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Born in Cagliari (Sardinia, Italy) in 1975, Irene Nonis started playing the guitar at the age of 13 and wrote her first songs at 17. Her influences come from the American soul, with variations towards jazz and bossa (Sade, Paul Weller, Astrud Gilberto, Johnny Marr). Her voice shines in the two new tracks included in this 7'': "This Love" is a blue-eyed soul track that moves between Northern Soul and Motown, while "Night Stuff" has more of a 70's London nocturnal atmosphere, with a great bass line.

We are very excited to present you this new signing and debut EP by Dampé. A studio and live project from South East London. Since moving to the city, Dampé has been intimately involved in its club culture " from running warehouse spaces and booking venues to DJing and performing in groups across the city and Europe, under a slew of different aliases.

The music is made on a boat on the Thames and is a combination of dusty analogue gear, live instrumentation, and samples. For Dampé, influential parties were "Co-Op, FWD>>" and "You're A Melody" and echoes of those dances can almost be felt in the sound. Across five original tracks, the EP explores weirder and worldlier ends of house music, all with a nod to undeniably UK sounds.

"Peach Shuffle" is a made-for-the-floor, broken beat work-out that has this great warped and chopped Persian vocal sample giving the track a unique and world-wide touch, followed by "St James" Road", a crunchy live Rhodes jam and ode to a favourite street south of the river. "Move Me" is all garage-infused vocal loops and singing bowls and acts as an experiment-come-DJ tool. "Carn" is a super-swung hip hop beat featuring "SMBD" aka "Simbad" providing additional keys. Closing out with "Zongo Junction, At Night", a late night roller with material pieced together from saturated CR 78 samples and field recordings made when Dampé was recording sound for a film about witchcraft and the internet across rural Ghana.

To round up this exciting EP we ask a fellow SE London enthusiast "Nebraska" to make a remix of the title track "Peach Shuffle". Cutting up the vocal of the original, adding some mean bass and pouring a smooth "dance floor" sauce over it. The delicious end result is something we are very proud off and we hope you will enjoy as much as we do!

Rua Sound Is Pleased To Announce We Are Back In Action For Of 2019, And A Welcome Return To The Label Of Touchy Subject, Coming In Fresh From His Aurora D Raynes Project With Dan Dans K In 2018.

Support From Tom Ravenscroft And Giles Peterson.

The Go-to Producers For Cosmic, Rootsy Takes On Up-tempo 160-170 Bass Music, Touchy Subject's Second Four-track 12" On Rua Ups The Ambition And Knocks It So Far Out Of The Park Its Broken Windows In The Next Parish Across.

The General Ep Veers Wildly Between Belligerent, Funky Takes On Dusty 90's Boom-bapàla Dj Shadow On "shudder" And 'turnt Up', Cavernous Soundsystem Workouts On "seek And Find", And The Febrile Halftime (just) Jungle (barely) Title-track "general" Bringing The Emotive Goosebump Vibes.

This Is Soundsystem Music Par Excellence, Cerebral, Heady, And Rousing.

We Apologise Profusely To Those Of You Whose Resolutions For 2019 Involved Losing Weight, But This Is Our Fattest Releases Yet.

Man Power's Me Me Me signs up long-time friend Ian Blevins for his long overdue label debut. Blevins's originals are backed by stellar remixes from Austin Ato and Kiwi.

Blevins hails from the North East of England and has released on ESP Institute, Futureboogie, Not An Animal and Culprit. The prolific producer was a long time resident of the legendary We Love Space in Ibiza and is an enduring favourite on the UK scene with plenty of musical tricks up his sleeves.

'Both tracks on offer showcase the mongrel sound that I hear coming out of the North East region,' Says Man Power. 'Partly tough, partly playful, not simply techno, not simply house, and certainly nowhere near the most common contraction of the two words.'

Innovative opener 'The Serpent' is a suitably snaking, slithering groove with acid twitches, rubbery drums and raw percussive energy. It pings about in dynamic fashion and really keeps you on edge. First up to remix, Austin Ato makes his return to the label after his huge 'The Sound Of' EP in summer 2018 and gives further credence to Man Power's suspicion of his impending super stardom. He takes the 'The Serpent' on a luscious and deep trajectory that would make Larry Heard proud.

The second standout original is 'Unse', a dark stomper with cosmic rays that strike right to the heart of the dance floor. It's menacing and absorbing music that is steely and unlike anything else. To remix is 17 Steps regular Kiwi, who is responsible for two of Man Power's favourite tracks of 2018. Here he continues his run of astounding form while taking 'Unse' in a tougher and more robust direction that will really make you sweat.

As ever this is a brilliant and stylistically diverse package from Me Me Me.

After a 17-month break from releasing music, La Fleur's Power Plant imprint returns with the stunning 'Aphelion EP' from the label-boss herself. 'Hunting Grounds' was birthed first, a brilliant masterclass of groove-drenched dynamics brimming with personality and spirit that already highlighted her sets for Cercle and last year's acclaimed BBC Radio 1 Essential Mix. Perfectly complemented by 'Aphelion' whose foundations are built on deftly crafted drums before the Swede's distinct flair for melody sees sublime chords fill the space.

Alex creates with Tum Tum the soundtrack of a dreamed teen movie and sings for the lonely hearts that beat behind their screens.

The hero of this film ventures into the meanders of a digital jungle, a digital psychedelism where words come into resonance with sounds, structures deform, because behind the pop evidence of Tum Tum lies a desire deconstruction of pre-established forms.

As much influenced by the break-up songs of the Everly Brothers as by Ryuichi Sakamoto's compositions, by Kitano's films, and by Ninja Kids, Tum Tum is a map of Alex Van Pelt's influences that finds its form in an intimate patchwork.

"The simplest line is always the best," he says in the song Endless Rain that closes Tum Tum. A formula worthy of Lao-Tseu, which sums up well the poetics of the guitarist of French band Coming Soon, Alex Van Pelt: it is in a refined language that responds to the kaleidoscopic profusion of his music that Alex tells these eight romances, in search of a Way to to follow. We listen to it with pleasure, and let it guide us through the labyrinth of our mediated lives.

Chemistry between individuals is an amorphous and elusive notion. It is usually seen as something that occurs between two people who are sharing a physical space, with access to each other's body language and energy. However, modern technology has provided many other opportunities for chemistry to blossom and be explored and this record is just one example of that: Vent is proud to present Kina, a double LP of musical collaborations between MAYa and Tolga Baklacioglu.

Tolga Baklacioglu is an associate professor in aeronautical engineering. He is also a musician. For several years, he has been steadily building a body of work that explores the outer boundaries where techno and abstract textures merge and blur. In 2014, Tolga created a label, VENT, as a platform for his explorations and those of likeminded travelers within this sonic realm.

MAYa Hardinge works in film. She is also a musician. She has collaborated with numerous artists. Beginning in 2008, She released 4 EPs under her solo guise MAYa. Considering her background in film, it comes as no surprise that her work has a strong visual element. Pre- dating Beyonce´'s Lemonade by many years, her last two EPs were visual albums made in

collaboration with various directors.

It makes total sense that MAYa and Tolga should have made an album together. Their interests and backgrounds overlap and diverge meaningfully in a way that has all the hallmarks of good musical chemistry. There is however one unusual element to their collaboration: they have never met. Tolga lives in Eskisehir (Turkey) and MAYa lives in New York City.



Always on the look out for inspiration and new collaborators, Tolga stumbled across MAYa's videos online. What he saw and heard inspired him to reach out and contact her. After some correspondence they decided to experiment with the prospect of making music together. Perhaps deprived of the traditional notions of chemistry defined by proximity, they found inspiration across time and space in the name of exploration and discovery. Tolga began by sending MAYa files of beats and ambiance. Upon finding the ones that spoke to her, MAYa went to work disassembling, adding, subtracting and rearranging. MAYa's work would then go back to Tolga, a world away, for further input and then back again. In this way each track was painstakingly constructed and a true chemistry was born. One built on sensitivity, support and honest artistic communication. In a word: LISTENING.

The songs cover a broad spectrum of topics, from the deeply personal feelings and experiences, to world events, and the fundamental aspects of life and death. Kina is a document of two artists from different backgrounds and their shared visions of the interplay

between one's private microcosm and the global macrocosm of our time; a testament to the fact that, for all its vastness and diversity, this world offers inspiration and potential collaboration around every corner. The music contained within has traveled around the world many times before reaching your ears. As MAYa and Tolga have done before, it is now your turn to LISTEN.

Arcola is proud to present Ascetic, the debut EP from acclaimed artist and DJ Anastasia Kristensen. Having delivered killer remixes and notable productions for various compilations - Anastasia further refines her craft with this debut, continuing to justify her reputation as a leading light within techno.

Proving herself to be equally strong a producer as she is a selector, Ascetic presents four tracks that exemplify the broad spectral soundscapes of Anastasia Kristensen's style. While it may have its roots in techno, Ascetic offers a multitude of audio dimensions to explore.

From the skeletal noise techno of 'LXR Jam', the brazen hardcore flex of 'Ascetic' and its breakbeat counterpart 'Ascetic (In Breaks)' and the industrial/dub tech-noir of 'Donni', Ascetic EP is the perfect accompaniment to the whirlwind of emboldened intensity witnessed at Anastasia's international DJ sets every week.

Set to be one of 2019's strongest debuts, Ascetic's four tracks show that when it comes to genre and composition, Anastasia Kristensen has no intention of staying in one lane.

170 to 180 BPM tribe and Hardfloor EP. The Montpellier Tribe crew comes here with a good surprise : the return of Sagaloop ! But the best tune here is probably the Alextrem track in the vein of his best realeses : a wise dry kick spiraling stuff.. Coit brings an Acid tribe Top tune as well... Kreat drops into DSP style with a nice open-air rolling tune. A good EP.

Wieder legen Die Goldenen Zitronen alle zehn Finger in die Wunden und wühlen darin
herum, dass es wehtut.
... und einmal mehr halten Die Goldenen Zitronen voll drauf mit den Waffen der Kritik, sezieren, spießen auf
und polieren Widersprüche. Nach nun schon einigen Jahrzehnten sind die Goldies noch immer eine
Punkband. Aber eine, die sich, die eigene Szene und die eigene Musik hinterfragt und Punk als eine Haltung
definiert, die Haltung sucht, sowohl musikalisch als auch inhaltlich. Das lässt uns immer wieder überrascht
aufhorchen, klanglich und textlich und vieles bringt uns zum Grübeln. Auf "More Than A Feeling" ist die
Gruppe arbeitsteiliger vorgegangen als auf früheren Alben, die Genese ist eher an zeitgenössische Hiphop
Produktionen angelehnt. Und so krachen hier Acid, DAF, Ernst Busch, Kendrick Lamar, Punkrock,
Störgeräusche und Experimente mit Sequencer und Drummachines zusammen. Die Goldies äußern sich
immer so, wie es bisher noch niemand gemacht hat. "More Than A Feeling" ist nicht zuletzt auch eine
Sammlung von verzweifelten Spottliedern, von denen man nicht weiß, was schwerer wiegt, der Spott oder die
Verzweiflung über das Verspottete.

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

Eric Maltz Had A Busy 2018 With The Release Of The First Two Records On His Label Flower Myth, The Frenetic Pathway Ep And The Dub-techno Informed Estuaries Ep. The Smashing Vocal Single Naked Broken Followed On Possible Futures As Well As A Remix For Marlon Hoffstadt, A Debut Performance At Berlin's Atonal Festival And To Close The Year, A Live Set At Tresor With Close Friend Levon Vincent Whose Novel Sound Label Released Eric's 2017 Double Ep Ns-17.

2019 Is Gearing Up To Be Just As Busy And Kicks Off With 'dream Journal', Two Long Form Cuts For Deep Dancefloors.

A Side 'dream Journal' Is One For The Rem Cycles. A Development Of Maltz' Signature Psychedelic Deep House Sound, Dub Sound Effects Jump In And Out Of Focus, Swirling Arpeggios Pan Across The Stereo Field And A Playful Piano Solo Take Turns At The Center Of The Stage As A Deep Bass Line And Funk-ready Drum Machine Hold The Fort.

On The Flip, 'subliminal Virgo' Is Exactly That, Hitting With A Loose Breakbeat And Echoes Of "dream Journal" Before Settling Into An Unstoppably Subby 4x4 Throb. A Synth Solo Hides Deep Under The Layers As Maltz Adventures Into The Dark Chasms Of Thought Gaps

James Baldwin was an unparalleled master of the written and spoken word. He was best known for his brilliant essays, plays and novels that shone light on his insights into race, sexuality, spirituality and humanity. Baldwin was an incredible orator who commanded the power of words. Whether on the pages of his books or in speeches and debates, he was passionate, compelling and powerful. This EP is the second half of a project that is a tribute to Baldwin. It features extracts from the audio portion of a documentary film shot of a discussion led by James Baldwin and Dick Gregory at the West Indian Student Centre in London in 1968.

Peabody & Sherman is a partnership between Phillip C Hertz and Curtis Ruptash - drummer and bass player respectively. They share common interests in dub, afrobeat, funk, jazz, ambient and improvisational music. They have long histories of the employing 'studio as instrument' approach to recording. The foundations for this EP was P&S rhythm tracks recorded at the Wayback Machine Studio in 2011. Supplemental instruments were layered on to create the final product. The same original sessions were also the source for their James Baldwin EP released in 2012. That EP featured remixes by Area and Afrikan Sciences.

The same concept is applied here, with remixes being contributed by Waajeed and BusCrates. Waajeed is a Detroit producer known for inventive and genre-defying music. He is background includes his work with Slum Village through to the Platinum Pied Pipers and to his work with his own Dirt Tech label today. BusCrates is a Pittsburg based producer known for his inventive use of electric and vintage synths to create deep layers of analog goodness.

Originally out in 1983, Love Power is co-produced by Fabian Cooke (from Itopia) and Lloyd Bullwackie Barnes, with assistance from Prince Douglas. Cooke plays most of the instruments himself, with his drumming centre-stage, though Ras Menelik puts in a brilliant shift on congas, and backing vocals are by Sugar Minott and the Love Joys. Cooke's own well-crafted compositions are joined by covers of Irene Cara and the Four Tops, infectiously bridging roots, lovers and synthy, soulful eighties boogie.
Betrayed is solid-gold, signature Wackies. He's My God is a tasty sip of low-slung, grooving gospel-reggae. Evoking Michael Jackson, the jamming album-closer Drums is top-notch disco-reggae, opportunely poised for revival.
Terrific stuff, full of personality, charm and in-ting hybridity.

Born the 26th of October 1956 in Aïn Azel near the Algerian city of Sétif, Nordine Staïfi, real name Larbi Smati, was very young when he emigrated to the French Chambéry region.
After having recorded 'Sraoui' style songs, his real devotion as a singer took place in 1978 when publishing the song 'El Ghorba S'hiba', a disco version of a traditional East-Algerian piece. This song would revolutionize the modern Algerian music, and made Nordine one of its most important protagonists of the 1980s.
For nearly ten years he dedicated himself to the modernization of his music, traversed by the themes of exile, love and the nostalgia of his country.
Nordine Staïfi died prematurely on December 17th 1989 in France, at the age of 33.

By This Compilation In A Beautiful Hardcover As A 33 Rpm Exclusive
We Celebrate 10 Years Of Dock Records !
Shout Outs To All Our Supporters /music Lovers And Involved Artists
Over The Years....
As Stated Before: We Don´t Care Much About Trends And Hypes.

darkpsy, Hitech rare product on vinyl... Bollywood picture disc !

Angry Luna, Wikileadz, Popek, The Ovni Show, Neokontrol - Ovni Records 09 & 10

A comprehensive overview of the Violent Femmes 30+ year career, features
17 of the band's biggest hits including 'Blister In The Sun', 'Add It Up',
'Nightmares' and 'American Music'.
The double LP is being pressed on Coke-botle clear vinyl and limited to 3,000
copies. Cumulatve worldwide sales of the Violent Femmes are in excess of 10
million copies.

Seit Dem Plötzlichen Und Völlig Unbemerkten Erscheinen Ihres Manifests Im Jahr 2016 Schwor Das Weird Folk-songwriter-duo The Mañana People, 100 Lieder Zu Schreiben, Die Die Wege Des Pop-genre-diskurses Erkunden. In Der Mitte Ihres Kampfes, Während Sie Eine Reihe Von Hausgemachten Freak-folk- Und Psycho-country-kuriositäten Erfanden, Wurden Ihre Bemühungen Gnadenlos Von Dem Deutschen Kult-label Unique Records Unterbrochen, Das Sie An Den Ohren Packte Und Ihnen Sagte, Dass Sie Aufwachsen Und Eine Richtige Platte Machen Sollten.

Das Ergebnis Ist Ihr Bevorstehendes Debüt "princess Diana", Ein Hauch Frischer Radioaktiver Luft In Der Welt Der Autorenmusik. Die Exzentrische Sammlung Von Melodien Bietet Theremin-getriebene Honky-tonk-kracher, Zombie-themen-electro-pop-balladen Und Horror-spirituals, Sowie Eine Zusammenarbeit Mit Dem Besten Troubadour Selbst, Bonnie 'prince' Billy.

Die Erste Anstrengung Der Mañana People Schafft Es, Harmonisch Zwischen Experimentierrinnen Und Der Angenehmen Leichtigkeit Der Popmusik Zu Schwingen. Tim Weissinger Und Alvaro Arango Trafen Sich An Einem Winterabend Auf Den Grünen Wiesen Ihrer Universität.

Ihre Musikalische Chemie Und Das Kalte Wetter Zwangen Sie Quasi, Sofort Musik Zu Machen. Ihre Debüt-ep "the Mañana People" Wurde Am Halloween-abend 2014 Online Veröffentlicht. Ihre Musik Wurde Sofort Von Ihren Freunden Gelobt, Von Ihren Feinden Gefürchtet Und Von Vielen Anderen Ignoriert.

Seit Anfang 2015, Und Mit Hilfe Von Tobi Mercer (keyboards) Und Simon Mead (schlagzeug), Haben Die Mañana People Ihr Wort Verbreitet Und In Jeder Bar, Café Oder Straßenecke Neue Seelen Gefordert.

Nach Einer Zweiten Ep - "horror Songs" - Ist Es 2016 An Der Zeit Für Ein Komplettes Und Mit Spannung Erwartetes Debütalbum Auf Unique Records!

Die Jungs Supporten Honig Auf Seiner Herbsttour.

Live
14.09.18 Ulm Roxy
15.09.18 Mainz Schon Schön
16.09.18 Dresden Beatpol
17.09.18 Berlin Privatclub
18.09.18 Leipzig Werk 2
19.09.18 Nürnberg Club Stereo
20.09.18 Essen Zeche Carl
21.09.18 Köln Kulturkirche
22.09.18 Bremen Tower
28.09.18 Konstanz Kulturladen
29.09.18 Saarbrücken Kleiner Klub
30.09.18 Aachen Musikbunker
02.10.18 Langenberg Kgb
03.10.18 Haldern Pop Bar
04.10.18 Hamburg Knust
05.10.18 Münster Sputnikhalle


Für Anfang 2019 Ist Eine Kleine Eigene Tour In Planung.