Cerca:15 years

2x12" 180g Black Vinyl

Pivotal UK producer Kirk Degiorgio returns to De:tuned for his first new and highly anticipated As One studio album in 15 years. "Communion" covers a broad sonic palette, ranging from jazz and hi-tech funk dancefloor beats to minor-chord symphonies, all coming together "As One". A trademark 90s electronica sound shifting between the mind, body and soul, produced and recorded with Kirk's 25 years of studio work experience.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis Mastering, pressed on 180 gr vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

2x12"

"Reactions" is the debut album from First Tone, the musical partnership of New Orleans-based artists Turk Dietrich (Second Woman, Belong) and composer Duane Pitre (Important Records). While the project has been at work quietly sculpting their sound for years, "Reactions" is the first available set of recordings. Those familiar with the respective works of the two artists will be happy to find a collection of music that is very much of the duo, and yet totally unlike anything they've produced before.

Over six tracks, First Tone unfurl poignant, flickering compositional works that utilize pitch material that is tuned using the system known as Just Intonation (which Pitre has studied for nearly 15 years) in conjunction with various software and a single hardware synth. The result is a collection of music that is both organic and alien. Layers of tone and texture build and dissolve from the ultra minimal to the enormous, on occasion seamlessly blending the two. A wide array of striking timbres patiently wash over one another, at times sounding like organic instruments, at other times sounding completely otherworldly.

"Reactions" is a masterclass not only in sound design and dynamic range, but also in sonic depth. The album's approach to the usage of time and dynamics work together to create the perception of a three-dimensional spaciousness of sound. The holographic effects produced from the spaces between the album's sounds are mesmerizing, with discreet arrangements that demand repeat listens to fully absorb.

This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the acclaimed PAREDO EP compilation (TAL12), which has been released in May 2019 (and also includes contributions from Lena Willikens and Miki Yui), the SUPER MILD split album is the second outing by KOPY and TENTENKO on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music.

TENTENKO is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BIS. Immediately after her departure from BIS in 2014 she commenced work on her solo project under her artist name TENTENKO. Since then she has radically reinvented her music away from glossy J-POP towards weird and industrial rooted dancefloor. TENTENKO first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band HIJOKAIDAN.

For a few years now KOPY has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name KOPY very much originates from this "concept". Apart from a few performances at Düsseldorfs famous nightspot SALON DES AMATEURS, she has been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018. Her sinister dancefloor mystique is heavily steeped in the free spirited noise and rhythm cultures of her hometown.

15 YEARS OF SEX TAGS MANIA! Established in Bergen 2004 and ran by DJ Sotofett & DJ Fett Burger the first 4-5 years as one of Norways only labels consistently releasing House & Techno on vinyl. Since about 2008/09 it's been operated by DJ Sotofett.

Skatebård's "Conga" has turned to be one of the most sought after releases from the Sex Tags Mania catalog with it's sparse pressing of about 2-300 copies – though most of the original stock was given away as the record gained minimal interest in 2005. The original record was cut with excellence by Lawrie Immersion – and pressed in his own plant – the now defunct Curved Pressings. MANIA 30 – the repress of "Conga" has as close to original sound as possible and it also carries a new B-side – the Crystal Bois live version of "Conga" from 2007, featuring Skatebård on male vox!

I felt totally unrestrained making this album” says Lindstrøm about his 6th solo album On A Clear Day I Can See You Forever (a title inspired by the 1970’s musical On A Clear Day You Can See Forever starring Barbra Streisand). “I’ve listened to Robert Wyatt’s solo albums and his Matching Mole’s debutalbum a lot lately. It so effortless, fearless and free. And not insisting. I was very inspired by this” In the autumn of 2018, Lindstrøm composed a commissioned piece for Norway’s premiere art centre Henie Onstad Kunstsenter. Sketches from the three sold-out performances became the foundation for the new tracks. “I decided to keep some of the initial ideas and develop them further. All the songs are based on long one-take recordings”, says Lindstrøm “Also I’ve been very conscious about the music on the album not exceeding the length of the physical limitations of the vinyl-format, finding that 2 long tracks on each side were the perfect balance for this album” This is also the first time ever Lindstrøm has made an album entirely with hardware instead of computer-plugins. He utilised thirty plus synthesizers and drum-machines during his performance at Henie Onstad Kunstsenter. The experience inspired him to embrace a similar set-up when making the album. “The joy of making music on actual physical objects and devices makes a lot of sense to me now. After working on a computer for over 15 years, I don’t think I’ll ever look back” he says with an almost childlike excitement. It was the accessibility to his enviable collection of music gear – largely consisting of sought after synthesizers – that allowed Lindstrøm to experiment so freely with ideas and soundscapes. “The title track is a 10-minutes improvisation on the Moog Memorymoog. I liked the loose feel so I decided to keep everything unedited. The other tracks were written and arranged prior to the recordings. I then set up the instruments needed for my sessions, then recorded more or less everything in a single take. I’m really happy with the way this album came together.” Lindstrøm has cited classical music as an inspiration the last couple of years “I used to study classical music at school. Back then I was listening to a lot of Opera, orchestral music and solo music on the piano. Listening to classical music again has been a revisit to my childhood days, just like I did when I embraced the 80s in the early 2000s”
Once embracing the freedom and the joy of making music without inhibitions, immersing himself in to the physical realm of making music with hardware, Lindstrøm learned something new not only about music – but about himself.
“I guess I've been trying to re-educate myself”

15 years ago in a basement in the Bronx, I attended a bunch of sessions with my long time collaborator and friend, Ray West. Ray is a lifelong DJ and home producer, and only in 2012 did he begin to release music via his well-respected underground label, Red Apples 45. He had a main studio but also this much smaller room in the back which I dubbed “Studio B” in the tradition of any multi-room recording facility who would have a second “B” or third “C” room, and the name stuck. Despite the much lower-level quality equipment in that room, like a Yamaha MiniDisc board burning mixes realtime to CD-R, there was a certain vibe to it that inspired creativity, and a simplicity that encouraged faster working methods. One of the groups that worked there was called Results. Their philosophy was whatever happened in the moment was meant to be on tape and they didn’t spend hours perfecting it. This is rather opposite to how I work in the studio and especially on my own material, of which I can be thorough to the point of finishing less than I’d like. Through working there I realized the potential of having a smaller, simpler second setup, one that was not related to my work as an engineer, or my artist career as a performing electronic musician and techno producer.


Fast forward to 2016 and I would have both a professional studio outside of the home and enough spare gear to make a smaller studio based around a 4-track cassette recorder in my living room. This was a place where I could make whatever I wanted, whenever I wanted, without the disturbances of clients, the chaos of 30th St., or any genre restrictions that I might place on myself in the big studio. I spent some time tracking down a functioning Akai MG614, the holy grail of 4-track recorders. It’s a large machine, making even the MPC3000 look small on the table next to it. With no computer, things were focused. I went through a couple of variations of the setup in my living room beginning with an MPC1000, DSI Evolver, Sonic Potions LXR, Bastl Microgranny, and a variety of classic effects that I didn’t keep in the rack at Butcha Sound like the Yamaha SPX90 and Ensoniq DP-4, plus a bunch of pedals and eventually a Korg Karma keyboard. Then I had the good sense to bring home the Emu SP1200 I was borrowing from The Martinez Brothers. Eventually I brought home the MPC3000 as well. Another thing I kept connected was a Zoom field recorder that captured sirens, street noises, and me playing the upright piano in my apartment live to tape. Results. These recordings were made in Hell’s Kitchen from July 2016 - May 2017 with the window open and the sounds of my Manhattan block inspiring the takes. — Phil Moffa 2019

Deathprod, a.k.a. Helge Sten, has been deeply embedded in the Oslo music community for decades, but his brooding soundscapes and deliberate process make him seem sometimes like a phantom. Sten is a founding member of Supersilent, adding his sounds and treatments to the avant jazz leanings of that powerful collective, and he has collaborated with artists as diverse as Biosphere, and Led Zeppelin’s John Paul Jones.
But Occulting Disk is the first new Deathprod album in 15 years; his attention to detail is next level, and the darkly powerful soundscapes arch and swell like the shifting of the Earth’s tectonic plates. Raw, emotional, political and deliberate, this is ambient music with deep intention.

Fans of Arca, Oneohtrix Point Never, Tim Hecker, Steve Reich, Autechre, Swans, and GAS will all need this record – Deathprod makes some of the most powerful experimental ambient composition of our time. His last LP, Morals and Dogma, from 2004, was listed as one of Pitchfork’s top 50 ambient albums of all time. FACT calls Sten the “dark ambient master.” The New York Times said “Sten loves to summon up thick, often ominous clouds of sound, gesturing at everything from avant-garde composition to black metal without ever quite revealing his hand.”

Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner.

Very limited silver metallic and black swirl 2LP - Non-Returnable

Steve Von Till explains the idea behind the remastering; "Bob Weston (Chicago Mastering Service, and member of Shellac) worked closely with Noah on making these new versions sound as good as the possibly can. Noah has the most trained critical ear for fidelity out of all of us being an engineer himself. We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously.  The technology has come a long way since then and we thought we could run it through better digital to analog conversion and trusted Bob Weston to be able to bring out the best in it....This new mastered version is a bit more open, with a better stereo image, and better final eq treatment."

He continues about the original artwork..."Aaron felt he could create something that would unify the energy of both Jarboe and Neurosis in an elegant manner.  We let him do his thing and I think it definitely adds to mystery of the album and sets it apart from the rest of our catalog."

When two independent and distinct spheres overlap, the resulting ellipse tends to emphasise the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time - a sentiment which also rings true to some 15 years later.

Neurosis & Jarboe opens with a high-pitched whirring sound winding up as Jason Roeder's ominous tom-drum beat and Noah Landis' slinking synth line writhe in unison until Jarboe drops in, drawling in her characteristic, corrupted Southern belle voice, "I tell ya, if God wants to take me, He will." From there on in, the album is a series of abrupt shifts and cleverly juxtaposed themes that flows in a rhythm of its own. The sinister and ethereal sounds, vocal coos and electro-pulses of "His Last Words" seem like the perfect soundtrack to a David Lynch film. On "Erase," song parts are dissected and grafted one atop the other, continually building tension as Jarboe wails and yelps with Banshee fervor.

The project began with the artists working in seclusion, recording the elements that would best highlight their own characteristic integrity and personality, rather than either attempting to mimic one another's familiar elements. As recorded ideas were passed back and forth, the collaboration proved to bring out the most unhinged and urgent talents of all those involved.

Throughout the album, that signature "Neurosis note" - the sound of something simultaneously recoiling and erupting, the apocalyptic tone announcing the birth of a new world - reaches its apex and becomes evermore icy and eviscerating. Guitarists Steve Von Till and Scott Kelly trim their tones for cleaner, chorus-drenched effects layered between the thunderous distortion blasts of bassist Dave Edwardson. Likewise, Jarboe's operatic wail and other vocal contortions sound perfectly suited to the eruptive emotional fray of the music.

The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of "dance music," Neurosis & Jarboe redefined all notions of their past - and outlined the course of heavy music to come. It's interesting to look back through the lens of this release, and think about these ideas and concepts in the present.

Neurosis & Jarboe remains the meeting point of all art that takes us beyond ourselves.

After their brilliant label debut with "Grow Yes Yes" in 2017, Professor Wouassa now returns with their brand new third album on Matasuna Records.

The Swiss band's career spans more than 15 years, where they have played at many major festivals in Switzerland and abroad. The 11 members of the band have perfected their musical qualities over the years and captivate as a well-rehearsed live band with their energetic and rousing shows. So it isn't surprising that they supported concerts of Afrobeat legends like Ebo Taylor or Seun 'Anikulapo' Kuti.

Their still exuberant creativity can also be heard on their new work entitled Yobale Ma!, which in Wolof's language can be translated as "take me" or "get me". With their new album they take the listener to their musical island to explore the borders of Afrobeat and beyond.

The song Fallou Fall opens the album in a jazzy & big band way, and quickly switches to an afrobeat theme and solo. In the middle the song breaks into an Afro-style pattern, which is performed by Thaïs Diarra in Bambara (Malian dialect) in a traditional Mandingo way of singing. The track ends with a Sabar percussion part - a traditional Senegalese drum.

Yobale Ma is the single of the album, which is inspired by the funky guitars of a Nile Rodger and some typical fast Ghanaian highlife of Ebo Taylor.

The track Thiaroye Gare is about the Tirailleurs sénégalais, a unit of the French army who fought for France in WWII. After returning from captivity they were taken in Camp Thiaroye northeast of Dakar. Corrupt and racist colonial officials led to a revolt, which was bloodily suppressed by French troops.
From the musical point of view the song shows a link between afrobeat and funky James Brown rhythms, which ends in a fast afrobeat style with baritone saxophone and trombone solos.

Beguente Len in the middle of the album is a kind of interlude that represents Wouassa's own way of interpreting traditional afro beats and rhythms.

With the two songs Djongoma and Sama Yone Professor Wouassa leaves his usual afrobeat path to explore the "sound of the islands" (Mauritius, La Réunion, Cape Verde or Cuba) and blend it with their personal and unmistakable style.

With Iba Niawoulo the professors investigate a kind of Ghanaian highlife medium tempo with a chord progression from Serge Gainsbourg's song "Initial BB". The tracks change in the middle to a fast Rhythm'n'Blues beat, which is accompanied by afro guitars. The singer "Mamadou Diagne" talks about his alter ego in Dakar.

In Djougoudja typical afro rhythms are mixed with pure Ethiopian 70's brass sounds and funk guitars. As heard several times in other songs, the track breaks into a very personal and hard to describe Wouassa beat in it's middle. At this time, Mamadou Diagne recites a big slam about the spiritual ideas and the history of the famous senegalese theologian and poet Serigne Touba (Cheikh Ahmadou Bamba). Under his flow some sabar percussions (typical senegalese percussions) build a strong and intense musical rug.

The sought after LP from Zann ‘Strange Ways / Inside Jungle’ originally released as a private press in 1990 finally receives a full reissue.

Zann started life as a 7-member live band in 1982. Founder member Udo Winkler had been a part of New Wave & Post Punk band Konec touring extensively and releasing one LP on Polydor titled ‘Schrille Blitze’. Zann was an outlet for more experimental works heavily influenced by Brian Eno's collaborations with David Byrne and Jon Hassell, German bands like Embryo and Dissidenten, David Sylvian and middle & far eastern music.

In 1988 Udo and Hjalmer Karthaus built a small basement studio with a 4 track tape machine and musical experiments began in earnest. After the limitations of playing live it was an acoustic wonderland and they gave themselves no musical boundaries. The unlimited studio time meant they could pick up ideas and develop pieces gradually, friends would come to the studio to play and songs evolved from extensive jamming sessions. The resulting LP has Middle Eastern instrumentation at its core, particularly wind & string instruments such as the Tabla and Gong, and is a melting pot of influences incorporating elements of Ambient, Jazz and Folk with strong synth programming on a number of tracks. The band pressed up a handful of copies and sold them exclusively at record fairs in Germany and in the intervening years the LP has become highly sought after with copies changing hands for 150 Euros.

The LP has been fully remastered from the original DAT tapes with new full sleeve artwork from Bradley Pinkerton and is pressed on 180 Gram Vinyl.

Kraak & Smaak's 6th studio album - 'Pleasure Centre' is the culmination of two years hard work since their critically acclaimed 'Juicy Fruit' LP and their first Kraak & Smaak LP released on their own label – Boogie Angst. As expected it's a glorious record packed with future classics, flitting between funky dancefloor focused jams and more relaxed downtempo affairs.

The album has a definite US West Coast vibe to it and sees them fuse classic 70's and 80's yacht rock, dream pop, and indie influences in with their signature electronic funk sound. And this result is no mere accident or emulation… Working on the demos in their own studio before travelling to LA for a month last year to meet and work with featured artists, they stayed in Echo Park and recorded in local studios and sometimes even in the homes or backyards garages of their collaborators.

Hand- picking the best of the local talent: dance diva - Gavin Turek, indie upstarts - The Palms and dream pop dealer – Satchmode all contribute their talents to the cause.

The Dutchmen have earned a deserved reputation in particular for the A&R side of the industry, with both the discovery and collaboration of new rising acts high on their agenda. Previous successes include working with Parcels, Alxndr London (championed by Annie Mac) Eric Biddines (6Music playlisted) and Cleopold (signed to Nick Murphy fka Chet Faker's own label). And they continue to uncover hidden gems outside of LA on this record too...

Moon Boots collaborator – Nic Hanson, Jalapeno Records' gospel/soul powerhouse - Izo FitzRoy and soul man Wolfgang Valbrun (Ephemerals/Kungs), New Zealand's imugi and previous collaborator and soul songstress - Sanguita are accompanied by regular members of the Kraak & Smaak live band - IVAR and Berenice Van Leer across 15 fantastic new tracks.

'Pleasure Centre' is everything you'd want in an album and everything we've come to expect from these dance stalwarts – innovative, relevant, and modern tracks with great production and exciting guest features that are guaranteed to fire up your own pleasure centre!











k 11 Sweet Time (feat. Izo FitzRoy) clip

Created during the harsh winter nights of 2019 at a home studio in the outskirts of Seoul. “​Disfiguring Echos” i​s the first full length album of Korean artist Suggun Jang.

Mesmerizing ambient soundscapes soaked in Jang’s own environment recordings, are subtly layered with contemporary minimalist compositions to form a powerful work that reflects the harsh yet beautiful surroundings and captures the imagination.

Suggun Jang has been making music for more than 15 years, from noise and doom metal beginnings to complex and detailed sound designs for soundtrack projects, and a passion for capturing his surroundings with unique environment recordings.

DE presents the first window into the world of Suggun Jang.

« Hôtel Costes presents... » is a collection of exclusive music recorded or mixed at Studio HC, the hotel studio, and composed by Adrien de Maublanc guests. This unique studio with exceptional gears craft the sound of MidiMinuit.

The second opus, Round the clock, by Midiminuit, is a modern album where classical and jazz music meet modular synths.
MidiMinuit is a collaborative project between pianist Julien Quentin, bass player Yonatan Levi and electronic musicians Cesar Merveille & Adrien de Maublanc. Four experts in their respective fields are harmoniously combining their music creating a new entity.
Three days, twelve hours of music per day, from 12pm to 12am. This was the primary rule of the jam sessions, giving the band its name. This was the first time all four musicians came together. In those three days, there was no rehearsals. Every piece was improvised, recorded and it was moved on to the next track. Bringing those world-class musicians together had the potential to create something unique. And so… ROUND THE CLOCK was born!

Cesar Merveille is known for his collaborations with labels such as Cadenza and Visionquest, and has been a major player in the electronic scene for the past 15 years touring extensively as a DJ, and has now started his own imprint Roche Madame. He started early on collaborating with musicians from different backgrounds. Combining electronic music with acoustic instruments has been part of his defining style since the early days. His love for modular synthesisers brings a unique colour to the sound and groove of MidiMinuit.

Julien Quentin – Born in Paris, graduated from the Juilliard School in New York, pianist Julien Quentin performed in all major concert venues such as Carnegie Hall, the Berlin Philharmonie or the Concertgebouw in Amsterdam. Julien’s interest after 20 years of classical music on the road is opening up to projects ranging from improvisation to producing electronic music and could be heard live at Sonar Off and Amsterdam Dance Event, or in Berlin clubs where he is now based. His remarkable depth of musicianship and distinct clarity of sound coupled with flawless technique bring its distinctive classical influence to MidiMinuit.

Yonatan Levi – Born in Tel-Aviv, Israel, Yonatan Levi first started with classical guitar and switched to classical stand up bass studies from the Israeli Conservatory of Music in Tel Aviv. He then got a full scholarship at Berkley College of Music. He has been playing alongside some of Jazz greats like Avishai Cohen and Eddie Henderson. In the past few years, since moving to Berlin, Levi has ventured into the vast electronic music world, becoming an avid vinyl collector as well as collaborating with electronic music producers who are known for their cross-genre, multi disciplinary approaches. Bringing all that jazz to the band.


Adrien de Maublanc – Adrien is well known as a producer and sound engineer as one half of the Masomenos duo which is a productive partnership with graphic designer and DJ Joan Costes. They have a long collaboration with the Hôtel Costes music history. In fact, they have been in charge of the Costes presents serie, a minimal electronic oriented serie of albums by glacial, seuil and themselves. Since two years now, they have located their studio in the Hôtel Costes extension that have been on works, and named the place Studio HC. It is in this unique studio that MidiMinuit has been mixed. Maublanc is now part on his own several bands that like midiminuit will be released on Hotel Costes Presents label.

TThe melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, released on double vinyl on September 13th. The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd 2017. Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon and Wayne Linsey.

Taylor Graves came into Leon’s musical family in 2002 when he, his brother Cameron and the Bruner brothers Ronald Jr and Stephen (Thundercat) were playing along with their schoolmate Kamasi at an L.A. jazz club. Taylor, Cameron, Ronald and Stephen became Leon’s band for his debut shows in Japan in 2002 and Taylor continued to work with Leon as his mentor and collaborator over the next 15 years.

“Leon was ALWAYS writing something or developing his musical palette” his wife Carol Ware tells us, so it’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the material comes from Leon’s sessions with Taylor.

Describing Leon’s and his process, here’s Taylor: “We’d start by having some great homemade food! Then a glass of wine ‘to slow down time’. After we’d have our fill and smoked our joints we’d go into his studio room to listen and create.”

The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK.

Leon worked on Rainbow Deux with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful and sensual.

The album opens with the hypnotic throb of “For The Rainbow”, coming on like a percussive, slow-mo house shuffle. Gilles Peterson is a fan. The exotic “Let Love In” follows, with its gradual-build Island Funk, intricate guitar picks and sassy female vocals. It explodes when it hits its stride. “Sigh” is the stylish slow jam close-out to side A. Serene guitars and polished drums create neck snapping funk, with a swaggering finger-snap strut.

Side B opens with the easy-burning broken-beaty “The Darkest Night”, the centrepiece of the album. Kamasi Washington’s lurking sax, restrained and beautiful, unfurls into the dank, sticky atmosphere of Thundercat’s signature creeping bass laid over his brother’s in-the-pocket drums. Leon’s vocals are perfect, a masterclass in seductive sax-soul.

“Surrender Now” conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums and bubbling synth-bass stabs. It’s got the trademark Leon layers. “Summer Is Her Name” has Kamasi’s effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms.

“Are You Ready” is a total highlight (and we’ve been playing it out for ages). It’s a nimble groove of piano and synth rolling around Theo Croker’s sensual trumpet playing. Digi-soul at its finest. With lush G-Funk sensibilities “Streets (Keep Me Runnin’)” sounds like a lost Dam-Funk produced gem. All tough kicks and snares and street sounds. Leon’s hood pass will be forever intact.

“Samba Dreams” is the first of two tracks that bring a little Rio magic to Rainbow Deux. Leon created a whole body of work in partnership with Brazilian legend Marcos Valle that includes “Rockin’ You Eternally” - a hit for Leon - and “Estrelar” – a hit for Marcos. Leon channels his obvious love of Brazilian music here through more of Croker’s sumptuous trumpet, played over loose percussion. “Let’s Go Deep” is next up. A dreamy between-the-sheets quiet storm anthem and a real showcase for Leon’s vocals.

The dripping, honeyed harp-funk of “We Should Be Laughin’” marks the star turn of the brilliant Kimbra. Leon first met her on-stage to do an impromptu duet of “Inside My Love” during an open-air celebration of Minnie Riperton in July of 2014. Kimbra was working with Taylor on her music and he brought her to Leon’s house to do some writing. This was the result.

Warm synths radiate shuffling samba soul on “Wishful Thinking” as those Brazilian rhythms return to bring Rainbow Deux to a close.

During an apartment move Leon and Carol rediscovered some watercolours Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork.

Carol has overseen developing that draft into the final gatefold sleeve. It brings together quotes, photographs and tributes in what is a reflection on the music, relationships and philosophy of the sensual minister.

Gerry “the gov” Brown, Leon’s long-time sound engineer, was by his side throughout the project, recording and mixing. The album was mastered by Toni Economides and Simon Francis’ additional sensitive work makes sure this double LP sounds like it should on vinyl.

Be With’s first ever release was Leon’s eponymous LP. Re-issuing that album planted the seed of a relationship that has grown to grant us the privilege of presenting his crowning achievement. We know that Leon’s fans all over the Earth will love Rainbow Deux. But we also hope that this album, the final entry in a phenomenal body of work, will reach new fans and find fresh conduits for the spirit of this oft-unsung hero of Soul.

Leon always said “they will get it when I'm gone.”

He also said that “the spirit never dies”…

The vinyl-only DJ-oriented A&R Edits makes a return with a new 12” EP ‘Disco Mondo’ / ‘In The City’. Following releases from Henry Greenwood, Derek Kaye, Sophie Lloyd, Fingerman, Peza and Twisted Soul Collective between 2013-15, the label stayed on the backburner for four years as other projects took precedent. Now re-emerging with the tenth vinyl release in the series, combining the GW & Henry reworks of El Coco’s smooth grooving esoteric disco cut ‘Mondo Disco’ and Marshall Hain’s brooding Balearic treasure ‘Dancing In The City’.

Courtesy of the influential Rinder & Lewis production team, ‘Mondo Disco’, originally issued in 1975, became a firm favourite with underground DJs and disco lovers, this playful yet purposeful rework boosts the track’s drive with an eye on the contemporary dancefloor.

Marshall Hain’s hazy/lazy ‘Dancing In The City’, a much-loved memento of the summer of 1978, was a huge UK hit, reaching #3 on the singles chart. Offering a perfect soundtrack to sun-kissed beaches and blissed-out festivals, this rework breaths a new lease of life into this sonic delight.

“ To know Lerosa is to have a huge amount of respect for him. The Dublin-based, Italian producer isn't concerned with the limelight. Rather, his studio philosophy resembles the Japanese concept of “kaizen” a workmanlike, incremental improvement.



Leopoldo Rosa's debut for Acid Test is the producer's first album in eight years, but since then he's put out in the neighborhood of 15 EPs for the likes of Idle Hands, Ferox and Saft, homing in on his own lush sound, which weaves effortlessly between deep house, acid and electro.



He applies all these patient lessons on “Bucket Of Eggs”, the ten masterful tracks fit perfectly within the label's concept. Yet Rosa, like the label's stable of 303 auteurs (Tin Man, Recondite, John Frusciante, Pepe Bradock) opens up bold new vistas for the subgenre. On "Conjurors," he spends half the track building up atmosphere so thick and dubby you could cut it with a knife, before introducing an acid line and jack track heralding back to the acid's maddening, revolutionary roots.



About halfway through the set, Lerosa is done setting the stage, and thusluy delivers a string of freakishly good late night tracks. For Lerosa, the hips and the head work in concert—"One Is Too Short"'s no-nonsense rhythm section perfectly balanced by the track's dreamy synth and zero-grav piano breaks. On "Self Inflicted," he joins a rarified class, synthesizing electro funkiness, widescreen ambience and acid counterpoint.



On initial contact, Lerosa's “Bucket Of Eggs” feels astonishing, an expertly-paced, near-perfect LP. But for those who have been following the low-key producer, it feels like a natural culmination. “

Untameable Anatolian feline fuzzy folk funk finally uncaged. A spontaneous Turkish-Norwegian-Dutch expedition, where seafaring jazz cats entangled with fugitive roadies and Tee-Set mods, makes the story of Durul Gence’s highly anticipated/ill-fated Asia Minor Mission group the stuff of lost-rock legend and remains one of Turkish music’s great “what ifs?” The black cat is finally out of the bag...

Having forged a celebrity status as one of Turkey’s premier percussionists and bandleaders, Durul Gence assembled the underground fusion group known as Asia Minor Mission (AMM) in early 1972 (with Irfan Sumer, Oguz Durukan and Ugur Dikmen) while trying to escape the constant daze of paparazzi camera flashes that followed him across Turkey. During a far-fetched post-gig brainstorm the group pondered relocating to Norway (based on fact that none of them had ever visited the country) when a local seaman who claimed to have recording studio connections in Oslo overheard them. Enlisting the roadie services of a streetwise Istanbul taxi driver friend on the run from the police AMM took the plunge, accepting the sailor’s offer of passage on his next sailing.
In these new idyllic surroundings, the same region that played host to fellow Turkish percussionist Okay Temiz, Durul found the peace he desired discovering a muse in Norway’s welcoming creative climate. Much like Barıs Manço and Mogollar in France, Cem Karaca and Gökçen Kaynatan in Germany, Gence’s relationship with Norway rekindled a passion for composition in ways he couldn’t have imagined in his homeland, opening doors thought previously unreachable. As a potential prodigal son for Anadolu pop Durul joined a wider pop-cultural diaspora alongside electronic pioneer Ilhan Mimaroglu, Tülay German (aka Tuly Sand) Kardasllar’s “Alex” Wiska (collaborator with Krautrockers Can) and Maffy Falay from the band Sevda.
Despite a blooming fan base and original repertoire the Nordic dream was not to be and after two years without a studio session, AMM called it quits during a tour of Holland after which Durukan and Dikmen went home to join Cem Karaca’s band Dervisan - Dikmen’s keyboards feature on Finders Keepers releases by Turkish singer Selda (FKR011). Retreating to the city of Delft to ponder his next move, Durul met Peter Tetteroo, former vocalist from successful Dutch psych-pop combo Tee-Set, who also found himself in a lonely boat after the demise of his long-running group. As an AMM fan, Tetteroo suggested they record two Gence penned AMM demos for Dutch Philips signed exotic songbird Sasi Naz at Peter’s home studio. A session was hastily arranged and a talented, yet unconfirmed, guitarist was enlisted. Durul maintains it was the work of Ferry Lever from Tee-Set/After Tea, something Ferry has denied, and with Tetteroo having died in 2002 the question remains. Upon entering the humble studio Durul stumbled upon a skeletal drum kit. Lacking hi-hat, toms or even a snare he cobbled together a bongo and a tambourine and set to work. Together, under the watchful eye of Tetteroo, the pair jammed stripped back versions of the AMM live staples Black Cat and Boo Song, with an added freak factor otherwise missing from their jazzier approach. Laid down in just 30 minutes, with Gence’s accomplished guide vocals and fuzzy overdubs, the rudimentary but professional recordings never made it to Philips execs and the tapes returned to Turkey under Durul’s arm as one of only two documented AMM recordings (the other being a live performance in Oslo’s Hennie-Onstad Art Centre in May 1973).
Unintended for commercial release, curiouser and curiouser, Finders Keepers proudly present these previously unheard tracks sourced directly from original tapes, which stand as a testament to the inimitable talent of Gence and the only studio document of the mythical AMM Turk jazz funk troubadours, representing a pop-psych Hollandaise holiday postcard which has taken five decades to be delivered. 45 revolutions later... The cat’s got the cream.

Welcome to the exhibition! After his renowned tour de force on Cocoon Recordings, Rico Puestel continues with his dedicated streaks of unique and progressively driven Techno on his brand-new imprint 'Exhibition'...

Planned and intended to come into existence for almost 15 years now, Puestels' 'Exhibition' imprint combines the intrinsic exposure of his artistic repertoire, the vast unreleased material from his vault back stock and the visual artistic streak of exclusively crafted paintings for each record, providing a dignified completeness of art and a general haptic experience.
'Exhibition' represents Rico throughout the realms of his widespread techno modes, enriched with his in-depth compositional pathos to form a force of an unbound essence and unbridled passion, paving the way for consecutive exhibits throughout the realms of 'Exhibition'.

TV Victor was one of the first artists of Tresor Records where he became legendary with several of his ambient and trance productions including Trance Garden 1-3 and Trancecology Chapter 1. In 1989, he launched his first solo project: Moondance - The Magic Sound of the Moon, where he lay foundations for later explorations with experimental sounds fused with pop elements and anticipated an ambient excursion to be had in the future.

In the following decades TV Victor created impressive solo works that traversed between ambient and trance, he collaborated with artists like Moritz v. Oswald, Max Loderbauer, Ari Benjamin Meyers, Paul Browse and Tobias Freud. Contrary to common mainstream tendencies he created a very unique interpretation of both genres. In recent years Victor has concentrated on creating experimental and abstract sonic spaces for escaping reality, spaces that live through the imagination of the listener. Each piece, a segment of a larger musical movement; stands alone to create new sonic continuums. Otherworldy music that is in its own sphere.

30 years after the release of Moondance and 50 years after the first landing, Lullabies For Insomniacs revisit TV Victor's musical roots with 'Back To The Moon'. The previously unreleased works were carefully selected from his vaults and restored by Berlin based engineer Brett Olke (B Ashra), the album offers a glimpse into the future by creating a soundtrack for mankind's settlement of beyond in a conceivable hereafter.

‘One of our favourites’ iD Magazine

‘Mesmerizing’ The Guardian

‘Keep an eye on this guy!’ - Gilles Peterson


Catching Flies’ music draws from a wide-ranging palette of influences including jazz, soul, hip-hop, house and electronica and has previously seen him handpicked by Bonobo to provide support on his World Tour. Over the past few years, his music has gathered the support of Gilles Peterson, Annie Mac, Lauren Laverne, Julie Adenuga & Huw Stephens, critical acclaim from the likes of iD Magazine, The Guardian, Dazed & Confused, and Nowness, and a growing fanbase which has seen him perform both Live and DJ sets across the UK, Europe, the USA and Asia. This has culminated in over 60,000,000 streams to date.

Catching Flies is set to release debut album ‘Silver Linings’ on 5th July 2019. Containing shades of house and jazz, to hip-hop and electronica, ‘Silver Linings’ is a melodic mesh of bright electronics and intricate rhythms. It’s a beautiful, moving record, with sounds that unmistakably come straight from the heart.

Producer, multi-instrumentalist and DJ George King began Catching Flies in late 2012, when he recorded and self released his first two EPs. With huge radio and press support around the world - including multiple #1’s on Hype Machine, BBC Radio support from Gilles Peterson, Mary Anne Hobbs, Lauren Laverne, Tom Ravenscroft, Nemone, Annie Mac, Huw Stephens; praise from i-D, Dazed, The Guardian, Complex, Notion, The Line Of Best Fit, Clash, Dummy and more - he’s since attracted millions of listeners.

Against his instincts he signed with a big management agency and got talking to a label: it almost derailed his career. He explains “What I'd found so inspiring originally was the total freedom to make a tune on my own terms and just decide to put it out the next week. There was a hunger that came with that, and a sense of achievement from being the driving force, but as soon as I tampered with that ecosystem, it wasn't as exciting anymore”.

Touring with electronic music giant Bonobo - who also included him on his BBC Radio 1 Essential Mix - allowed him to watch up close someone who had taken a slow and steady path from tiny clubs in Brighton to arenas worldwide, and see it was possible to do without any compromise. After being teased through a succession of warmly received singles this past year, and seven years on from that first EP recorded and released from his bedroom, his debut album ‘Silver Linings’ is now ready to be revealed.

“It's taken me a while because I didn't want to speak until I had something to say. I wanted to make something positive, hopeful and colourful...The world isn't in the best place at the moment, and the last thing it needs is another dark and moody electronic record. I wanted ‘Silver Linings’ to be a scrapbook of the last three years. It’s definitely eclectic, and it’s supposed to be. Over three years a lot changes, your perspectives change, your tastes change; and I wanted to celebrate that by picking tracks that meant the most to me. One of my favourite things about making music is that it takes me right back to where I made it - the keyboard I used, the chair I was sitting on, the room I was in. It kind of teleports you back to a certain point in your life. A bit like a diary entry.”

Recalling those moments brings back a range of memories: ‘Satisfied’ began by being tapped out on a £15 keyboard bought from Kentish Town Cash Converters, ‘Yǔ’ was made in the mountains of China during a few days off from touring, while an evening on Hampstead Heath inspired ‘Kite Hill Theme’. Also featuring on the album is ‘New Gods,’ a collaboration with London’s bright stars Jay Prince and Oscar Jerome and the beautiful and meditative ‘Opals,’ inspired by the likes of Ryuichi Sakamoto and Alva Noto.

Catching Flies is already looking to the future, closing the first chapter in an exciting and inspiring story, ‘Silver Linings’ is only the beginning.

“A few weeks after I finished the album, I moved out of my house I made all the music in, so it feels like the closing of one chapter and the beginning of another. I can’t wait to make the next one now.”

This year, First Word Records celebrates its fifteenth year in the game. The year commenced triumphantly with First Word being named "record label of the year" at Gilles Peterson's Worldwide Awards 2019. Over the past six months, we've seen new music from 14KT, Souleance, Myele Manzanza, Teotima, Don Leisure, Children of Zeus and a range of artists across Europe, on the 'Music! Musik! Musique!' compilation.

To commemorate the 15th anniversary, First Word has a series of releases in the works for the second half of the year which see collaborations by artists from the label's current roster. To kick off, we have this special double-AA sided 7" single featuring Darkhouse Family, Kaidi Tatham & Tyler Daley.

Darkhouse Family consists of two Cardiff beatmakers & musicians, Earl Jeffers - founder of Melange Records and producer of 'A Library Excursion' from 2018, and Don Leisure, who recently provided us with 'Halal Cool J', the beat-tape sequel to 2017's 'Shaboo'. Over the years they've had releases, solo & individually, on Fat City, Metalheadz & Earnest Endeavors to name a few, bridging the gaps between various strains of dance music, beats and hip hop, with the organics of jazz and funk. Recently making noise across the UK with their new live band, and production work for the likes of Kamaal Williams, this is their first new release since their highly-acclaimed 2017 debut album 'The Offering' & subsequent remix project which also featured DJ Spinna, and one Kaidi Tatham.

Kaidi Tatham is one of the most revered multi-instrumentalists in the game. His endless contributions have included Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more. Dubbed by Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince. He can play most things, and play them well. Providing flute duties on this track, he also graces the flipside with a full "flutestrumental" version. Aside from numerous other projects, Kaidi released three EPs on First Word to date, 'Changing Times', 'Hard Times' and 'Serious Times', and an album last year, entitled 'It's A World Before You', which featured daddy of 2000 Black, Dego, son of Jazzy Jeff, Uhmeer and Children of Zeus, Konny Kon & Tyler Daley.

Tyler Daley hails from Manchester, alongside son of Zeus, MC / DJ / beatmaker, Konny Kon. Somewhat of a veteran in the game, Tyler is currently one of the most-recognisable talents in the British soul scene, also lending his talents to dance music royalty along the way, including the likes of Goldie, Zed Bias, DJ Marky & Lenzman. With Children of Zeus, the duo have had a whirlwind 12 months since the release of their debut album 'Travel Light', performing shows across the globe & gaining new fans daily. The record was named "album of the year" by Complex magazine and BBC 6 Music's Huey Morgan, amongst a number of other notable tastemakers & selectors. Hot on the heels of the 'Excess Baggage' EP, Tyler laces this one with his inimitable brand of bars and soul.

A veritable super-group amongst the First Word stable, this low-slung slinky joint sees the guys work up a unique blend of jazz, soul, beats and hip hop - guaranteed to go 'All The Way'…

'All The Way' is released on First Word Records on July 26th 2019, limited 7" vinyl & digital.

Produced & mixed by Darkhouse Family

Vocals by Tyler Daley (Children of Zeus)


b B1. All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]


[b] B1 | All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]


[b] B1 | All the Way (Flutestrumental) [feat. Tyler Daley & Kaidi Tatham]

Where Future Unfolds is a new work spirited by Chicago-based sound & visual artist Damon Locks. Starting as a solo sound collage piece (where Locks pulled samples from Civil Rights era speeches and recordings to create an improvisational pallet for performance on his drum machine), over 4 years the project has blossomed into his 15-piece Black Monument Ensemble - featuring musicians (including Angel Bat Dawid on clarinets and Dana Hall on drums), singers (alumni of the Chicago Children"s Choir), and dancers (members of Chicago youth dance company Move Me Soul). Where Future Unfolds is a live capture of the ensemble"s epic debut at the Garfield Park Botanical Conservatory on the West Side of Chicago. Recalling the spirits of Phil Cohran"s Artistic Heritage Ensemble, Eddie Gale"s Black Rhythm Happening, Archie Shepp"s Attica Blues, and Public Enemy"s It Takes a Nation of Millions to Hold Us Back, the album presents an inspired, innovative & immediate intersection of gospel, jazz, activism & 808 breaks.

2023 Repress

2019 is mule musiq’s 15 years anniversary. we’re going to release twelve 12inchs with our friend artists and stefan marx make the collectable artwork.

10th release is our long time friend hippie dance’s superpitcher aka pachanga boys. “maki” on a side is a tribute song for legendary japanese folk singer maki asakawa, superpitcher wrote the lyrics and dip in the pool’s miyako koda translated in japanese and did the reading. “mishima” on b side is a trademark of superpitcher’s melancholic house tune. it sounds like updated percussive nyc house in early 90’s.

After making music individually for a couple of decades, Peraud and Ferguson decided to collaborate for the first time, joined together by an instinctive desire to blur the boundaries between improvisation and composition.

FZR Sethi is a visual artist, musician and composer who works in several mediums under the expression of draw/paint/volume/sound. His work, either canvas or sculpture, hinges on the fundamental principles of his art, as evidenced in his use of the geometric form.

Ferguson created his alias Rubbish T.C (Rubbish Techno Consortium) in 2015, producing slow and heavy techno made with martial patterns of movement. A producer for 15 years, Rubbish T.C. has been prominent in the free party scene for years.

Moving away from a dance-inflicted mode, Sâd Hu achieves more of a balance with skill and craft. A dense, textural approach hints at something more expansive and insidious. Diversity and richness unexpectedly coalesce into an eerie, percussive scapefest over sonorous layers of droning bass tones and raw power.

• Recognised by fans and fellow recording artists, as one of the World’s most influential and best ever guitarists.
• This tribute is frequently confirmed when Hank regularly features high on the polls that determine the greatest guitarists of all time.
• Initially known as the lead guitarist of The Shadows, the band that evolved to become the UK’s biggest ever selling instrumental group,
Hank Marvin defined the sound of a generation.
• Hank was the very first guitarist in the UK to own an iconic Fender Stratocaster – when Cliff Richard imported the guitar from the US
exclusively for Hank to play.
• As a solo Artist, Hank Marvin has released 16 albums, with Top 20 albums spanning almost 50 years; 1969-2017 (to date), in a long and
successful career lasting more than 60 years.
• Hank Marvin, as a solo Artist, as well as part of The Shadows, with and without Cliff Richard, has spent approximately 900 weeks on the
UK Albums Chart.
• This ‘Gold’ 180g Heavyweight Gold Colour Vinyl LP set, covers Hank’s solo career, in this 15-track set.
• ‘Gold’ includes guest appearances/performances from Cliff Richard, Brian May, Duane Eddy and Mark Knopfler.

Repress

2019 is mule musiq’s 15 years anniversary. we’re going to release twelve 12inchs with our friend artists and stefan marx make the collectable artwork. ninth release is one of the best newcomer in a modern deep house scene “chaos in the cbd”. we have already released three 12inch and all of them were highly acclaimed. these two new songs are ambient break beats tracks. it’s a kind of their new style. if you like boards of canada or global communication, you will love.

Running and pushing the boundaries with his versatile musical skills, Giovanni Damico aka Ron Juan tends to be a hard worker. The fact that his musical journey started well about 15 years ago, Giovanni has released top notch records on labels that bring resonance in today's industry such as Star Creature, Lumberjacks in Hell, Bordello A Parigi and swiss boutique label deepArtSounds. His latest piece of work is a five track,afro funk influenced mini Album entitled "Express Yourself". It's an eclectic journey thru Giovanni's deep mind and thru his huge collection of synths and instruments.

For Against Fascism Trax 006, Auntie Flo takes us to Brazil, a country that is dealing with having a bona fide fascist president, with an EP recorded in Rio De Janeiro. I’m going to shut up and let Afonso Marcondes from Sao Paolo take it from here -

In a world in which culture policies (incl. music) win nationalist tones, Brazil has lessons to give with the catastrophic failed experience of the last government and the teletubbies talk on Culture from the current one.

As one sometimes feel as if one is on a time-warp from time to time, most often taken there by music, songs like March of The Berimbau here, could easy make for the perfect soundtrack for the political history of Brazil, country in which Auntie Flo got his inspiration and recorded this tracks.

From the military regime that gave Brazil bossa nova in the 60’s, the tropicália sounds of the 70’s to the pop rock era of the 80’s all the way from the rave scene of the 90’s to todays Bahia Bass, music in Brazil has always been instrumental in helping shape the political scene.

One thing about the Brazilian music ’scene’ is that rarely it lends itself to extreme political views, via lyrics or otherwise, after all, carnaval must be kept a happy time! The number of different cultures living in peace, side by side in Brazil has strenghten the country disapproval of hate talk in music since I can remember growing up in the interior of São Paulo state.

As per wiki: Fascism is a form of radical ultranationalism, characterized by dictatorial power, forcible suppression of opposition… Children bedtime reading if you follow the past 15 years in Brazilian politics and the rise and fall of Brazil’s Labour Party, together with its disastrous polices on culture and synergy with de definition above; including the views of a important cultural Party branch that continuously 'preached' that Authors should need no rights over their works. That couldn’t bit music in Brazil.

Fast forward to the first 5 months of government of an unfortunate retired army officer, whose every word sounds like Trump, and whose views on culture is to extinguish the Culture Ministry and cut low the state incentives to the sector, that, so far, is not bitting music in Brasil.

Hope that Auntie Flo’s music inspired everyone as the place where it was made and recorded inspired music in Brazil, as a beacon of light against any hate talk darkness.

LP comes pressed on 180 gram vinyl.

On 29th March, Reclaimed Records are proud to present pianist and composer Taz Modi's elegant debut solo album 'Reclaimed Goods', which brings to light his love for contemporary composition – something which may come as a surprise to fans of soulful dance music heavyweights Submotion Orchestra, and jazz trumpeter Matthew Halsall's Gondwana Orchestra - for both of whom Modi plays keys/piano. Whilst also gaining further demand as a musician, including for A-list studio and live work for funk 'n' soul legends Dennis Coffey and Fred Wesley, plus beatmaker heroes DJ Shadow and Mr. Scruff, Modi has been discreetly pursuing an additional passion during down-time for years – and his prolonged, patient crafting shows in the record's tasteful and beautiful spirit.

Calling to mind the piano music of Cage, Frahm, Hauchska, Sakamoto and Aphex Twin, 'Reclaimed Goods' is a graceful affair, in which lush strings and gently pulsing rhythmic flutters sit alongside prepared and plaintive piano, with the tunes ranging from sparse beauty to weightier moments of electronic rhythms. This allows the music to appeal equally to fans of heavier electronic acts such as Cinematic Orchestra and Bonobo, to devotees of ambient and contemporary classical music, as well as those familiar with Modi's work with both Submotion Orchestra and Matthew Halsall.



Positive review by John Lewis for the Guardian's contemporary music album of the month section: 'An even more effective exploration of solo piano territory comes from British pianist Taz Modi; best known for his work in various jazz and funk ensembles, his solo debut Reclaimed Goods features a host of introspective instrumentals that are reminiscent, variously, of Ryuichi Sakamoto (Libra), Nils Frahm (Time to Practise, Crystalline) and Hauschka (Ethical Tourist).

Featured in Music Week's Tastemaker section, 15th April 2019 with Haydon Spenceley: 'Listen to it; it'll lift you high above our care-worn world to a place of safety and grace'.

First single 'Ethical Tourist' featured as a premiere on 18 Feb 2019

Second single 'Crystalline' premiered on Boiler Room's 4:3 video channel, 12 Mar 2019

'A kaleidoscopic album that seductively pulls you in and leaves you curious about the inspiration behind the songs' - AAA Music

Positive review on Magazine Sixty

Support on Soho Radio, Dom Servini

Played on Worldwide FM, April 3, Gondwana Records show

Featured on Bleep's Spotify playlist 'For Your Ears and For Your Head', April 2019

Played by Mischa Kreiskott, NDR Radio Germany, ndr.de

Worldwide FM's Gondwana Records show on May 1 featured an interview with Taz Modi, along with multiple tracks from the album.



Musicians:

Taz Modi – piano, keyboards/electronics, arrangement and production

Natalie Purton – violin + viola

Liz Hanks – cello

Margit van der Zwan – cello

Seb Hankins and Jon Scott – drums

Sie haben es wirklich nochmal getan...Calexico und Iron & Wine haben sich fast 15 Jahre nach ihrem ersten gemeinsamen Geniestreich - In the Reins' (2005) für ein überraschendes, zweites Mal zusammen gefunden, in ein Studio eingeschlossen und acht mal die Engel singen lassen. Am 14. Juni wird das Album namens - Years to Burn' erscheinen, und natürlich wird dies ein Feiertag für die Fans der Bands, für alle Freunde von Alternative, Americana, Folk und Roots Music.

LTD Edition!

Sie haben es wirklich nochmal getan...Calexico und Iron & Wine haben sich fast 15 Jahre nach ihrem ersten gemeinsamen Geniestreich - In the Reins' (2005) für ein überraschendes, zweites Mal zusammen gefunden, in ein Studio eingeschlossen und acht mal die Engel singen lassen. Am 14. Juni wird das Album namens - Years to Burn' erscheinen, und natürlich wird dies ein Feiertag für die Fans der Bands, für alle Freunde von Alternative, Americana, Folk und Roots Music.

2019 is mule musiq’s 15 years anniversary. we’re going to release twelve 12inchs with our friend artists and stefan marx make the collectable artwork. eighth release is a japanese brightest hope iori’s debut release on mule. we wanted to add new japanese artist for this anniversary release series, then we remembered we liked his release on phonica. a side is his trademark deep hypnotic house tune and b side is more dubby and psychedelic. hope you enjoy!

LIMITED single-sided peer-to-peer Techno voyage from spheric to
looped shuffle-groove-realms that could have originated from the years
2039 or 1999 in unison PLUS 2 all-pervasive infinity experiments !

Cochemea Gastelum is coming home to connect with his roots. After nearly 15 years of touring the world with Sharon Jones and The Dap-Kings, the saxophonist offers a deeply personal album of jazz and indigenous-influenced rhythms. All My Relations¸ out February 22 on Daptone Records, is 10 tracks of mesmerizing and spiritually ascendant instrumentation. The first single 'All My Relations' is available now.

'All My Relations is a way for me to explore my roots through music. Some of it is a memory that is imagined from a time and place I've never been ('Sonora') or a musical impression of ritual ('Mitote'),' Cochemea says. 'I felt compelled to add the way I feel when I go to ceremony, when I feel connected with my ancestors, to the musical narrative.'

A California native with Yaqui and Mescalero Apache Indian ancestry, Cochemea grew up surrounded by music but without knowing much about his heritage. Both his parents were musicians, and they gave their son a heavy name meaning 'they were all killed asleep.' Cochemea has spent much of his diverse musical career - as a soloist, musical director, composer and ensemble player - exploring and iterating on roots music, and All My Relations is a capstone meditation on his own ancestry.

Originally conceived during Sharon Jones and The Dap-Kings' final year of touring, Cochemea and Daptone's Gabe Roth cast a varied but familial set of New York musicians to bring All My Relations to life. A large portion of the album was created through improvisation and collective writing, where its 10 musicians created a melodic, percussive conversation. 'It was a beautiful experience - people would start playing and we'd work up these arrangements on the spot, then record it.'

'In a sense, this record is a prayer for unity, love and the recognition that we are all part of a web, and everything we do effects everything else,' Cochemea says. 'These days there's so many lines being drawn, I wanted to focus on what unites us.'

Cochemea has a long history of uniting multiple genres with his powerful polyrhythmic sensibilities. His roots in jazz, Latin, funk and rock led to multiple tours with funk-jazz organist Robert Walter's 20th Congress, and connected him with Sharon Jones & the Dap-Kings for their 2005 Naturally tour. Cochemea also played tenor sax with The Budos Band and Antibalas, and Baritone sax on the Amy Winehouse sessions, before becoming a full-time Dap-King in 2009.

In between marathon tours, Cochemea recorded a critically acclaimed solo album of soul, funk, and afro-Latin jazz, The Electric Sound of Johnny Arrow, all while doing session work for the likes of Mark Ronson, Rick Rubin and Quincy Jones. He's performed alongside Archie Shepp, Beck, David Byrne, Public Enemy and The Roots. Cochemea was also a featured soloist in the award-winning Broadway play Fela!, which led to historic performances in Lagos, Nigeria.

Under the alias Ciel, Xi'an-born/Toronto-based producer, pianist, DJ, and Discwoman affiliate Cindy Li embodies the social conscience of progressive electronic music. She is at once a local and global artist, having flourished at the fringe of cutting-edge club culture since 2015, firmly rooted in her adopted city while reaching increasingly outward, her sets echoing from Berlin’s Berghain to Chicago’s Smartbar to Lisbon’s Lux Fragil. Back in Toronto, she co-runs the label Parallel Minds and event initiative Work In Progress, an extension of her radio show in both name and M.O. to improve female representation in the scene. She’s helped write safe space policies, hosted DJ workshops, and applied activist pressure on promoters through varying methods with a single-minded resolve. Those efforts have evoked responses, which Li has spent time reckoning with over the past two years. Now, manifesting as a self-guided reaction to her experiences as an artist and activist is Ciel’s Spectral Sound debut, Why Me?, a deeply personal and physical work.

Ciel’s stylistic pocket as a producer remains that of “soft-touch slammers,” but fans will note the material on Why Me? hits harder. “I wanted to write something that was heavy,” she says of the title track, the result of processing the noise leveled at her specifically after she amassed a database of female and nonbinary talents to highlight the lack of bookings amongst a subset of clubs in the community. “I was dealing with a lot... anger, despair, paranoia, feeling unjustly targeted.” She channeled these antiphons into her art. The cut’s namesake is sourced from the foregrounded sample, a snippet of dialogue from an old film about a man who believes he’s been abducted by aliens. Pulsing metallic drum patterns steer through the hypnotic passage; permeating beneath the beats are lush pads, washing the rattled urgency with unease.

Hardware-built tracks “Go Fish” and “Uri’s Song” came together over studio time with friend and occasional collaborator Colin Sims aka Wiretapping. Ciel brought her sampler to the sessions, with Sims contributing additional drums, which she’d arrange further at home, adding synth parts and basslines and effects, distilling it all down to its most potent core. The latter track — an effervescent minimal techno exercise both tender and tough — expresses Li’s reflections on today’s cyclical conditions for activism, dissension, and, ultimately, optimism. “These are harsher sounds but they also have elements that are really beautiful about them. I wanted to communicate that nothing is permanent, that there’s always hope for understanding and resolution.”

''For ECK003 we celebrate Data Room's debut release on Planet Earth.

This EP sees a future-thinking take on the beloved Junglist movement of the past 30 years.

Data Room delivers 3 tracks of different pace & style, centred around the aforementioned influence. Class, sophistication & bass weight can be expected from this 12".

Accompanying DR on the A-side is V Recordings' Jumpin Jack Frost, one of the original pioneers of jungle/drum & bass. Born & raised in London, growing up in the heyday of rare groove, acid house, hardcore & jungle, JJF brings a fast paced 4/4 driven breakbeat track that delivers the goods 20 beats per minute either side of it's original 158 tempo mark - taking the A2 spot to perfectly adrenalize this release.''

The only woman featured on Worldwide FM's Sydney broadcast, and having recently produced her first old out all-female showcase featuring musicians, visual artists, poets and DJs, 20-year-old Ella Haber has worked toward her debut for 15 years.

Shocked by a hushed crowd reaction at her first public performance, Ella's realisation her voice could halt and occupy an audience's thoughts bleeds into all aspects of her life. With early demos of her debut EP, CLAY, reaching the ears of Brisbane-raised, London-based musician Jordan Rakei, the recent Ninja Tune signee - impressed with her vibrant songwriting and compositions - lent his production chops to the project, arranging and recording live instrumentation at Old Paradise Audio in London, while Ella worked on vocal recordings in Sydney.

'Ella's timeless vocals and mature songwriting sensibility was the reason I wanted to work with her on this project. In a climate where artists often take shortcuts, Ella's determination and strong vision will make her stand out from the rest. It was a pleasure bringing her songwriting to life and I can't wait for the world to hear her music!' - Jordan Rakei

A multi-lingual multi-instrumentalist deftly weaving her songwriting prowess with trumpet, piano, spoken word, fresh lyricism and powerful jazz/soul performance, Ella's ease within music is in stark contrast to her feeling for every other established structure. Set to release her debut single, Old Friends, written when Haber was only 17, she reflects on the impact Amy Winehouse's debut album, Frank, had on her songwriting: 'I had been writing music since I was a kid, but listening to Frank just gave me permission to write about love and all its pains and confusions in this way of transparency and brutal honesty I never had before. Old Friends was actually the first track I wrote from the EP, and, the first song I ever really felt proud of'

In a genre, and society, where identity is increasingly scrutinised, Ella Haber resists, comfortable only in the confines of music composition. Challenging, with full colour love and intelligence, she's not letting anyone off lightly. Her debut EP, CLAY, is out April 26 via Soul Has No Tempo.

On their debut album as DOVS, Tin Man and AAAA summon the ethereal spirit of acid. Tin Man, AKA Johannes Auvinen, has been studying the emotional potential of the Roland TB-303 for 15 years now, and AAAA (Gabo Barranco), a fixture of the Mexico City underground, might as well be his acolyte. While the coincidental similarities of their studio and live approaches make this collaboration feel natural, even expected, Silent Cities is anything but. We recognize most of the elements here—the ubiquitous acid box and hardware drum machines—yet Auvinen and Barranco arrive in new, mysterious territory this time out. Lush arpeggiation, breakbeats and atmosphere imbue tracks like 'Nostalgic Oblivion' with a widescreen grandeur. 'Rene Figures' recalls Specific Momentific-era Cristian Vogel, symphonic, melodic techno with a kick heavy enough for dark, cavernous rooms. Meanwhile, beatless cuts like 'Whining Acid' are as intricately crafted as Tin Man's well-loved classical work (Vienna Blues). But as a duo, they craft a virtuosic harmonic narrative almost solely with 303s. Tin Man and Donato Dozzy's 'Nonneo' was the first release on Acid Test, setting the tone for the label and unlocking new potential for the genre. DOVS' closer on Silent Cities, 'Diazepam Blues', is the label's new melancholic acid anthem and a statement of purpose for Tin Man and AAAA, two hardware masters who have created an album of remarkable emotional depth.










[J}] D2 - Dysphoric Fix

sssIn January 2016 arts and music organisation Santuri East Africa invited guest producer Jan Schulte to join the Nile Project gathering in Aswan, Egypt - an intensive two week musical experiment featuring musicians drawn from all around the Nile Basin that functioned as both a creative cauldron for cross-border collaboration, and a forum for artists and cultural activists to discuss the issues affecting the Nile river.

Wolf Mu¨ller aka Jan Schulte has been a resident of Dusseldorf's era-defining Salon des Amateurs for many years, releasing wildly inventive and dance music under various monikers - from his birth name to Wolf Mu¨ller, Bufiman and his Young Wolf collaboration with Young Marco. Schulte's feel for off kilter sounds and rhythms and a playful approach to the sometimes po-faced world of dance music have resulted in some incredibly well received releases (Instrumental Musik Von Der Mitte Der World and the compilation Tropical Drums of Deutschland being prime examples).

Santuri East Africa is an organisation set up to connect musicians and producers from around the globe, a process of co-collaboration that has led to some highly well received releases on Soundway (Msafiri Zawose) Sofrito (Auntie Flo's Soniferous Garden) and On the Corner (Makadem and Mugwisa).

Clocking in at a shade over 15 minutes, A-side 'Mabomba Dance' gradually layers Kasiva Mutua's needle-sharp percussion over a deep analogue bass pulse, building into a hypnotic dancefloor workout.

The B-side sees erstwhile Owiny Sigoma Band collaborator Rapasa Nyatrapasa showcase his Nyatiti harp before delving into an almost Afrobeat-esque slice of afro-minimalism. The EP rounds off with Adel Mekha's stellar vocals over traditional Nubian percussion.

Special Record Store Day 2013 release! LP version includes free download! One explanation for the 90s-fascination with Casio, Korg and other analogue synthesizers is quickly at hand: The 1st video-game generation was coming of age and were happy to hear that their dearly loved “Space Invaders“-soundtrack was suddenly popping up in electronic music. It takes slightly longer to explain why one record from that time - “Beautronics“, the debut by UK-synth-duo ISAN first released in 1998 - kept its appeal until today. “Beautronics“ does not grab you immediately. You don’t hum these tunes after a few listens, in fact you might not even hum them after dozens of spins. It’s not about humming. It’s about soft cushions and a cosy duvet made of sounds, it’s about aural sheets floating around like warm humidity during a hot bath. Occasionally it’s even about IDM, but in a very late-night kind of way. Antony Ryan and Robin Saville, the two English lads behind ISAN, are very open about their goals. They separate the longer tracks with short, often abstract pieces they called “Tints“. So it’s as much about tonal colour, as it is about melodies. The “Tints“ form an interesting contrast between ambient sounds and the more focused tunes. But even their most bass-dominated songs such as “Skeek“ are not exactly four to the floor. There’s no more than one to the floor, while the rest is sailing somewhere above in a haze of beautiful sounds and melodies. The album’s sleeve and title are straightforward about this: it’s all about the human beauty in electronica. Just like your mom’s heartbeat that set the tone for the first nine months of your life, “Beautronics“ produces sounds that radiate a warmth and naturalness that make them feel familiar upon first listen. The 15 years since its initial release don’t change a thing about this. That’s why it’s certain, that “Beautronics“ will win a new generation of listeners with this re-issue.

With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire (The Black Beast).

Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller (featuring a cast culled from films such as Alphaville, The Modern Couple and Sweet Movie) captures the revered composer and arranger of Serge Gainsbourg’s Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Mate´ (Acting Trio/Mate´-Vallancien/Tacet) alongside drummer Bernard Labat (Mad Ducks) and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between The Jef Gilson Groups and France’s signature “cosmic” revolution. Naturally these previously unheard compositions are spearheaded by lead pianist and composer Vannier and for devotee’s of his 1972 concept album L’Enfant Assassin Des Mouche there is much to admire and cross-reference herein.

Having been the most loyal and long-running guardians of Jean-Claude’s monster archive over the past two decades Finders Keepers Records are proud to present this first catch of newfound vintage Vannier discoveries on this limited and unlikely free jazz 45 single (which should find a perfect home between coveted Euro jazz 7”s by Krzysztof Komeda, Franc¸ois Tusques and Brussels Art Quintet). Almost 15 years since Finders Keepers once liberated the Mouches it is now time to set free another Black Beast amongst discerning listeners.

On their debut album as DOVS, Tin Man and AAAA summon the ethereal spirit of acid. Tin Man, AKA Johannes Auvinen, has been studying the emotional potential of the Roland TB-303 for 15 years now, and AAAA (Gabo Barranco), a fixture of the Mexico City underground, might as well be his acolyte. While the coincidental similarities of their studio and live approaches make this collaboration feel natural, even expected, Silent Cities is anything but. Acid Test 14 features remixes from select trackboth Tin Man & AAAA individually as well as label mate John Tejada.

Ronnie McNeir has been associated with Expansion for over 30 years through his own Setting Sun label. Now on 7' for the first time in the UK Expansion bring something special for Record Store Day, 500 hand numbered copies of the 1981 Detroit soul single 'My Baby'. An original copy will set you back £100 and these limited edition RSD pressings will become sought after too. 'Hold On' comes from the 1989 Expansion album 'Life & Love', and is released for the first time here on 7' single. Ronnie currently tours as a member of The Four Tops and is back to perform a rare solo concert in June 2019 as part of this year's Blackpool International Soul Festival.

Laid back and chilled out, Andrew never lets anything or anyone bother him. He has an air of mystique about him which others often envy.

(Andrea Solitario) ANDREW SOUL Andrew from his real name, Soul as the part where his inspiration come from, is a native italian producer born in 1986.

Music has been the first and everlasting love for this guy who soon came into his city's underground scene: he was 15 years old when he walked into a club for the first time. Then everything came by itself: a fusion of house and techno, the passion for the acidized sounds filled his mind and his heart.

But listening wasn't enough: the love for the music was to much for not to create something.

So Andrew started a path made by wicked grooves, dropping acid synths and emotional vibes, huge baseline, soulfoul vocals, roland tr-707 on the drums: these featuring characterize at best Andrew's sound.
The love for the analog sound push him over the years to purchase some vintage drum machine and keyboards, to make his sound as better as he can, and to add to his sound some cool old flavour.

Having DJd for years in his native Italy, Andrew turned his hand to production a few years back and promptly set about making some of the most emotive and engaging analogue house and techno around.

Vinyl collector, record lover, for him there's nothing better than watching a wax riding a turntable and listen the music that come from it.
As an eclectic artist, in his sets, Andrew likes to mix from deep to techno, through the house, but people never know what to expect from his large underground music knowledge; old, classic, brand new tunes and own productions makes his set really sophisticated and different each time.

After working on music collaborations for several years, with some friends , early 2011 was time to start sharing solo productions with his first release on Paulatine Records, wellknowed Uner's label. 4 tracks that take attention of many wellknowed djs, like X-Press2 that played the tracks at MOS and on their radioshow, Adam Port who said "Finally something different..." and many others..
Then two vinyl release: first one on the great Barcelona based Kiara Records "Too Much Love Will Kill You", Julien Chaptal on remix, and second one on the New York based imprint Stranjjur Inc, on remix Kris Wadsworth and Baldo; "Close To You" placed 29th on RA Chart.
A great tune with the close friend Frank Naht alongside a remix for Fabio Monesi on friend's label Blackrose Records, and an EP on Espai Music to follow.
End of 2012 was good: EP come out on the Defected's sub label "Tenth Circle"
November 2012 was also time for releasing on Safari Numerique with David Labeji on remix, and the track "No Way" played by Richie Hawtin.
2013 full of work and innovation, with 2 remixes on italian Moan Rec for Meeph, and U.S. based Undulate Recordings for Frank Nath, a really deep EP on his new family Popcorn Records, and jacking mode on for the new release on Safari Numerique.
2014 starts with a vinyl only release on Popcorn Records Ltd, special collaboration with Peter JD and remixes from Amir Alexander and Franco Cinelli.

The path is long and Andrew's research is still long way to end...

Pig&Dan signal their first solo outing on Drumcode since 2016, with a stirring three-track work.

The duo stands as one of electronic music's most prolific artists, shapeshifting between different shades of house and techno over a 15+ year period, all the while displaying a startling breadth that's ensured their enduring demand. Their relationship with Adam Beyer has solidified over the years, first impressing with a debut EP 'Mexico' in 2016, before collaborating with the Swede himself in 2017 for the fantastic four-tracker 'Capsule', a notable highlight. With their contribution to last year's A-Sides compilation 'La Bruja' one of the strongest of the bunch, their return for a full-length EP is timely.

Title track 'Infinity' is rave-infused stadium techno crafted to perfection, driven by an undulating melodic lead that builds to a tension-packed break, before the chords re-appear and propel the track toward a trippy finale. Vocal cut 'Losing Part of Me' is momentous, with punchy bass and pin-sharp percussion juxtaposing superbly with the emotive vocal and laser-kissed melodic touches. The EP concludes with 'Plex', as a brooding melody line is paired with pumping percussion for an atmosphere-heavy finale.

The First Release On Power Trio, The New Label From Ben Nevile Dedicated To A Return To Musicality. More Than 15 Years Ago This Montreal-based Artist Created Many Of The Seminal Deep, Minimal Tracks For Labels Such As Mosaic, Telegraph, Context, Background, And Vancouver's Nordic Trax. Ben's Contributions To Music Extend Into The Technical Realm As One Of The Programmers Of Max/msp, The Signal Processing Environment Integrated Into Ableton. But As A Musician In The Studio, This Artist's Work Is Intentionally Not About Technology. It's About Performing Songs That Tell A Story. The Three Tracks On This Power Trio Record Are Inspired By Physical Instruments And Acoustic Space. The Power Trio Is An 808, A Rhodes Piano, And A Bass, With Stunning Saxophone By Erk Hove. Vital Sales Points: - Previous Releases On Mosaic, Telegraph, Context, Nordic Trax

The now legendary collaboration between producer Terence Fixmer and vocalist Douglas McCarthy continues with a new 4 track E.P. of blistering electronics and intense performance. Long time fans will immediately recognise the strong tradition of EBM that Fixmer/McCarthy have held as their own for 15 years. 'Let It Begin' and 'The Crush' assault the listener with bruising bass lines, heavy insistent drums and mesmorising sound effects. With a Phase Fatale remix bringing a brooding and menacing darkness to any dance floor. The Force Mix of 'The Crush', harks back to the original power, energy and simplicity of how FM fans were first introduced to Terence and Douglas on their 2004 debut album 'Between The Devil'. The brutal love story continues!

I wanted it to be the biggest sounding Foo Fighters record ever. To make a gigantic rock record but with Greg Kurstin's sense of melody and arrangement... Motorhead's version of Sgt. Pepper... or something like that.'

So speaks Dave Grohl of the mission statement made manifest in Foo Fighters' ninth epic, the aptly-titled Concrete and Gold, due out September 15 worldwide on Columbia Records and available for pre-order now.

Concrete and Gold marries some of the most insanely heavy Foo Fighters riffs ever with lush harmonic complexities courtesy of a first time team-up with producer Greg Kurstin (Adele, Sia, Pink). The first taste of which came in the form of anthem of the summer Run' which was described by The Times as 'epic', Music Week as 'Classic' and Shortlist as 'the best thing they've done in years'.

Concrete and Gold was written and performed by Foo Fighters, produced by Greg Kurstin and Foo Fighters, and mixed by Darrell Thorp.

Foo Fighters are Dave Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett, Pat Smear and Rami Jaffee.

Ever since hearing Pete Tong announce 'Chica Wappa' as his Essential New Tune back in 2004, we've been following the bold Alex Smoke on his musical journey.

Coming from Glasgow, we've shared a lot of common influences - both from within and outside of the city and we have Alex to thank for introducing and strengthening our love for the likes of Villalobos, Rhythm & Sound, Carl Craig and Actress, amongst others. Although he was a familiar face on the 'minimal' scene, he always operated on his own terms and that's a throughline we've admired throughout his career. Not only is he comfortable releasing techno on Soma and R&S, he's produced for ballet, films and even the NHS.

Over the years, Alex has played at a few seminal parties for us; alongside the likes of Oni Ayhun, James Holden, Helena Hauff and Veronica Vasicka. So we were delighted to be approached by him to work on a record together and it's been really exciting to hear it evolve over time. It would be arrogant to compare it to Thom Yorke's - The Eraser, but it certainly occupies a similar world in our mind. To still be producing innovative and inspiring albums 15 years into a career is no mean feat in this age and it's a great honour to welcome such a musical hero on to the label.

As with the last Auntie Flo album, we're also lining up a very special remix package with a swarm of our favourite producers of the moment and we can't wait to share them with you too over the course of the year.

The 45 of Everyday People - World full of people is well known on the modern soul and funk scene and it relatively easy to find a copy for maybe 500 pounds. What was always less well known was that there was also an LP by the same band but labels as People Pleasure. I first came across this LP in Turku, Finland in the early 2000s when at the house of DJ and Collector Felix Manell who pulled a pile of rare and interesting bits that day. I did not really appreciate the true rarity until trying to source my own copy. The next copy I saw was in Japan in 2004 but was not going anywhere. Roll on 15 years, Russell Paine, collector, DJ and super record researcher called me saying he had finally unravelled the mystery and was talking to Bill brown & Al Hall Jr. Russel sets himself the hard task of only putting out unreleased material on his own label so we also work together on LPs and Singles on Athens of the North. After we managed to clear the rights the final hurdle was finding a clean copy, not an easy task. After asking loads of deep collectors, Zaf put me onto DJ Nick the Record who very kindly lent me his minty personal copy, a huge favour considering how rare this record is, almost impossible to replace. So we mastered from the vinyl (no tapes exist) and while it still sound pretty raw it is twice as good as the O.G. Been a long time coming.

* Five years have passed since the first release of Nowadays Records.Launched with Fakear's signature (seen on Ninja Tune), the label founded by oOgo and Chomsky from La Fine Equipe has seen the growth of many projects such as Clément Bazin, Everydayz, Phazz (who produced for Travis Porter, did remixes for Soulection, Interscope and Mad Decent), Leska, Jumo and many others, all of them carried by the irreplaceable quartet of La Fine Equipe.

Five years during which Nowadays Records released 75 EPs and LPs, toured in and outside of France, and generated several hundred millions stream plays.With its heart in the right place, its eyes on the emerging scene and its ears open on the world, Nowadays built itself a singular and racy identity through the time. Fed by inspirations like Stone Throw, Ninja Tune or Warp, the label places itself as an ambassador of a fast growing scene, defending it through its shows, releases, and events like the two Boiler Room shows in Paris and London.Without sticking itself to a musical gender, Nowadays keeps on widening its horizons by working with foreign artists and mixing the inspirations through its releases, driven by its sound and visual trademarks and aesthetics.

In order to celebrate those five years spent defending as many projects as musical crushes they had, and to thank its community made of more than 150 000 followers around the world, Nowadays unveils the 'Nowadays V', double album with a digital and physical release on November 30th.Through this compilation, Nowadays gathers on one side the tracks that marked its history and, on the other side, unreleased tracks that sometimes lead to collaborations such as the one between Clément Bazin and Leska, or the one between Fakear and La Fine Equipe.

Virtuoso compositions, subtle synthetic atmospheres, voices oscillating between pure intentions and dreamlike fantasy, a confusion of feelings and desires, time and space...Garden of Love, the 3rd album by electro duo Scratch Massive makes an impression from the first moments that you hear its enigmatic beauty. Like a ghost train moving along a tightrope - between shadow and light, failure and redemption, violence and melancholy - this fourth studio album reaffirms the Parisian DJ/Producer duo style/vibe with their hybrid sounds and sensory experiences. For 15 years, Maud Geffray and Sebastien Chenut have maintained artistic and aesthetic control as they participated in the 'revolution of the dancefloors'. In the early 2000s, 'Made in France' electro became known for its hedonism and as the savior of an entire techno generation ready to fight (or at least on the dancefloor!) for a future that was increasingly frustrating and hypothetical.


On first glance, Garden of Love, appears to be an invitation to love and peace, however, nothing is ever that simple, as the album cover evokes a multitude of interpretations. The lyrics speak to the depths of the soul, covering a range of emotion from love, emotions, and fears ... Garden of Love is for our hearts and bodies to become receptive again: the disenchanted poetry of the Last Dance, the sumptuous opening track set against a backdrop of electro-pop murmured in the light and shadows as painful caress; the psychedelic scent of Sunken (a duet recorded with the complicit and poisonous voice of Léonie Pernet); and the dark-tech shores of "Fantome X" with the evanescent and hypnotic pop clarity of Feel The Void (both magnified by the vocals of Romain Thominot of the Reims pop band Grindi Manberg). Scratch Massive draws the outline of an electronic music in search of redemption - reinventing their icy grooves and confronting it with a naive elegance and a disillusioned romanticism that embodies our time.

Following on from last year's releases by Neue Grafik and Selectors Assemble, CoOp Presents step into 2019 with a new 4-track EP courtesy of Oliver Night; a DJ, producer & singer born and raised in North London.

In addition to joining the Selectors Assemble family recently, Oliver is a member and producer of Roots Manuva's Banana Klan. He established himself as a DJ some 15 years ago, and has since played across the capital, from the Tate Modern to Boiler Room. His music has been supported in the past by the likes of Tony Humphries, Kerri Chandler & Seth Troxler,

This four-tracker illustrates Oliver's diverse range of influences, from the initial inspiration of his Jamaican uncle, musician Hughie Izachaar (who worked with Lee Scratch Perry & others), through to his passion for London's broken beat movement. Oliver's sound epitomises tru-skool UK sound-system ethics; grounded in reggae and dub production sensibilities, whilst built solidly for the bruk and house music dances of today.

The set kicks off with title track, 'Make Believe', featuring the powerhouse vocals of BB.JAMES aka Bethany Barnett Bywater, who's had previous releases with EVM128, Spoek Mathambo and Waze & Odyssey. London-based singer BB is a talent to watch in her own right, as proven on this monster of a track, which has all the ingredients to crossover & damage dancefloors underground and over. Sassy soulful vocals ride a woofer-shattering b-line and synth stabs with devastating effect - a sureshot future anthem.

Next up is 'Swing For Life', an instrumental jazz-house affair, which features the talents of Vancouver-born trumpeter, Jay Phelps - a highly-prolific, highly-acclaimed musician in the jazz world, who found his base in the capital over a decade ago and has since worked with a veritable who's who of international jazz artists, including Courtney Pine, Wynton Marsalis, Amy Winehouse, Hugh Masakela & George Benson, to name a few.

Finally, the flipside brings with it two versions of the cut 'U Got To', remixed by Selectors Assemble family, Cengiz, and label founders IG Culture (fresh from receiving a 'Lifetime Achievement Award' at the 2019 Worldwide Awards) and Alex Phountzi (formerly of Bugz In The Attic) aka NameBrandSound, delivering more of their signature bassweight business. Oliver unleashes his own vocal talents on this track, deftly demonstrating a rich, soulful Omar-esque quality to his voice, and completing a truly heavyweight debut for the label.

This record is huge. Essential business, no BS. A truly firing start to the new year for CoOp Presents.

Limited vinyl & digital available on ********

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide.
To coincide with Leo's forthcoming return to the UK for his 22-date 'Just A Boy At 70' tour, 'The Hollywood Years
1976-1978' is the second of a series of three Vinyl LP box sets.
'The Hollywood Years 1976-1978' comprises Leo's three studio albums. 'Endless Flight' (released 1976/UK
#4) 'Thunder In My Heart' (released 1977/UK #8) and 'Another Year' (released 1978/UK #15) and marked a
clear departure from his early albums.
Leo recorded these three albums with legendary producer Richard Perry, who brought in a variety of songwriters
and collaborators to work on the projects with Leo; it was a venerable Who's Who of the record industry.
Each vinyl LP Box set in this Limited Edition release, will be pressed on heavyweight 180g clear vinyl and contain
a signed 12'x12' print.
This project has been overseen by Leo Sayer, who remains one of the UK's great singer/songwriters of all time.

Clutching At Straws is a brand new label established by Brian Ring. Born in Cork, Ireland. Ring has been residing in Berlin for over 4 years, during which time he has lent his dancefloor-focused, predominantly house sounds to a range of renowned labels including Freerange. Running Back and Bordello A Parigi. A producer who values a vehement quality-over-quantity approach, Clutching At Straws represents the first time Ring has helmed his own imprint. Featuring two originals as well as a remix from London producer Kiwi, the Reflections EP is most definitely deserving of the wait.

We kick off with 'Acid Sunrise', a classy house cut that envelops the listener in a warm glow from the off. Full of colourful motifs throughout, it's part acid/part Balearic-tinged sound is the perfect antidote to Europe's current climes. Characterised by a nimble, catchy-as-hell baseline, this one is pure dynamite of the sort that will sound at its most pronounced as the first signs of morning begin to enter the dancefloor.

Next up is Kiwi, a producer who's been making power moves of his own lately thanks to a host of well-received cuts for the likes of Jennifer Cardini's Correspondent, Tennis' Life & Death and Optimo's Optimo Music. His dramatic reinterpretation of Ring's 'Forest Walk' , is a highbrow gem that's full of gorgeous melodies and all-round positive vibes, with the man in charge changing the narrative quite exceptionally toward the track's final phases.

Culminating the record is the sounds of 'Emergency Tool', a real statement track that's sure to leave DJs and dancers in a frenzy over the next few months. An upfront banger of the sort that wonderfully incorporates both house and techno elements, it starts off on a fairly innocuous tip before unfurling into an uptempo beast. Full of clever bells and a vocal that demands us to 'move!' (as well as a wailing cop siren that only heightens the sense of mania), 'Emergency Tool' is a track that's destined to be used by discerning DJs when they really have to step things up a notch.

Limited to 150 copies.

We are extremely proud to have 4 tracks from Dominic Stanton aka Domu aka Sonar Circle aka Sonar's Ghost.

Dom's vast back catalogue spans over 20 years, the music on over 15 labels and many different genres. This body of work includes a number of Sonar Circle releases for the legendary Reinforced camp including a stunning long player entitled 'Radius'.

For Dope Plates Dom has lovingly and expertly put together 4 nostalgic and authentic tracks clearly taking inspiration from early 90s jungle, drum & bass and hardcore.

Enjoy the ride!

On 8th February 2019, Eric Gales returns with his brand new album 'The Bookends' on Provogue/Mascot Label Group and it features collaborations with B. Slade and Provogue artists Doyle Bramhall II and Beth Hart. The challenge for making 'The Bookends' was for Gales to challenge himself. 'As a guitar player it's been established that I can play a little bit, just a little bit,' he smiles. But for this album he not only wanted to push himself as a musician, but also as a vocalist, to build up his vocal discography. Gales' story is an incredible one, he was a child prodigy and released his debut album The Eric Gales Band in 1991 as a 16 year old on Elektra Records. It was the first of 10 albums on a major label through a blistering career. He has released 15 studio albums in total ahead of 'The Bookends' and a host of other collaborations. He has battled drink and drug issues and spent time in jail in 2009 for possession of drugs and a weapon. Gales proudly tells his story every night before every show, now over two years sober he is creating some of the most breath-taking music he has ever made. If his previous album 'Middle of the Road' was the rebirth of Eric Gales, then 'The Bookends' is him knocking away his boundaries and taking flight on a voyage of self-discovery asking himself what do you think you can do and pushing that into the stratosphere.

Reaper Recordings is a brand new label focusing on delivering a regular supply of second to none jungle and jungle related music.

Reaper is getting the ball rolling with the first in a series of 10' vinyl releases courtesy of Ghosty, who has released music under many different aliases for over 15 years. Presented here are two tracks of meticulously programmed hardcore jungle: modern production values and attention to detail whilst maintaining grit, dirt, warmth and weight. Both tracks have recently been road tested with great reception at various Jungle events around the UK.

Side A, 'Dead Already' is a low slung, bass driven, dark jungle workout with creeping, tape saturated arpeggios with powerful lows and aggressive, punchy percussion.

Side B, 'Forward' is a soul influenced, 94 style jungle track. Solid, deep sine basses hold down the chopped, steppy, dynamic drums.

Techno Thriller joins the Unknown Precept fam with a brand new mini-album. The first following the release of their eponymous full-length album a couple of months ago. Based in Brussels, although now relocating themselves in Marseille, France, the four-handed formation has steadily been crafting cybernated Gothic music over the past years. Recorded a few months back while drawing its inspiration from dark dungeons and occult folklore, not without evocative titles, Enfant de Sodome feels as muscular and thrilling as their live performances usually imply. Compelling murky synthpunk and industrial machinery colliding in fervor and howls. Free falling tumultuous bass lines lacerated by ominous muffled groans. Bone-bending primitive techno music catapulted over the walls in the most urgent fashion. At the end, it very much feels like trying to dance on some sort of cryptic electronic body music in a heavy chain-mail.

Guizmo has for many years left a strong imprint in the French rap scene with his unique personal universe and an acknowledged gift to writing. Three years after release the album 'Dans Ma Ruche' and the surprise street album 'GPG 1 in 2016, the singles of this fifth album are already receiving praises from the fans and the medias, paving the way for another success for the 26-year old rapper. Guizmo is a viral sensation and strategizes his own social campaigns to reach his fans directly. He's gathered 400+K followers on YouTube and 160+M views, 730+K Facebook fans, 100+K Twitter followers and more than 95K followers on Instagram

Daughters, the Rhode Island-based noise
impresarios, release their first new album in eight
years, 'You Won't Get What You Want', via Ipecac
Recordings.
On the heels of their 2010 self-titled offering, the
members engaged an indefinite hiatus. One fated
dinner and two sold out hometown shows in
Providence in 2013 saw them pick up where they
had left off. Throughout the next four years the
band recorded, eventually culling down 150 ideas
to the ten comprising 'You Won't Get What You
Want'.
'London Fog' coloured vinyl LP.
For fans of The Jesus Lizard, The Birthday Party,
Dillinger Escape Plan

2019 is mule musiq's 15 years anniversary. we're going to release twelve 12inchs with our friends artists and stefan marx make the collectable artwork. the kick off release is the debut release of bodycode aka portable on mule musiq. we have been talking about making the release together long time and we finally got it. alan invited his favorite female singer 'niqe' and produced two first class vocal deep house tunes.

London based Grime MC and Producer Jammz continues to build upon his I Am Grime Imprint, and once again caters to his instrumental fan base, with the instrumental release of Warrior 2 (on Vinyl only). Written and produced in 2017, this release stands to be the most well rounded body of work Jammz has released yet, and shows Jammz's growth and development as one of Grime's most promising mainstay producers. In recent years Jammz has managed established himself as a very sought after producer, with previous releases such as Keep it Simple & the world being underground favourites (of both fans and DJ's) which have managed to remain in rotation even today. Once a part of 2014's 'pirate radio renaissance', Jammz has also managed to infiltrate his way into the playlists of DJ's such as Sir Spyro & Logan Sama (amongst others) who always have a Jammz instrumental to hand. Yes - I Am Grime is the label, however Jammz takes this opportunity to explore the boundaries of Grime, playing with a range tempos and influences on this EP, with music ranging from 130BPM to 150BPM. Songs like 'Everything Dead' nod to Jammz's Jamaican and British influences, with minimal weighty baselines and vocal stabs, whilst songs like the 'Intro' and 'Interlude' see Jammz experiment with the idea of Grime without drums or percussion. B side tracks like "Set You Free' and 'Play That' nod back to an earlier era of Grime and Garage; with simplistic brass-backed riffs and vocal chops. Additional production credits come from the likes of Sebastian Sartor, Bristol favourites Joker and New York Transit Authority, USA's Collapsing Scenery and Jack Dat who also has his production hat on for the occasion. Over the last 3 Years Jammz has spent his time building his I Am Grime Imprint, which is fast building a reputation for releasing sought after releases. With a newly announced Rinse FM residency and a brand new line of merchandise - it's safe to say Jammz isn't going anywhere anytime soon.

Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. Released in 1999, the album The Beta Band' followed the critically acclaimed compilation The Three E.P.'s' (1998). With high anticipation for The Beta Band, the band originally planned to record the album in four separate continents, but financial constraints slimmed the recording locations down, however, the album was still recorded in a variety of locations and pulling inspiration from sources as diverse as Jamaican reggae, Disney's movie The Black Hole' and Bonnie Tyler's Total Eclipse of the Heart".

One thing The Vryll Society aren't short of is admirers, Lauded at just about every turn by press and public alike, the release of their debut LP for Deltasonic Records is hotly anticipated thanks to the promise this band have shown through their live sets and recent single releases.

Discovered and nurtured by the late and much missed Deltasonic founder Alan Wills, they fitted the type for him perfectly. He instantly saw in them similar attributes he'd previously found in the early days of The Coral and The Zutons. The confident swagger, the solid union formed by their band-of-brothers gang mentality, their willingness to stand outside the conventional and often stifling jangly Liverpool scene, and the work ethic. Always the work ethic.

Wills instilled in The Vryll Society something which has become over the ensuing years a key element of what they are, what they've become, and of the music they produce. He gave them belief. A belief that hard work and determination will bring them to the place they wanted to reach.

'Alan taught us that all you need to conquer the world is a rehearsal room, your instruments, a good work ethic and a positive attitude and you'll get there. He kind of taught us the rules and the attributes that you need to have to be successful so we've just continued on that path' says frontman Mike Ellis.

Ellis has stated that it was that attitude and that work ethic which got them through the subsequent tragic loss of their friend and manager in 2014, driving them forward through those times, propelling them to harder work, and bonding them even closer together as a unit.

That unit have spent the intervening time creating and honing their own brand new-psych sound, and building up a fanbase with their superlative live shows. Drawing from an eclectic palette of influence from deep funk to Krautrock, electronica and prog, they've created a heady, intoxicating, pin sharp, and tightly wound mellifluous groove, washed over with cyclical motifs, acres of effects laden guitar hooks, and shimmering, textural technicolour soundscapes. It is at once blissful, dizzying and madly infectious. It's that eclecticism, that kaleidoscopic swirl of influences which brings together hip hop flavours, with the prog stylings of names such as Aphrodite's Child and The Verve - pre Urban Hymns - when the drugs were still working. The dynamic leaps and folds through all these influences is where you find The Vryll Society's own brand perfect pop. Its all there in the loops, in the hooks, the drive and the vibe of this unique band. But this isn't frippery, these aren't throwaway cheap thrills for our disposable times. No, this is heavier. This is music too feed your head.

Live too, The Vryll Society are a formidable force. That gang mentality binds them together over the ideas formed by spending long hours together in the rehearsal every day. Hotwiring these ideas into the heads of the crowd through extended psych jams and deep solid grooves gives a different show every time, and with each and every set, the offer gets better. Recent travels have seen them take SXSW 2017 by storm as guests of BBC Introducing as well as major festivals such as Glastonbury and Leeds/Reading.

The songs that fill the delicious grooves of Course Of The Satellite weren't so much written as devised or developed, brought together organically over months in the band's underground lair, or over weeks in Liverpool's Parr Street Studios. Working closely with producers, Wills' right hand man and Deltasonic brother-in-arms Joe Fearon and Tom Longworth, the album took shape organically, biding its time and finding its way. The result is a work of impressive confidence and stature. It's a record that believes in itself, and for all the right reasons. This is an effortlessly cool album, the sort of record that makes friends easily. The world is ready, willing and more than able to take The Vryll Society even deeper to their heart. The path Alan Wills showed them awaits. It's a path that leads to greatness.

a1 | Course Of The Satellite
a2 | A Perfect Rhythm
a3 | Andrei Rublev
a4 | Glows And Spheres
a5 | Tears We Cry
a6 | When The Air Is Hot
b1 | The Light At The Edge Of The World
b2 | Shadow Of A Wave
b3 | Soft Glue
b4 | Inner Life
b5 | Give In To Me

The latest release on Arma comes from Dutch legend and devoutly deviant underground operator Ruud Lekx, aka Rude 66. With a legacy that reaches back to the early 90s and the rough and ready Dutch electro sound of Bunker Records and The Hague, he's maintained a distinctly non-conformist approach that touches on acid, Italo, techno and more besides, all finished with the punky attitude that sets him and peers like Unit Moebius and I-F apart.

The tracks gathered together on The Witch Trials EP come from throughout Lekx's career. As the artist himself says, 'tracks from wildly different eras and sessions suddenly can combine to form one coherent EP. It's almost like the A-side tracks were waiting for 20 years to be combined with the B-side tracks.'

The overriding theme that binds together these timeless machine excursions is that of medieval witch trials - a global phenomenon that peaked in the 15-1600's. Considering the suspicion, propaganda and mass moral panic involved in this strange curio of distant history, Lekx points to the parallels with the current age, 'of political polarization and fake news accusations flying all over.' The EP title is also a tribute to two records close to his heart: The Fall's Live At The Witch Trials, and the one-off Witch Trials project by members of the Dead Kennedys, Adrian Borland and Christian Lunch.

'Werewolves & Poisoners' and 'The Crusade Against Idolatry' are both archive tracks from the 1994-5 period when Lekx made his first albums for Bunker Records. The first track's charging arps, rugged kicks, nagging acid lines and discordant paranoia all speak to that trailblazing period, while 'The Crusade...' revels in canny programming of interwoven synth lines feeding into an unhinged, psychedelic rampage that reflects the righteous fervour and spiritual confusion of the EP concept.

'The Absence Of Diabolism' opens up the B-side with a different tone, having been produced in 2016 and demonstrating the deeper acid undulations Lekx has become known for in more recent years. Still delivered via the same trusted tools he was using in the 90s, the sound feels like an extension of the Rude 66 vision rather than a separate entity. 'Envious Are All The People, Witches Watch At Every Gate,' a cut from the late 90s, closes the EP out in a spacious, snarling exploration of broken acid electro laden with cinematic sweeps of synthesizer and a constant sense of unresolved tension.



Across these four tracks, Lekx displays the scope of his craft as Rude 66 while also proving that timeless music can make sense in any context, and that the threads of inspiration in an artist's journey can be followed, explored and even resolved 20 years later, when you least expect it

We head into the final quarter of the year with a very
welcome return to First Word from London producer,
musician, engineer and DJ, Eric Lau. Following on
from his acclaimed early 2017 album, 'Examples',
we proudly present the second volume - another
delectable 28-track beats opus.
'Examples Volume Two' is Eric's fourth
instrumental album, and ably continues where he
left off with an assortment of sonics, ranging through
hip hop, jazz, funk, soul & Brazilian beats. An
elaborate sketchpad of ideas and grooves, this again
gives a taste of the genius production skills of 'The
Commissioner', Mr. Lau.
A mixdown perfectionist, his services have been
drafted into service on a number of albums over the
past few years, including Yussef Kamaal's 'Black
Focus', Mansur Brown's 'Shiroi', The Playlist's
'Chasing Goosebumps', DJ Jazzy Jeff's 'M3',
Masego's 'Lady Lady', and Kaidi Tatham's 'It's A
World Before You', released on First Word recently.
It's through these recent collaborations that we have
a few unique ingredients peppered through this
project, the track 'Jeff's Piano' is based on a sample
taken from Eric's iPhone, capturing a moment when
Kaidi was teaching Masego a few chords at Jeff's
studio. Both integral players to the Playlist Retreat,
Eric and Kaidi have also provided remix duties for
Moonchild, Omar and Leon Ware, and Kaidi Kat also
lends his key playing talents to a few tracks here.
Eric has also worked as a producer for artists like
Oddisee, Guilty Simpson, Dego, Tawiah, Rahel and
Fatima, whilst his DJ skills have seen him tour the
globe with luminaries such as Erykah Badu, Robert
Glasper and Questlove. He's received props over the
years from tastemakers across the world, including
Rich Medina, 9th Wonder, Bobbito, Dam Funk, Phonte, Gilles Peterson, James Poyser (The Roots) and Ali Shaheed
Muhammad (A Tribe Called Quest).

Invigorating, skewered electronica and bristling, off-kilter techno drive the first release in 15 years by Dublin electronic duo Ambulance (Sunken Foal & Dave Nuremburg), delivering the first EP on the Open Ear label, the latest adventure in sound from the eponymously-titled Irish music festival.

Previously of Planet Mu and Front End Synthetics, the Ambulance project had been put on hold in any capacity this decade until 2017 when they were invited to close out the 2nd edition of the Open Ear festival, Ireland's leading experimental & alternative electronic music festival. Inspired by this performance, the pair returned to the studio and the first fruits of this labour make up the Combover EP. This also marks the first release by Open Ear on it's label which, like the festival, will serve as a platform for experimental dance floor & avant-garde music from the Irish underground.

Kickstarting with the sprawling, ever-evolving, glitched funk of "Caitríona Chéile", the tense, paranoid techno of "Douche Noir" then takes over with the following "Luxury Crackers" keeping the unsettling atmosphere pitched up before it opens up to reveal aslightlygentler side. The EP closes with the *Greasy* title track, a collage of shimmering synthesisers, jittery, free-wheeling drums and oddball sampling, all reaching for air at the same time.

15 Jahre nach seinem frühen Tod feiert - The 20th Century Records Albums (1973-1979)' Barry White als einen der größten Künstler / Songwriter / Produzenten der 70er Jahre. Er etablierte den neuen Klang der Orchesterseele, der über das Jahrzehnt und darüber hinaus zu einem Grundbestandteil wurde. Das Vinyl-Box-Set enthält alle 9 LP-Alben, die Barry White über das Label 20th Century Records veröffentlicht hat und werden hier zum ersten Mal zusammengestellt. Alle neun Alben wurden zum ersten Mal seit ihrer Veröffentlichung in den 70er Jahren von den originalen analogen Masterbändern remastert und werden hier mit ihrem originalen Sleeve und Label Art präsentiert. Die Alben wurden in den Abbey Road Studios in London auf hochwertigem 180g Vinyl geschnitten, um die höchstmögliche Audioqualität zu garantieren.





















































[ZZA] q4 | Oh Me, Oh My (I'm Such a Lucky Guy)
[ZZB] r1 | I Can't Leave You Alone
[ZZC] r2 | Call Me, Baby
[ZZD] r3 | How Did You Know It Was Me

As a Frankfurt native, Oskar Offermann has of course been a longtime friend of the Robert Johnson club, first as a regular guest and later as a regular DJ. After spending 15 years in exile (Berlin, where else) and putting out music on his own (White and Rimini) as well as befriended labels (Mule Musiq, Aim and Hardworksoftdrink), the long-lost son has finally come back home (Offenbach, where else) and will debut on Live At Robert Johnson with three tracks that bring together Oskar's melodic approach and the bleepy sound of Frankfurt's new school.

AUDREY CHEN's long-awaited new solo album "Runt Vigor" is an adventurous sonic exploration of the voice, cello and analog electronics.

AUDREY CHEN began her relationship with sound through the cello and voice over 30 years ago and since the past 15 years, her predominant focus has been her solo work, joining together the extended and inherent vocabularies of the cello, voice and analog electronics.

More recently, she has begun to shift back towards the exploration of the voice as a primary instrument, delving even more deeply into her own version of narrative and non-linear storytelling. She derives her sound material in continuous process, championing the "in-between" and overlooked. Regardless of instrument, CHEN's mode of experimentation touches both the abstractly beautiful and the aggressively unsettling, creating a kind of curiously imagined architecture, non-prosaic song or ritual that reaches beyond gravity or language.

Recent projects, aside from performing solo, includeher long running voices duo with PHIL MINTON, duos HISS & VISCERA with modular synth player RICHARD SCOTT, BEAM SPLITTER with Norwegian trombonist HENRIK MUNKEBY NØRSTEBØ, and the "romantic noise duo" AFTERBURNER with DORON SADJA (electronics/light projection). Past projects include work with German conceptual artist JOHN BOCK, a duo with NYC abstract turntablist MARIA CHAVEZ, and a quartet with NATE WOOLEY, C. SPENCER YEH and TODD CARTER that released a LP on MONOTYPE. Hernew projects include a double duo/quartet with BEAM SPLITTER and STREIFENJUNKO's, EIVIND LØNNING and ESPEN REINERTSEN and MOPCUT with LUKAS KÖNIG and JULIEN DESPREZ.

Rhythmic Brutalism' is the title of this release, available as a two CD set or two separate LPs, the title is also a very apt description of the music itself. Romanian-born Alexandra Atnif was fascinated by the harsh, grey concrete beauty and minimally repetitive force of the brutalist post-war architecture of her homeland, and this fascination has given rise to the music here. Vol. 1 is an EM Records edition, compiled from an earlier self-released double CD featuring recordings from 2014-15. Vol. 2 consists of previously unreleased recordings from 2015 to 2017. Using elemental, inexpensive technology, Atnif' s music is heavy and harsh, stripped down to distressed skeletal frameworks, rhythmic noise, rusting metal and weathered concrete, a distorted DIY realization of her beautifully brutal vision. With a background in European modernist/avant-garde music, Atnif has been influenced by early rhythmic industrial music such as Throbbing Gristle, Esplendor Geometrico and Muslimgauze, as well as later practitioners of rhythm and noise including Pan Sonic, Autechre, Winterkälte, Prurient and Scorn. Across the relatively brief span of years contained within these two volumes, we hear the rhythmic structures begin to fracture and fray, and the outlines darken and become more obscure, with Antif's sensibility evident throughout.

Guapapasea! is the first album by Gecko Turner, a unique creator from southern Spain. Born and bred in Extremadura, near Portugal, Gecko has an original and tasteful Latin personality, and during the 90s he was responsible for some locally quite successful bands like Perroflauta, and The Reverendoes.

Acclaimed by Spanish critics as the best debut album upon its original release in 2003, Guapapasea! is a musical journey blurring the boundaries in Latin music. It's a nice blend of different styles - from soul and Brazilian-flavoured songs like the free and easy (and all-time underground hit) "Un Limón en La Cabeza"; Afrobeat-driven tracks like "45.000$ (Guapa Pasea)"; and the flamenco-reggae of his rendition of Bob Marley's "Rainbow Country", to the infectious Latin rhythms of "Did You Black Up Today"; Monk tribute "Monka Mongas"; the original adaptation of Bob Dylan's "Subterranean Homesick Blues"; and the radio-friendly, straightforward reggae track "Te Estás Equivocando".

Guapapasea! features contributions by some of the greatest musicians active at the time on the Spanish Afro-Cuban jazz scene, such as Rubem Dantas (Paco de Lucía's percussionist and regular member of Chick Corea's band), Rodney Dássiff, and Brazilian trumpeter Irapoam Freire. The album was licensed to Quango in the US.

It's been 15 years since its original release, and to celebrate this, Lovemonk's reissuing the album on double 12" vinyl for the first time, alongside Gecko's second album, Chandalismo Ilustrado, and the CD compilation Soniquete: The Sensational Sound Of Gecko Turner. The CD version features bonus remixes by Quantic, Mexican Institute Of Sound and Watch TV.

Nothing is ever straightforward with Connan Mockasin, and nothing should ever be straightforward with Connan Mockasin. This riddled rule has never resounded more than on Jassbusters, Mockasin's third album and first in five years. An unclassifiable, unconventional album that neither picks up from nor abandons the modes of 2013's widely-embraced Caramel or its 2010 predecessor Forever Dolphin Love, Jassbusters foreshadows a five-part melodrama titled Bostyn 'n Dobsyn, directed by and staring Mockasin. Jassbusters soundtracks the unpredictable narrative of the television series in eclectic, electric ways.

Whether bending genres for shits n' giggles or collaborating with artists like James Blake (who might just appear on a Jassbusters track), MGMT, John Cale, and Charlotte Gainsbourg, Connan Mockasin has always maneuvered in mysterious ways. After touring with the likes of Radiohead and Neil & Liam Finn (Crowded House), the Kiwi R&B surrealist continues assembling a cult around his theater, nay spectacle, of life with Bostyn 'n Dobsyn screenings and Jassbusters performances throughout October and November 2018

"Cliché's Principle' exhibits the two-sided aura of an artist long familiar with the cultivation of DIY ethos: an effortless expulsion of playful immediacy and the unfolding of a musician well versed in unpretentious composition. Lucy Cliché's five track EP for Fleisch Records is a jacking romp through 120-125bpm electro/new-beat, swooning through downcast ambience, lobotomised vocal samples and sweat-drenched hardware rhythms.

Lucy's musical oeuvre piles high; as a figure in the Sydney underground for the past 15 years she has always explored sounds that playfully antagonize the status-quo; the dysfunctional no-wave approach of her band Naked On The Vague and the manipulated tape ambience of Half High echo throughout Cliché's Principle in the form of chorus buzzed synth chords, abstract drones and ethereal evocation. While there is the strong presence of a live veteran at work behind the machines, Cliché's Principle holds five tracks produced purely with the intention of paving the dance-floor.

Pyramids. Jagged Teeth Pushing Through Immaculate Skies. The Ever-changing Light. The Expansive Sense Of Freedom. The Wide Open Spaces. The Textured Landscape Seen From Above. Mountains. Watchful And Immobile For Thousands Of Years, Weathering Seasons, Transcending Change.
It's December 2016. I've Left The London Madness To Hit The Reset Button And Compose New Music In A Tiny Village In The Swiss Alps. I'm Over 10,000 Feet High, It's Minus 15 Degrees And The Snow Is Scintillating Under A Rich Blue Sky. I Turn Around And Suddenly This Gigantic Pyramid-shaped Peak Is Towering Over Me, Staring Me In The Face. Mind Blown. Senses Overwhelmed. Perspective. Lightbulb Moment. I Have My Album Concept.
I Wanted To Put Into Sound My Cathartic Experiences Of The Mountains. Every Track Title Was Chosen Before Composing. The Title Would Be A Catalyst For Visual Memories, Narrative And Overall Vibes. I Continued Developing The Tracks On Occasional Trips To Switzerland, But Mainly Back In The Gritty Habitat Of London's Hackney Wick. The Urban-nature Contrast Had An Impact On The Music Too.
I Use A Lot Of Found Sound, Stuff I Have Collected Over The Years, And A Lot Of Resampled Guitar Sounds And Textures. I Love Imperfections In Sound. Detuned Synths. Distortions And Glitches. Rhythmic Flutters And Percussive Frenzy. 'manual' Cut-ups. I Love Moving To House And Disco And Getting Lost In The More Melodic Side Of Techno. I Love Polyrhythms And Melodic Counterpoints. I Love The Energy And Rawness Of A Live Rock Band. I Channel All This To Create My Own Sonic Palette.

Artwork By Jimmy Turrell, Graphic Artist And Video Director Who Combines A Love Of Handmade Collage, Drawing, Screen Printing And Painting Alongside Digital Techniques. He Has Worked For Universal Music, Nike, Lexus, Levis, Mtv, The New Yorker, Intro, Capitol Records, The New York Times, Green Peace, Beck, The Prodigy/xl Recordings, Channel 4, The Guardian, Gq, The Times, La Times, Newsweek, Getty Images, Adidas, Sony Music, New York Magazine, Wired, Glastonbury Festival, And Vanity Fair Amongst Others.

The Debut Album 'pyramids' Comes Out Worldwide On Limited Double, Green Vinyl (including Download Code).

"Uplifting boogie grooves to set your spirit free." (Paul Kane / Jordan Valley Records)

When The Unbelievable Two appeared on the scene in 2014, their pure underground, analogue boogie and disco sound mirrored what was going on in the vinyl infected bars and small cellar clubs in their hometown of Hamburg/Germany. "The Unbelievable Two" was inspired by the golden age of the genres, played live with skills and insight. Four years later, boogie and disco are all around us. So it is about time that these pioneers release their second album. Honest and authentic, "Power Plant" recalls late 1970s New York Disco and mid 1908s UK Boogie.

The Unbelievable Two still is Mzuzu and Mucka, who lead us through nine new songs of speedy disco, down low boogie and even some smokin' reggae. Recorded in late 2017 and through the spring of 2018, "Power Plant" tells stories beyond the surface level. "Even though our music is purely instrumental, it doesn't mean we haven't got anything to say," explains Mzuzu, a respected and well-travelled vinyl DJ on the Germany funk/disco scene. "Boogie and disco are a universal language. With the influence of Afro, Latin, Reggae, even European electronic music you do not need a lot of words to tell a story which gets everybody connected. These songs are about our friends, our everyday life, how we life and what we feel."

"Power Plant" is available as a limited edition vinyl LP (300 copies).