/club music, and produced clustered break funk music that was so relevant to its time that many considered it more a music of the future: science fiction for the dance floor. Although the project was not a failure, it did not succeed even halfway in meeting the expectations of an artist who was rather perplexed by the lack of interest he perceived in others in music as art and research. Vogel believes that music has a will to unfold, like a jungle from the undergrowth of industrial cities where music is thought of as an attack and a defense.
Seemingly out of disappointment in the predictably declining hedonism of the scene, he moved to Barcelona and bound his explosive ideas to more accessible formats, founded labels, created networks (No Future, Sleep Debt) and, at the same time, revisited his early days by working more and more on formats such as music for ballet and similar concepts. He also sought freedom precisely in what was referred to as functional electronic music through conceptual and serious endeavors in the artistic sense.
Vogel went under for a time and lived in Vienna before arriving in Berlin nearly two years ago, where he made his first new and daring attempt to assimilate everything that electronic music represented to him on one album: 'The Inertials' on SHITKATAPULT. Shortly after that, his mystical, floating ambient work 'Eselsbrücke' was released, which already spoke the language of the new city.

He now presents a new album on SHITKATAPULT entitled 'POLYPHONIC BEINGS' - a true masterpiece in the inimitable Vogel style, as his fans will no doubt claim. 'POLYPHONIC BEINGS' begins, after two minutes of an irritating noise wave, with a surprisingly classic dub track and grows darker and more abstract from track to track, minute by minute. An eerie and unbelievable sound, with all as it should be: every reverb tail, every movement of the fader, every composed note takes the listener piece by piece into Vogel's own cosmos.
He foregoes interwoven elements for swaying towers of rhythm, powerful sound passages, spaces, roads, mirrors and pathways, leading to a stream of ideas that never wants to end. He aptly quotes Karl-Heinz Stockhausen in the liner notes: These are the "atomic layers of ourselves." And so it is. We are what we hear. This is the definitive CRISTIAN VOGEL.

Crooked Man is Richard Barratt from Sheffield, better known as Parrot. He was first off the blocks playing house music in Sheffield back in the 80s, had a top 10 hit in '88 as part of Funky Worm, collaborated with Richard H Kirk on the seminal Sweet Exorcist releases on Warp and had another top 10 hit in the 90s as part of The All Seeing I.

Retiring from DJing, a few years ago he started putting out 12" singles as Crooked Man. Song-based and devoid of house music vocal clichés, often epically long, always full of character, endlessly hypnotic and with razor sharp production they would always cut through in every DJ set they were played in. Twitch was an instant evangelist of the Crooked Man sound and is delighted to now present his debut Optimo Trax 12" EP.
Vocals on A1 and A2 by Rachel. Vocals on AA1 by Pete Simpson.

Scuba Death is Ricardo Donoso's alter ego. With more of a focus on analog sound, percussion, sampling, and location recordings, there is an organic undercurrent on Scuba Death recordings that isn't as prevalent in his solo work. This music is rich in atmosphere while still tethered to the deeper ideas that Donoso often explores in his work. Treatises on fear and death­anxiety, the underlining thematic framework for the project, run rampant throughout these claustrophobic electronic passages, and teeter on the edge of being oppressive. Nitrogen Narcosis marks the first full length and strongest statement in the Scuba Death repertoire after the privately issued, ruthless 'Demon Seed' twelve inch back in 2011. The album alternates between surprising lethargic dance inflections all nestled between 75 & 100 bpm, the normal resting heart rate for adults, and the more conceptual, numbness­inducing pieces like '50­-70 Meters' and 'Nociception.' Sequencing plays an integral role on Nitrogen Narcosis as the listener is suddenly thrust into the darkest reaches of the ocean after dark alley grooves are sucked into an aquatic abyss. For a project named after Donoso's near­drowning experience in the South Atlantic when he was younger, there's an impressive amount of reflection & vulnerability present - the field recordings that permeate throughout the album were captured at the same location the undertow caught hold of him that bright Summer day 20 years prior. An inner battle between paranoia and euphoria is played out in well­conceived, precision sonics on Nitrogen Narcosis as Donoso reminds us to look back, break through the surface and go deeper.

ZOV ZOV is a collaboration of Oliver Ho and Tommy Gillard - the culmination of almost 10 years of unreleased sound experiments. The two artists have worked on building up a vault of music that holds hours and hours of material.

This debut release signifies the first step of compiling this huge archive of material into reduced and distilled installments. Ruin Lust holds four sonic excursions, which further define the boundary-challenging aesthetic of Shifted's emerging sub-label Mira.

ZOV ZOV, a new word to describe something unknown, something ancient and deep inside that floods from the depths of the earth.

Japanese imprint, Apt. International's project, TOKYO HOUSE UNDERGROUND presented Tony Lionni, entitled 'Loving You'. Lionni has had an impeccable record of releases, cropping up on revered labels such as Versatile, Ostgut Ton, Aesthetic Audio and Wave in the past three years so his releases are always worthy of note, and this for Japanese imprint Apt. International is no different.

2nd single cut from kza's latest album "dig&edit 2 (endless flight cd 12)".

our one of the most respected dj daniel baldelli picked up kza's cosmic track for remix
and made real cosmic sound.

"one hundred fifth wave" on b2 is already included on mule's compilation "i'm starting feel ok vol.6 -mule 10 years edition-", but happy to see on vinyl.

cosmic never die!!

MF DOOM is the man in the iron mask. The most mysterious figure in hip-hop has also become one of the most popular, supplying beats and rhymes for Gorillaz, De La Soul, Madlib, Danger Mouse, and Wu-Tang Clan, and drawing praise from heavyweights like Just Blaze, Nas, and Mos Def. Since 2002, DOOM has released numerous volumes of Special Herbs, one of the longest-running instrumental series in hip-hop history. Now, volumes three and four of the acclaimed series are available on vinyl for the first time in years. With obscure loops and dusty samples galore, Special Herbs Vol. 3 & 4 is a must-have for any DOOM fan or hip-hop head. Also includes a limited-edition bonus 7', featuring two beats from DOOM's days as a member of 90s hip-hop trio KMD.

Part 1 of our 4 Sample 10 Years Full Pupp compilation. Each 12 has 4 brand new Exclusive tracks a 12. Norwegian´s finest Young Adults. Cost to Coast - Out of the Cold - Hot as Hell. 87392;"Doc Scott was on the decks. It was at Tribal Gathering (I think), 1996, standing in front of a wall of speakers to one side of the stage, enjoying myself, like you do, when this sound started growing inside my brain. My head was then ripped clean off my shoulders! Words are still hard to find! It was the first time I ever heard Shadow Boxing and its the only thing I still remember from that night. Om Unit's 2014 Remix is paired with the 1996 original. DJ support from: Fabio, Mark Pritchard, Friction, Surgeon, Toddla T, Laurent Garnier, Pinch, Zinc, Baliey, Rob Both, Billy Nasty, Krust & John B.

The third in the Modular Techno series from live analogue artist and Freerotation organiser Steevio.
After 15 years of producing techno live on hardware, in 2009 Steevio began building a dedicated machine on which he could totally improvise an entire techno performance from a blank canvas that far surpassed anything he could do with his previous setup of drum machines and synthesizers. Steevio's modular is 100% analogue; there is no computer involved, there are no memories to save sounds or sequencing patterns, and everything is improvised in real time..
Volumes 1 and 2 of the series were just a taster of what was to come, and were the early experimentations on Steevio's newly built machine. Steevio records everything he does, especially during the intense practice sessions for live gigs. All the music in the series are out-takes from these practice sessions, and the tracks from Volume 3 and the forthcoming Volume 4 all come from a three day period in practice for a recent live gig at Delete, Bournemouth, UK.
Volume 3 continues from where Volume 2 left off but delivered with more confidence and a deeper more hypnotic feel. Steevio continues to develop his skills and fine tunes his unique instrument in this dedicated 'for life' project.

With a self-proclaimed goal to showcase newcomers as well as established artists, Melodymathics hands out their 'second punch' with a killer track by Detroit veteran Gari Romalis. Gari is at the forefront of the Detroit techno scene, working close with Terrence
Parker, Mike Banks, Cliff Thomas and labels such as Tresor, Transmat, Soma and many more. His productions clearly show that his 30 years experience Dj'ing made him realize what works on the dancefloor. 'The Web' on Melodymathics Ltd.002 is a sublime example of soulful keys combined with funky rhythm, resulting in the ultimate Dj tool.

Our new talent 'Barce' was discovered in Spain and sets the tone with his 'SP' track for a possible lifetime relationship with Melodymathics. Barce's music speaks parts of his life and relfects a musical image of his soul. 'SP' brings deepness to another level in this release, with a manipulated organ chord - hypnotizing you throughout the whole chord -
and a story being told on top with various snares, dope basslines and sample work.

The traditional endless grooves, provided byThe Melodymann, are a nice addition for any Dj who wants that little extra..

Dj Feedback

SEAN DEASON (Matrix records)

Very nice! Smooth deep and funky as hell! Great work!

ROBERT OWENS

Great EP, would be nice to play.

SAMUEL JAMES (Elektrosouls Recordings)

One of the deepest releases of the year. Melodymathics is definitely a label to keep an eye on !

JULES WELLS ( KMS, Submerge records)

Great, I love it !!

RENNIE FOSTER (Transmat / Rebirth )

Sick

BEN SOLAR

Great Stuff

FABRICE LIG

Great EP, so deep !

TITONTON DUVANTE

All tracks are solid! Really like the way the Gari Romalis track builds. The Barce track is

cool in the second half. Expect some deck time for this one..

DONNA BLACK

This is DOPE!

SEBASTIAN SAN

Good stuff, Deep as i like it !

DIMITRI ANDREAS

Nice smooth and deep, Like it !

LA WILLIAMS (Peacefrog, DJAX)

PUREEEEEEE DETROITTTTTT ! Richard Pryor sample classic

PAT LEZIZMO

Vraiment Bien !

SATORE (Hizou Deeply Rooted House)

Really nice Ep!

AUBREY

really good .. like it.. deep moody stuff !!

PETE HOWL

Deep & smooth, great package! love it

ANAXANDER

'wow, strong EP, proper dancefloor killers'

BERNY GARDIN

Interesting, can feel lot of infuences, style!

ANDREW DUKE

Veteran artist Gari Romalis brings the heat as expected; both Barce's original and the

remix from The Melodymann hit the spot. With these 3 tracks all in my bag, Melodymathics

Ltd keeps bringing the goods.

DEEP MOVEMENTS LABEL

Instant support, will play for sure !

OLIVER KAPP (Indulge, Raygun Records)

Very nice old school vibe..... love it

Jimmy Edgar and Travis Stewart (aka Machinedrum) reunite as JETS for a new and limited 12"Jimmy Edgar and Travis Stewart (aka Machinedrum) reunite as JETS for a new and limited 12' on
Leisure System, featuring vocals from chameleonic soul singer Jamie Lidell.
'Midas Touch' debuted as the opening track on Machinedrum's Essential Mix in November 2013, but
the track has been popping up at Leisure System gigs in various forms for the past six months. This 12'
is only the second release from the JETS project following their self-titled debut on Leisure System,
but as solo acts both Jimmy Edgar and Machinedrum had breakthrough years in 2013, the former
launching his Ultramajic imprint and the latter releasing the Vapor City LP on Ninja Tune. The result of
serendipitous recording sessions, 'Midas Touch' will sound familiar to many but has been given a
unique spin by the restlessly creative duo, buoyed by a powerhouse earworm vocal by Lidell.
'Midas Touch' is a vinyl-only release featuring the original JETS version of 'Midas Touch' and a
shimmering Machinedrum remix that smoothes out the soulful track for the dancefloor.

Hakan Fridlund (Garonneman) is laterly more known as his crazy Project "FDASFDA". It's 11 years since his last dance-related release came out (as borft 102 -2002) This is "off trend" strange dancemusic with sweet melodies and Magics.

The original 12'' vinyl releases of Stomp The Beat and 1990 were two “Holy Grail” releases of Chicago House as they were only available for a short time before Gherkin Records went into inactive status in around 1991. At the time Larry Heard chose to not disclose the fact that he was the producer behind the Gherkin Jerks EPs. The two releases were a concept of experiments where he dove deeper into the equipment and do some creatively different tracks from his Mr. Fingers sound. These two legendary EPs have been heavily influential on other artists to this day. Often sampled or referenced they are true house classics and still amaze 25 years after their creation. Also on this album three bonus tracks, which are from the same Gherkin Jerks sessions but never released as such. Psychotic Fantasy was on the Dance 2000 pt. 2 album and Ecstasy is the full original take which makes its first appearence here. Reznaytor is an exclusive track for this release, never available before.

There are many ways to move forward as an artist. You can reinvent yourself, keep track of fashions, or try bold new things. Tom Trago has spent the best part of 10 years pushing his sound in impressive new directions. Yet on his new album, the well-regarded Amsterdam-based producer has done things slightly differently. This time round, his influences come from much closer to home, and he has admitted to being inspired by the dancefloor-focused style with which he made his name.

Welcome to The Light Fantastic. We're sure you'll enjoy the trip.

Trago is an old hand at this kind of thing. Back in 2009, his debut album, Voyage Direct, impressed with its warm, disco-centric blends of full-throttle deep house and boogie-influenced synthesizer funk. He cast his net wider on 2011's Iris, choosing to work with a wide variety of international collaborators on an album that laid bare his myriad of musical influences.

On the Light Fantastic, he's decided to 'step back to move forwards' with a warm, involving set that puts the simple pleasures of the best dancefloor moments at its heart.

'I tried to go a bit back towards the style I was doing on Voyage Direct, so dancefloor beats with deeper impact,' Trago admits. 'I was trying to male tracks that work on the dancefloor, but also move your heart.'

In some ways, The Light Fantastic is Trago in 'back to basics' mode. Partly inspired by his ever-increasing travels around the world to DJ, it melds together a range of influences - deep house, vintage synthesizers, classic boogie, disco, Chicago jack, acid house, and even a dash of full-throttle rave revivalism on the raw funk of 'The Elite' - on a set that sounds like it was painted in vivid colours by an artist at the top of his game.

'I'm like a professor in a lab, trying to make little ideas work,' Trago enthuses, warming to the theme. 'The tracks are all there in my head, like a puzzle, and I have to make all the pieces fit together.'

The 'back to basics' theme extended to his choice of collaborators. Whereas Iris was notable for featuring an impressive cast list of international singers, musicians and producers, The Light Fantastic is more of a homegrown affair. While plenty of people lent a hand during the recording process, they were trusted locals from the Dutch electronic music scene, rather than outsiders.

'This time, I thought 'whoever walks in the studio can get involved',' he says. 'If they walked in, they could sing, play some synths or do some mixing. A lot of people came to hang out and ended up lending a hand. It's a much more fun way of working than sending your track to somebody across the other side of the World.'

There are many collaborations on The Light Fantastic, but listen out for contributions from Steffi, Ben Westbeech, 'studio neighbour' San Proper, Makam, vocalist Holly Wood and, most surprisingly, a local club owner who just happened to swing by the studio. 'Using my friends was a big part of the process,' Trago admits. 'One of the points of the album was using people who were close to home, part of the family almost.'

It's an approach that definitely paid dividends. Certainly, this celebration of Amsterdam's blossoming electronic music scene adds a little extra frisson of excitement to The Light Fantastic's impressive vibrancy.

By the time the rush-inducing positivity of 'The Wrong Right' gives way to the mutant alien funk of album closer 'Desire', you'll be ready to listen to it all over again. That's the thing with The Light Fantastic - it's a trip you'll want to take again and again.

PPU providing it yet again with 10 more selections from the archives of estonian funk front man Uku Kuut !
Grand Hotel is an instrumental journey from his days in the Soviet Union, Sweden, Los Angeles, Estonia.
Including his very first home recording dating back to 1982, and an opening track that was recorded at Herbie Hancock's personal studio. It's a miracle these masters are still around after 30+ years of traveling from country to country !

Black White Marbled Vinyl

Following a hiatus of nearly two years, the latest Furanum offering signals the return of solo work from label owner Dominik Muller and coincides with a pivotal tenth release on the label. The Embodiment of Brute Propulsion most notably features for the first time on vinyl robust reconstructions of two the artist's most seminal compositions. Both previously released on UK's Locked Records, 'Eintrachthutte' (2007) and 'Silesian Boy' (2009) have served as stepping stones for the artist's evolving musical vision and represent a raw reflection of the influential period spent immersed in his industrial homeland of Upper Silesia. Audibly modernized and now endowed with a substantially augmented lower end, the two capably maintain the feel and imagery of the originals; the former the impressions of a visit to an iconic location bearing the same name, and the latter a personal exploration of identity in the context of youth.
Also given the wax treatment for the first time is 'Blank,' a previously unreleased piece that has been a mainstay of Dominik's live performances in various forms since 2011. Defined by a recurring and ineluctable pattern, both intrusive yet irresistible, its orphic narrative is subtly driven forward by a series of menacing drones weave their way around a dense and forceful rhythmical panorama. Lastly, the repertoire is complemented by a vinyl-exclusive personal capture of an industrial press shop in operation. Seemingly bare, inanimate, and inexorably bound to its predeterminate cycle of motion, the mechanized landscape stands as a symbolic archetype of the aesthetic ambitions of the label.
Mastered at Berlin's D&M by CGB, Fu010 will be available on 12" as well as in digital format at all fine music retailers.
Words: PSD

SVS Records was set up by Beni Brachtel and Daniel Hermann-Collini as an imprint of Brachtel's sister project Selbstversorgersound (SVS). A compilation titled "SVS 1" was released in Oct 2012. This was the first official collection made up of songs from the last three years by various artists whose backgrounds could hardly be more diverse. Next up is a three vinyl series named "Polyrhythmic Series 1-3". Volume 2 contains exclusive productions from Gnther Lause (Karlsruhe/ Berlin, Crosstown Rebels, Paradise Now!, Laut und Luise, SVS), Larkin & the Sky (London/Munich, Paradise Now!, Goldsmith, SVS), Bartellow (Munich, Pollyester, Tambien, Columbus, GTA Hoffmann, SVS) and Konrad Wehrmeister. Five techno tracks of the highest calibre ranging from from dubbed out to tripped out and way beyond!

DJ support by Norman Nodge, Extrawelt, Ripperton, Trus'me, Ben Westbeech, Alland Byallo, Archiepelago, Brett Johnson, Eric Duncan, Agoria, Jonas Kopp

Continuing further into the music of 1970s East Africa, Soundway present a limited edition 10" of raw, bluesy garage-funk-rock from Jimmy Mawi.
Jimmy Mawi was a Madagascan guitarist based in Nairobi in the mid 1970s. He cut only three 45s for EMI East Africa on their Pathe imprint that have virtually disappeared from sight in the nearly 40 years since they were recorded. Soundway reproduce four of the best tracks here on a super limited edition 10". Fuzz guitars, raspy vocals and metronomic drumming combine for an exhaustive afro-rock workout.


Earlier this year Soundway released their compilation Kenya Special: Selected East African Recordings from the 1970s & '80s. Accompanied by a limited re-mix 12' these releases represent Soundway's first releases from the East African country and follows from their much acclaimed African 'Special' series that to date has focused on the highlife and afrobeat output from 1970s Nigeria and Ghana.

Back in stock!

Some friends think that Shihab the man owes the balance of his soul to his beautiful Danish wife. They may be right; for Eros is the very essence of what Shihab plays.Yet Eros is a god with many a face. A tale of tender mournings Shihab's flute is telling in MAUVE - a piece that translates its title into delicately changing colors of sound. In UMA FITA DE TRES CORES he has his instrument wooing with the proud self-reliance of Latin grandezza. Calmly, softly, almost blandishly Shihab blows the solo flute in the Jimmy Woode composition MY KINDA WORLD. Serene and somewhat playful his own title ANOTHER SAMBA comes along - a most uncommon composition by the way: lasting for sixty bars as if growing independent out of itself, with solos that appear to be additional spinnings rather than improvised choruses; and yet; a perfect, self sustaining melody no element of which is superfluous. In the last of the pieces for flute, in Klook Clarke's THE WILD MAN, which is based on a flourish of trumpets, Shihab for the first time reminds of the sombre, the demon-like face of God Eros. He contrasts flawlessly intoned passages with challenging phrases, phrases raucously sung into the flute - really, he is a 'wild man' who is playing like that. This raucous challenging sound prevails throughout the four baritone-titles ('Shihab never withholds long to caress', Campi says). Shihab blows the instrument the same way he speaks: without any delay, directly coming to the point. And he treats it like a voice, not aiming at an artificially homogeneous sound in all the registers, but at their different modes of expression. In the high pitches the horn gains a brilliant tenor-like quality - for instance in PETER'S WALTZ, dedicated to Shihab's son Peter, and in Kenny Clarke's simple drum fills comprising theme JAY-JAY. In the deep register Shihab produces snotty sounds filling lady's ears with horrors like Pan - thus in JAY-JAY and in the boppy blues SET UP . Shihab's sense of a scurrilous humor breaks through in SEEDS (which reminds of the West-African heritage of jazz with its multiple rhythms and its renunciation of harmonious development - only the eight bars of the bridge base on a progression of chords): not only does he omit the notorious bombastic chord by the ensemble after his own final cadenza, he even ends with a minor second above the keynote. Seems as if Shihab now unrestrictedly conveys to his music all the experiences and emotions he formerly did not deal with in a musical way. Shihab the man need not be disturbed so that Shihab the musician may improvise passionate choruses. It would be unjust, however, to forget the choruses of the four other musicians for those by the 'born leader'. Francy Boland, taciturn and always introverted: he plays an extrovert, a masculine piano. Even with spare single note lines he produces a piercing and ringing sound that hitherto nobody except him has discovered, a bluesy sound bespeaking the very element of frustration that lies within the title of the trio number WHO'LL BUY MY DREAM. The unfailing feeling for rhythm the musicians of the CBBB praise with the arranger Boland, becomes manifest in the piano solo on SET UP. Francy's improvisation is rhythmically styled in a Monk-like manner, and yet no accent could be set differently. Maybe this is the secret of the Shihab-Combo. 'Rhythm is our business', this credo of Jimmy Lunceford could be the one of the five musicians as well. Sadi hits his vibes as dryly as if wanting to bring its ancestors to memory, the wooden chimes of West Africa's coastal tribes. To reach the fullest poignancy possible, he intentionally calms down even the resonance in MY KINDA WORLD. In UMA FITA DE TRES CORES Jimmy Woode bears out the crispy jazz beat against Sadi's Bongos and Klook's Latin-American percussion all by himself. Moreover - and that, too, is connected with the school of the Duke who was the first in the history of jazz to discover the instrument's potential as a melody instrument - Woode rips a marvelous counterpoint to the inventions of the other melody instruments, take for example PETER'S WALTZ. And then there is Kenny Clarke. Klook. On the entire record he only uses his brushes. Means by which different drummers only know to bring forward impressionistically blending noises: He drums a vigorous beat with them, fanciful fills, a solo, melodious and at once skillfully playing with cross rhythms in JAY-JAY. The 'born leader', the 'outstanding baritone saxophonist of modern jazz' (Joachim-Ernst Berendt), he could not wish himself different sidemen for this record overdue since some years.

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.

17 years after first releasing a cassette EP from label boss Marsel van der Wielen under his Peel Seamus guise, Delsin is soon to hit the landmark category number of 100.
Truth is, taking into account choice re-issues and specials such as the recent house series, there have already been scores more than 100 releases. Nevertheless, in that time the Dutch label has become synonymous with a wide range of timeless sounds from house to techno to dub to electronica, nurturing and championing some of the most respect names in the scene.

To mark the occasion, the label is to release five new various artist EPs (100 copies will be special, limited and coloured vinyl exclusively available through the Delsin web shop with a collector's box) that will be compiled onto one special CD compilation come the final release.

'After many different life cycles, with this compilation I try to go back to the core of Delsin, to showcase more otherworldly/dreamy/soulful but still raw techno sounds from a selection of key artists who best represent the label,' says Marsel. 'The tracks are all individual offerings but are tied together with the common themes of the label, and as a compilation will paint a nice overall picture that is not shy of moving away from the dancefloor side of things.'

Across the five EPs you can expect tracks from newbies and old favourites alike, including Sawlin and Delta Funktionen, John Beltran and Bleak, Redshape and Convextion and plenty more. The first - like all of them - features three tracks, one each from Gerry Read, Unbroken Dub and Claro Intelecto.

Tigersushi surprise us and drop a new 12" from label boss, Joakim... 2 Gloriously Produced Tracks, As Usual...!
Almost 2 years have passed since Joakim released Nothing Gold. Not that he's been lazy. Those 2 years have probably been the busiest for the tall Musician/producer/DJ/label manager who produced numerous bands in his Fountain Studio in Paris (Zombie Zombie, Montevideo, Alba Lua, Acid Washed and more...). Joakim also did a few remixes (Aeroplane, Charlotte Gainsbourg, Lescop, Arsenal, Renaissance Man...) ans recorded a collaboration EP with Kindness that was the debut release on his new label Crowdspacer. Not to mention the constant touring, running Tigersushi records and a move from Paris to New York city!

Since Joakim has 4 hands, he also managed to start recording some material for a new album between 2 recording sessions and just before he had to move his studio out, he finished those 2 tracks : the slow, claustrophobic but hopeful « Heartbeats » and « Another Light » which brings that subtle typical melancholy to the clubs.

Now Joakim is setting up a mini home studio in his flat in NYC, somehow going back to his roots when he started making music at his parents house with a cheap keyboard more than 10 years ago. Usually in the music business, artists release a first single once the album is finished and start a promo campaign from there. But Joakim doesn't really understand the music business (don't tell anyone!), so he decided to release those 2 tracks without having any more finished material for his upcoming album nor an idea of what it will be like. In those times when everything is instant, he'd rather release new material leading to an album while the tracks are finished. Just like a work in progress you will witness an album taking shape before your ears.
This is a way to bypass the traditional rhythm of an album launch when everything needs to be done and ready months before the actual release, which usually results in the author being already bored and working on something else when the music comes out.

Almost exactly three years after the first, Redshape has readied his second Red Pack, due for co release by his own Present imprint alongside his frequent Dutch home, Delsin, in June.
Whilst the world is still enjoying the German's latest album "Square", the man himself has typically moved on once more. On Red Pack II he offers up six tracks new of hugely atmospheric and romantically industrial techno across two pieces of vinyl.

First up, 'Disco Marauder' has raw, jangling beats, traumatised vocal cries and plenty of sci-fi ambiance all coalescing into a filmic techno tapestry, before 'Path Dub' goes deeper and more streamlined with rattling claps peeling off taught synth cables in hypnotic fashion. The same track also comes in an original version, which is a much more jagged, roughshod and textured affair.

'The Source' is a track slowed to a crawl that almost seems to want to collapse under its own weight. Machines gurgle and gargle, the beats march on with a heavy heart and widescreen synths all that ever present sense of cinematism that makes Redshape such a unique producer.

Standout track 'Daft Mode' features a beautiful Reese bassline and rich layers of classic Detroit chords of the sort Inner City once championed. Redshape then pairs them with slicing percussion and loose limbed but tough edged beats and lets them roll on to a blissfully emotive oblivion... Fans of 'Mucky Bones' from the first Red Pack might see this track as a close relative. Last track 'Bulp Head' is one of Redshape's more euphoric tracks thanks to the glistening and pixelated melodies which rise up and up through choppy, metallic percussion. It closes out another release from Redshape that offers six more classic pieces that are as idiosyncratic as they innovative..