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Between Roads Vol.1 and Roads Vol.2, Thylacine composed the singles "Versailles" (256,000 views on Youtube) at the Palace of Versailles and "Anatolia" (387,000 views on Youtube) in Turkey which are grouped here with remixes by Jaffna and Sezer Uysal on the B side.

We also find on this EP the powerful and hypnotic track "War Dance" (438,000 views on Youtube).

The first notes of Relapse’s “Underground Rave Hits for a Shuttered Club” are obscured with abrasive noise. For this Pinecone Moonshine album, the Bristol based musician known for drum and bass drew from many influences. Melodies and harmonies suggest ideas from extreme metal, blues, folk, and unique medieval, ritual notations. The album ranges from slower tempos like the funky 100 bpm “Curse, or a Swan” up to the 200 bpm breakcore “Hitroll Beat Heart.”

Repress

Pink Vinyl

The DJ Producer is a legend and has been a force to recon with for well over 2 decades. Unlike some veterans this hot piece man meat still keeps reinventing himself, pushing the envelope with every new piece of music he creates. That's what true artists do, they push boundaries and keep their hearts and souls in it full force till the bitter fucking end and amen for that.

So yeah.. about this record.
Can't Describe It (Finally) is a killer uplifting Rave slammer using a classic sample from the past in a track for the future.
Cant Fuck With Me on the flip is a 210 BPM UK Hardcore Techno banger that embodies everything great about that signature UK sound filled with a ton of Fuck you's for that extra dose of Fuck Off Power.

No A or B sides on this Pink Punk as Fuck vinyl. This one is AA all the fucking way!
Blast these fuckers loud & proud people. This ain't no easy listening elevator music I can tell you...

• Busi Mhlongo’s chart-topping, award-winning 1999 album
• Heavyweight 180g vinyl with remastered audio, inner sleeve with photographs and new notes by Kwanele Sosibo

Urban Zulu changed South Africa’s music forever, rewiring Zulu migrant roots music for the 21st Century. Busi Mhlongo’s powerful voice and challenging lyrics soar over driving bass lines and glittering guitars of an all-star South African maskanda line-up, backed by a multi-national cast including Lokua Kanza, Brice Wassy, Jacques Djeyim and Will Mowatt.

With this album Busi Mhlongo subverted and then claimed Maskanda music’s previously patriarchal space, voicing a new social blues narrative. Her songs cut to the essence of simple joys, unrequited love, abuse in the name of love, and month-end money blues.

Topping charts in Europe and South Africa, Urban Zulu struck critical and commercial success.

Yehlisan'umoya Ma-Afrika “creates a sensation of being inevitable because the riffs are so organic, it feels like it would be a crime against nature if they fell together any other way” (AllMusic).

'We Baba Omncane' became the sound track for a global Adidas campaign, while a later re-mix became a smash hit for Black Coffee.

Re-release of the record originally released on 2016-02-05!

Remastered and cut by Rashad Becker at D&M Berlin and presented in an exact replica sleeve of the original 1966 release by Stephen O'Malley.

sales information: Black Truffle is honoured to present the first vinyl reissue of the classic debut album from AMM, AMMMusic. Coinciding with the 50th anniversary of its recording in 1966, this reissue makes one of the cornerstones of the experimental music tradition available again in its original form, replete with Keith Rowe's beautiful pop art cover and the terse aphorisms by the group that served as its original liner notes. A testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label's founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd's first manager Peter Jenner. (Pink Floyd paid tribute to AMM's influence on their improvisational sensibility with the track 'Flaming' on their debut album, named after the piece that occupies AMMMusic's first side, 'Later During a Flaming Riviera Sunset').

Formed in 1965 by three players from the emerging British jazz avant-garde - Keith Rowe and Lou Gare had played with the great progressive big band leader Mike Westbrook and Eddie Prévost played in a post-bop group with Gare - AMM quickly evolved from a free jazz group into something decidedly more difficult to categorise. By the time these recordings were made, two more members had joined the group: another Westbrook associate, Lawrence Sheaf, and the radical composer Cornelius Cardew. Then at work on his masterpiece of graphic notation Treatise, Cardew brought with him extensive experience of the post-serialist and Cageian currents in contemporary composition. Using a combination of conventional instruments and unconventional methods of sound production (most famously Keith Rowe's prepared tabletop guitar, but also prepared piano and transistor radio), the group performed improvised pieces often running for over two hours and ranging from extended periods of silence to terrifying cacophonies.

Evan Parker famously described the improvisational logic of AMM's music as 'laminal', in contrast to the 'atomistic' approach more common among the generation of British improvisers (Bailey, Rutherford, Stevens and co.) to which he himself belonged. AMM improvised in layers: layers of sound subtly rising and falling or abruptly starting and stopping without being propelled by the implied pulse of free jazz improvisation. Rather than a pulse, AMM's music began with the sound of the room in which it was played, the Cageian anarchy of silence. By embracing the non-synchronous simultaneity of layered sound, AMM was able to create a musical container into which nearly anything could be incorporated at any moment: on AMMMusic, long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew's purposeful piano chords, radios beam in snatches of orchestral music (and, on the LP's second side, an extended fragment of 'Mockingbird').

AMM's clearest break with jazz-based improvisation concerned the idea of individuality. Where improvised music has tended to foster the development of idiosyncratic stylists who move freely from one group to another, AMM, initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic

the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices.

- Francis Plagne

Justo Almario comes from Colombia, plays sax and flute. The first of his dozen jazz albums was recorded for Uno Melodic, largely composed and all produced by Roy Ayers. Before this solo album he recorded with Mongo Santamaria, Jon Lucian, Dom Salvador and then on sax for the first time with Roy Ayers on the 1976 album “Vibrations” which included “Searchin’”. He also played with James Mason on the album “Rhythm of Life” which included “Sweet Power Your Embrace”, then again with Roy on the “Lifeline” album which included “Running Away”. Demand for this album has grown in recent years through the aforementioned associations and for the stunning title track

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One of the rare outing's of Dopplereffekt , the beautiful abstract and hypnotizing "Linear Accelerator" album is getting a proper double vinyl treatment on WeMe records after the initial cd only release on Gigolo in 2003. Linear Accelerator is a continuation of Der Zyklus's Biometry album with its abstract hypnotizing soundscapes and its controled sterile atmopshere. Tracks like the slowly unfolding 21 minute long 'Photo Injector' are unique and all the 6 tracks all are stunning beauties with Myon-Neutrino bridging the gap between the old Dopplereffekt works and the further evolved outings on this album that garantuee a long and tranquilizing trip. Inspired by the high energy particle psychics being explored at DESY, Dopplereffekt appear to be similarly pulling the very fabric of their sounds apart and thinking on a subatomic level. 17 years after its initial release this is still avant garde and one of those few releases that captured the true meaning of techno! Groundbreaking, Astounding, Alienating, but always with a soul!

To say Fredfades and Jawn Rice are House music producers would be sneering at their efforts across genres like Hip Hop, Soul, and Jazz. The Mutual Intentions collaborators have forged a sound together in classic House, siphoning a myriad of influences through their intricate constructions in the studio as solo acts since first meeting in 2007. Becoming fast friends over a shared love of the dusty beats of an SP1200, Jawn Rice and Fredfades started working together while the Mutual Intentions collective gestated around them. Individual works by Jawn and Fred dot the collective’s back catalogue like various nodes of evolution through the course of MI’s output.
“We’ve always been sharing sketches,” explains Jawn Rice, “but I feel that these past years have been more productive in getting some of these sketches out as songs with Fredrik. It’s just a continuation of our friendship.” Emboldened by this friendship and with their finely tuned skills in the studio,
honed to near-perfection, they eventually started making music together. Following two seminal solo LPs – Fredfades’ Warmth and Jawn Rice’s Highlights – the pair consolidated their music as a duo in 2019, striking out with their electrifying debut, Jacuzzi Boyz. In a fusion between Jawn’s electronic inclinations and Fred’s soulful eccentricities, Jacuzzi Boyz established the duo as a new force workingNew Release Information within the broad scope of House music, with a sound imbued in the origin story of House and the genre’s hip-hop allegiances.
In 2020 they continue to pursue music together in the sophomore LP, Luv Neva Fades. Following the release of the title track and lead single, Luv Neva Fades finds the producers cementing their artistic voice and re-enforcing their commitment to a singular sound. Lush Rhodes keys and bouncing percussion lay the foundations for the album, while buoyant bass-lines and sparkling synthesisers provide
the catalyst for a crooning vocal or ruminating melody. It’s a record that thrives in a sultry mood; an LP that basks in the warmth of its analogue origins and cools in the shade of languid chord progressions.
Like Jacuzzi Boys, this album is an extended collaborative affair, as Mutual Intentions’ reach stretches across the Atlantic with guest appearances from Byron the Aquarius, Javonntte, Arthur Kay, Bendik HK and the SP1200 that started it all. Shimmering melodies, hazy harmonies and boisterous beats draw Fredfades and Jawn Rice out of the jacuzzi and onto the dance floor, moving under shimmering stars, where the duo cement what they started with Luv Neva Fades.

Finally being back on his Exhibition imprint, Rico Puestel - without any detours - delivers some intensively uplifting moods within two melodic exhibits that have been circulating here and there over two years now. After ongoing requests about those tracks, these two ultimately join forces and go public on a hand-painted flip design, making this record a wholesome experience again.

Side A discovers the emotional magnitude, circulating and growing around the beauty of redundancy throughout a deeply immersive flute loop, nestled into a bouncing, analogue, almost archaic drum computer setting. Slowly building up over the course of half the track, Exhibit 3.1 emerges into a sphere of multi-layered synth harmonies and an oldschool bass arpeggio.

On the flipside, things suddenly become clear that Side A has just been the build-up to something even larger and stronger: A mechanical marrow-and-bone drum groove (one might not hear everyday) stomps away to spread the bed for one of Rico's possibly most captivating and flourishing synth melodies, spreading some blurry mysteries and clear sun-drenched bliss at the same time.

A vast scenery, unfurling in front of your ears and eyes, almost like smelling blossoms and fresh air

Rival Consoles is 21-year old IDM-smith Ryan Lee West from Leicester in the Midlands of England. After having supported his city neighbours and label comrades Kyte on an extensive European tour in November 2008, West locked himself away all winter to finish his first full-length album, set to see the light of day in mid 2009. In the meantime fans of his debut 'The Decadent EP' will be pleased to hear that on February 23, 2009 Erased Tapes Records will release an exclusive 4-track 7" single / download bundle ? Rival Consoles' take on classical music entitled 'Helvetica'. Instead of X-Box versus Playstation, here West plays classical against dance music! Influenced by impressionists like Claude Debussy and modern electronic artists such as Autechre and Daft Punk, Ryan Lee West created a unique signature sound for Rival Consoles. A playful and brutal mix of electronic beats, emotive piano melodies and warm synth string arrangements. Ryan repeatedly performed at the Tate Britain Museum in London where he drew over 2000 visitors into his unpredictable, yet detailed sound drawings. He was the first to represent Erased Tapes Records at the British Music Week 2007 in Cologne, Germany. Limited to 500 copies only: with download code. Album due later in the year, and it will be one of the years hittest tips...

Alastair Galbraith is considered nothing less than a genius around these parts. A New Zealand underground legend active since the '80s, his solo works have seen release on Siltbreeze, MIE, Emperor Jones and Grapefruit Records while his own labels, Xpressway and Next Best Way have released the likes of The Dead C and Damo Suzuki. His list of collaborators reads like a who's who of freeform musicianship: Peter Jefferies, Bruce Russell, Robert Scott (The Clean; Flying Nun) and Maxine Funke to name but a few. Seconds Mark III is Galbraith's first solo album since Mass (2010) and is a collage of pensive, longing and almost forgotten pieces stitched in his inimitable style. A thrilling addition to A Colourful Storm's ever-expansive catalogue. 21-track LP

RIVAL CONSOLES IS 21-YEAR OLD ELECTRO ACID-SMITH RYAN LEE WEST FROM LEICESTER. INFLUENCED BY IMPRESSIONISTS LIKE CLAUDE DEBUSSY AND MODERN ELECTRONIC ARTISTS SUCH AS AUTECHRE AND SQUAREPUSHER, HE CREATED HIS UNIQUE SIGNATURE. A PLAYFUL AND BRUTAL MIX OF IDM ACID BEATS AND WARM, EMOTIVE SYNTH STRING ARRANGEMENTS. IN FEBRUARY HE RELEASED AND TOURED THE MORE QUIRKY "VEMEER EP" UNDER HIS SECOND MUSICAL ALIAS APARATEC, WHICH SOLD LIKE HOT CAKES AND EARNED HIM A LOT OF FANS. RYAN RECENTLY REPRESENTED ERASED TAPES RECORDS AT THE BRITISH MUSIC WEEK 2007 IN COLOGNE, GERMANY AND CRAFTED REMIXES FOR UPCOMING LABEL COMRADE AND PRODUCER JUSTIN LOCKEY (YOURCODENAMEIS:MILO). "THE DECADENT EP" WILL HIT THE UK SHOPS AS A FUSION OF TRADITIONAL AND CONTEMPORARY FORMATS - A 10" VINYL RECORD WITH A DOWNLOAD CODE, THAT ALLOWS THE PURCHASER TO BE ABLE TO GET THE ENTIRE EP PLUS BONUS TRACK DIGITALLY FOR NO EXTRA COST.

Like many electronic artists, Ryan Lee West aka Rival Consoles spent his early years experimenting with IDM, glitch and dance, but one consistent element in his musical journey has been his desire to create a more organic, humanised sound. Through these experimentations he has found a process of producing electronic music that feels close to this urge. Restricting himself to a small selection of analogue equipment, West engages his hands directly with instruments and is very selective about what he then records into the computer. He reduces musical parts even further, leaving enough space around the sound for it to breath.

‘Odyssey’ is a reflection of West’s quest to create atmosphere and space from minimal arrangements. ‘I don’t like music to sound overly laboured, so I restrict how much is going on. I’m kind of obsessed with the idea of reduction.’ The new 5-track EP was mastered by Naweed and will be released worldwide on October 21 in the form of a 12" Vinyl and Download via Erased Tapes.

‘Odyssey’ and ‘Voyager’ are both incredibly stripped down and have a great sense of space throughout them. It's all about using the right ingredients at the right points in time. A lot of these ingredients are short recordings, such as ice cracking, mechanical clicks, clicks from synth errors, sounds of debris, guitar plucks etc., which interact with the simple arrangements and create little hints of rhythm. I also love the technique of swelling in music, but I realised that hardly anyone has done that in electronic music. So when I first got the synth to swell in and out with the opening chords of ‘Philip’, it was a great moment. Because it creates a human mood in a matter of seconds, which is very difficult to do with electronic sounds. That track is very important to me, and I think it will influence how I make music in the future.’ – Ryan Lee West

West will perform alongside his contemporary composer mates Ólafur Arnalds and Nils Frahm for a special electronic Erased Tapes night as part of London’s The Hydra series on October 18. The same day will also see a special in-store event at Phonica Records, where West will showcase the ‘Odyssey’ EP amongst other tracks on his beloved analogue gear, joined by South London artist Supermundane creating a live art piece in the shop window.

Beggars Arkive is excited to announce the reissue of Between 10th and 11th, the second album by The Charlatans, originally released in 1992.
Available on double clear vinyl and double CD, the reissue contains the original album plus remastered tracks from the oft-bootlegged live show from Chicago in 1991, known as Isolation 21.2.91, a holy grail amongst fans.

Between 10th and 11th was originally released in 1992 and feature the UK Top 20 hit (and biggest US single) “Weirdo”, as well as singles “Tremolo Song” and “I Don’t Want To See The Sights”



“A certifiable classic” - PopMatters

The Humans were Toyah, her musical director Chris Wong and multi-instrumentalist the late Bill Rieflin (drummer for King Crimson and latter-day REM, as well as Ministry, the Revolting Cocks, Lard, KMFDM, Pigface, Swans, Chris Connelly, and Nine Inch Nails).
Originally released in 2014 and issued on vinyl for the first time, this third album features “Get In Your Car” and a previously unreleased 7 minute version of the King Crimson classic, “21st Century Schizoid
Man”.

Startisha introduces Naeem as a restlessly creative artist with an impressionistic, genre-bending album. As a complete work, Startisha exemplifies artistic daring and emotional intelligence while exploring new ideas and sounds, and philosophically excavating the artist's histories. Startisha may be loaded with impressive collaborations and left-field sounds, but don't get it twisted_this music comes straight from Naeem's heart, representing the journey he's taken to get to this point as well as what lies in the future for him. Baltimore-hailing Naeem Juwan has spent much of the last decade stretching his creative legs in a variety of ways: he's hit the road with artists ranging from the Avalanches and Bon Iver to Big Red Machine and Mouse on Mars, took part in a 37d03d residency in Berlin, and was selected as the music resident in 2019 for New York's Pioneer Works space. Through it all, he's been building the songs that make up Startisha, a record a half-decade in the making that featured Juwan pulling from creative circles all across the U.S. to craft a truly unique document of sound. After studio sessions in Philadelphia and New York, Juwan decamped to Minneapolis and holed up in Justin Vernon's home studio, where Startisha continued to come together with contributions from Vernon, Ryan Olson (Gayngs, Polica), Swamp Dogg, Velvet Negroni, Francis and the Lights, and regular collaborators Amanda Blank and Micah James.

Big South West energy here as young Bristolians Litherland make their debut on new North Devon label with the dreamy, rolling, old school / new school breaks of ' Ida's World'.

'Keffala Breaks ' drops the tempo, adds some grit, and keeps drifting along, before up and coming Italian electro duo Hiver finish things up with a deep and streamlined version of Ida's World.

Mental Hardtek, pumpin acid mouth harp tunes ! Big !

This massive 12” EP combines some of Sublove’s rarest releases with a brand new surprise. Vexation is an AMAZING track that was recently discovered by Sublove sitting on a DAT. How this superb piece of amen mayhem wasn't released I just do not know, but finally it gets its day on wax, where it always deserved to be. A huge 1994 styled jungle Amen roller, truly amazing. This track sits next a bunch of other tough to find and mindblowingly good Sublove tunes. Get in!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Presenting Shirley Scott’s deeply personal album, ‘One for Me’ - a defiant tribute to the music she always desired to create but was shrouded by the demands of her vibrant career. Thoughtful curation of the band, tracks, and completely self-funded, this project set off on an innovative trajectory supported by Harold Vick on tenor saxophone and Billy Higgins on drums. Originally released on the revolutionary artist-owned label, Strata-East Records, in January 1975, this unique project will be available to enjoy again on Arc Records from 15th May 2020.

The impetus for this record was a real desire for Shirley to express herself more freely and create something for herself, taking back the power she’d seemingly relinquished throughout her career. Maxine Gordon, Scott’s close friend, and executive producer on the original record, expresses thatthey often had intimate discussions about how Scott was being told what to play, what to wear, how to look and how to speak in public for many years. Having had enough of these restrictions, she created this record to please no one but herself.

As Scott expresses on the back of the original LP sleeve:

“All of the music recorded in this album is both personal and very purposeful to me, because it is the first step toward honesty about what and how I want to play. I’ve done a lot of other albums, a lot of different ways for a lot ofdifferent people and now, with the help of the Creator, in whom all things are possible, I have done one for me too.”

Having self-raised funds to make the record, with complete control over the masters, and with her dream band together, Scott recorded at Blue Rock Studio in November 1974. Harold Vick, often referred to as one of the “unsung tenor saxophonists” of his time, was cherry picked to bring Scott’s vision to life. Throughout his career, he released records on Blue Note, RCA as well as performing and recording with a string of legendary artists such as Ray Charles, and Aretha Franklin. Completing the dream trio was highly sought out drummer Billy Higgins, who is the most recorded drummer in the history of Blue Note Records, having played on 45 Blue Note albums. The key to their success was that Higgins tuned his drums to fit with the organ’s bass sound which, of course, Scott played with her feet.

Scott was also known as “Little Miss Half-Steps,” a name given to her by tenor saxophonist George Coleman, (who wrote a composition by that name in her honor) - she regularly played with both George & Harold. Coleman is known to have admired Scott’s half-steps (when you play two adjacent keys on the organ or piano) and their close bond and mutual respect is solidified on this record through a track titled ‘Big George’ - specifically written for Coleman.

“Queen of the Organ”, Shirley Scott was born in Philadelphia in 1934 and lived there most of her life until her early death in March 2002 at the age of 67. Having mastered the piano at an early age, Scott switched from piano to organ at the tender age of 21. Scott had a legendary recording career as a leaderwith 45 albums mainly released on Impulse and Prestige and is often remembered for her work with Eddie “Lockjaw” Davis and Stanley Turrentine.Boasting a thriving career as a musician and composer, Scott progressed to a professor at Cheyney University in her later years. She was a treasured mother and grandmother, and a cherished friend of music scholar, Maxine Gordon, who’s honour it is to collaborate with Arc Records on shining a new bright light on this monumental body of work.

Metrist contributes the second part of his Pollen EP trilogy to Timedance. This instalment sees the producer up the intensity of his sound to a fever pitch. Brash synths, sub drops and bold edits combine to make an evil concoction. His singular production aesthetic showcases meticulous and forceful sound design, but all the time keeps a sense of humour like no one else.

This 3rd of the Motordiscs opens with a slow and delighted beat by The JuanMacLean, which turns into an electro mesmerizing track. Is it slow trance or is it some kind of house ? Are we early in the night or late in the after party ? Are we still dreaming ? A2 « Mark 211 » by Javi Redondo takes the energy level up with some acidy synth and punchy snares, proving that the power of a track does not necessarily lies in its speed. It is now time to flip the disc, Naduve takes us later in the night, bringing a murky vibe, thanks to haunting pads and low frequency instruments, picturing a proper underground club. The sun now starts to rise on the Seine river, the last track sounds like an ode to the dawn, where voices and shiny synths will emerge and open the crowd’s eyes. It was « Peppi » by Fairmont. This was a night at Garage

7"
Limited to 300 handmade copies!
We only knew Pop's (Steven) singing voice as a whistle. He whistled while he worked, and he worked all the time. But not even a whistle accompanied him on the guitar. A woodworker by day, he brought his craftsmanship home, softly picking his patient melodies. Those few tunes were played over and over again, becoming smooth and refined as a carefully finished armoire.
It wasn't until Christmas 2008 that we really heard him sing. Our mother pulled out an old cassette tape labeled Steve at Marco's, a brief recording session from 1979. The first thing we heard was the song. The only song. Blue. A thick delay over the entire mix told us he was shy even back then. But then came that voice, which, underneath the wash, wasn't shy at all.
Blue, and the stream of short instrumentals following, seemed a rare capture at the heart of our origin with music. And as we shared these recordings with friends, we soon realized it wasn't just us who found them so warm and beautiful.
A proper closet musician, Pop would never share this music on his own accord, so we've taken the liberty of doing it for him. - Heather & Peter Broderick, August 2011

With a hybrid jazz based on African grooves, Ethio-oriental melodies and psychedelic dub this Belgian five-piece creates an atmosphere where ancient and modern sounds fuse into a powerful, hypnotic and groovy sensation.

Receiving critical acclaim for their second album 'Artifacts' (2017), the Belgian quintet are pleased to announce the release of their much-anticipated third album entitled 'Future Flora', released 12th April via Sdban Ultra on vinyl / cd / digital.

Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Echoes of Zoo), the input of notorious musicians, drummer Simon Segers (MDC III, De Beren Gieren, Stadt), cornet player Jon Birdsong (dEUS, Beck, Calexico), keyboardist Wouter Haest (Voodoo Boogie) and bassist Filip Vandebril (Lady Linn, The Valerie Solanas) leads to the specific universe that only Black Flower is able to create.

Where debut album 'Abyssinia Afterlife' (2014) and 'Artifacts' (2017) bathed in an atmosphere of psychedelics, mythical figures, ancient sounds and modern cultures, new album 'Future Flora' refers to the power of plants and their importance for the future.

"'Future Flora' is a metaphor for the importance of feeding and watering powerful and revolutionary ideas and initiatives that can save our world. You can compare it with plants that fight between the paving stones of the city for their future. These "urban warriors" need water to survive and grow. Their future and ours depends entirely on how we look at the plant world", says Daems.

Black Flower's musical cross-pollination of sounds and rhythms remain on 'Future Flora', but there is still room for a more Western touch with Romanian and Maloya (Réunion) influences. Daems developed his own arrangements where Western, Oriental and Ethiopian scales and chords are fused together to create a real mix of traditional instrumentation and modern electrical vibrations.

The strong underlying groove is omnipresent, but the room for psychedelics, folklore and experimentation grows. Songs like new single 'Hora de Aksum' combine modern western rhythms with doses of Balkan eccentricities while 'Future Flora' takes you on a psyche-delicious 21th century Ethio-dub-jazz trip with echoes of Mulatu Astatke and Fela Kuti.

"The general feeling that dominates is that of strength and perseverance. The feeling that we have to fight for our future and that we have to do it now! The whole album is interspersed with this atmosphere and sounds swirling, haunting and ecstatic. For those who once saw Black Flower live at work, this energy will be extremely recognizable", he adds.

Interstellar digital dancehall with stunning synth, superb vocal by Robert Ffrench in extended mix & mad style by obscure DJ Shortie Ranks. Recorded at Creative Sound Studio (Kingston, JA) in 1985.
"On “I Am Wondering” – a lovers of sorts – Ffrench is Dennis Brown in the high notes, and Gregory Isaacs in the song`s playboy sentiments. A guitar gently wah-wahs, while the synths do a giddy glissando. Midway through this discomix the bass becomes boss – throwing everything else – chopped piano chords and all – into echo. Then it`s rewind for the DJ cut – a brag and boast toast from Shortie Ranks – recounting his triumphs at legendary Kingston reggae venue, Skateland”. (Ban Ban Ton Ton - April, 21 of 2020) Robert French grew up in central Kingston and attended Kingston College. He recorded his first singles in 1979, at the age of 17. He achieved success in 1984 with his performances at the Festival Song Contest and the Reggae Sunsplash festival. He had a combination hit with deejay Clement Irie with "Bun & Cheese", and his first two albums were released in 1985. He had another hit in 1989 with "Modern Girl", a collaboration with
Courtney Melody. In the mid-1990s he relocated to New York City, where he teamed up with rapper Heavy D, with whom he had a hit with "More Love", with an album following on Ras Records, featuring collaboration with several artists including Lady G and General Degree. He has since returned to Jamaica, where he runs the
Ffrench record label and distribution company. He released the album Yesterday and Today in 2001, collecting many of his earlier singles. After a period of inactivity as a recording artist, he returned in 2009 with the single "I Do". As a producer he has worked with artists such as Dennis Brown, Buju Banton (he produced Buju's first single
"Ruler" on Stamina riddim), Beres Hammond, George Nooks, Luciano, Jah Cure, Yami Bolo and Sizzla to name a few. Robert French was the cosin of the late great Pat Kelly. As a french label, big fan from Ffrench productions, i'm very proud and happy to start a collaboration with Robert Ffrench, the most french jamaican. Stay tuned for many many more.

Dark-Side Electro Conjurations- and Gnashing EBM from Medellin, Colombia, Seething with Raw-Punk Energy & Foamy Blood around the Mouth. No nonsense Body Music!

Chris Korda's new album "Polymeter" is unique as entirely composed in complex polymeter sequences, a unique way to compose music with a new generation of algorithm, inside which Chris injects DNA of neo classical, ambient and jazz music.

This refreshing album will please both those who are into complex musical composition, conceptual music and who are just seeking for a beautiful, emotional and accessible, unique, musical moment.

This is a "In your hearts not the charts" album, as Irdial Discs once said.

Chris Korda is a transgender, vegan and relentless critic of consumerism, leader of The Church of Euthanasia (willing to halt the overpopulation through suicide, sodomy, abortion and cannibalism) and composer/performer of electronic dance music. She has previously released albums on Kevorkian, International Deejay Gigolo Records and Perlon.


Please read below Chris Korda's introduction to his new album "Polymeter":

Polymeter is an album of virtual solo instrumental performances. They're mostly piano pieces, along with a couple of guitar pieces. They sound uncannily similar to human performances, but they aren't. On the contrary, they are algorithmic music, pure applied mathematics.


The compositions are generated by elaborate networks of polymeter modulation. This sounds complicated and will need some explaining. But the most important point is that these are compositions I didn't write in any usual sense of the word. I created systems of rules, and the compositions emerged from those rules. The rules that generated these pieces can be conceptualized as kinetic sculptures that produce intricate non-random patterns of musical interference. The resulting patterns repeat themselves over long periods, measured in hours, days, or in some cases years.


In order to create this album, I had to write my own MIDI sequencer from scratch, because commercial MIDI sequencers lack the necessary degrees of freedom. My sequencer is also called Polymeter, and I started writing it in 1994. I used a relatively primitive version of it to create my earlier techno and electro releases, but the rapid evolution of computer technology made my original so ware hopelessly obsolete by the 21st century. Like its immediate predecessor "Akoko Ajeji" (Perlon) this album was created using a much more sophisticated version of my sequencer. It took me many years to learn the programming skills I needed to modernize my sequencer, which is one reason why such a long hiatus occurred between my older and newer releases.


Chris Korda

Simian Mobile Disco’s Jas Shaw and new talent Bas Grossfeldt present ‘Klavier’ – an album of haunted elegance, graceful poise and cerebral depth, which is centred around the Yamaha Disklavier.

Combining the prepared piano minimalism of Hauschka with Basic Channel style dub techno, the pairing is mirrored in the duo, where Shaw’s formidable dance music experience synergises with Grossfeldt’s arts-based appreciation of contemporary composition.

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

limited edition of 300 hand-numbered copies, white vinyl, w/ download code

Kohib is an important member of the Tromsø electronic music scene, equally as a club organizer, DJ, and producer. His debut was on the Prima Norsk 3 compilation in 2005, followed by an album, a remix-album, and a string of highly regarded EPs and singles. Kohib has had success both with his electronica-style releases (the track "Hear This" from his debut album was licensed to the Buddha Bar XIV compilation) as well as his dance floor releases for Beatservice, Sprechen, Cibicaldi, and SpinSpin NYC.

In Mountains is a desire to seek horizon. The album was written and recorded in November, December and January. A time when the sun is absent in Tromsø. However, the origin of lots of the rhythms in the music, are harvested during summer, from the same area. Sound samples are taken from Kohib's surroundings, from creaking in worn-out doors, to ambient silence along the coast. An electronic album, yes. But all the rhythms and instrumentation are analog. The goal has been to give leeway to all elements, by limiting the amount of information. So, if it follows a dogma with this album, it has been to limit the number of tracks to each song to the bare minimum. A sound weighs the most when alone.

The album will be promoted in UK / worldwide by Shine PR (UK) + social media marketing by Beatservice Records.

Originally recorded in 1977, following a limited release in 1979, Ghédalia Tazartès debut album, Diasporas, introduced listeners to the surreal, mysterious and truly unclassifiable statement of Tazartès and his out-of-time place in the French avant-garde canon. Born in Paris in 1947 to Judaeo-Spanish parents of Greek descent, Tazartès spent his early career as an autodidact utilizing his knowledge of repetition and collage, coupled with his Ladino linguistic heritage, to create some of the most unique recordings of the late 20th century. Interest in the works of Tazartès truly sparked when artist Steve Stapleton included his follow up album, Tazartès' Transports, in his famed "Nurse With Wound List," thus adding endless curiosity to the folklore behind Tazartès and his mystical entrée.

From the onset of Diasporas, looping incantations seemingly pile up at the behest of Tazartès. In almost a prayer-like decree, Tazartès chants to the gods in an undefined whail that is both haunting and spiritually divine. Tazartès unique use of tape loops to capture the disappearing traditions of his family's past creates an atmospheric texture that unexpectedly complements his cut-up, manipulated vocal experiments. While contemporaries within the French avant-garde maneuvered academic theory and rigid tradition, Diasporas strays away from these boundaries, working in Tazartès' invented practice of 'impromuz', a method in which he endlessly records for hours and edits only the moments that display any sense of spontaneous enlightenment. Further emboldening the obtuse nature of Diasporas are the seemingly random recitation of poet Stéphane Mallarmé and the traditional 'Parisian-style' piano accompaniment of experimental composer Michel Chion.

Since its initial release over 40 years ago, both Dais Records and Alga Marghen have released reissues of Diasporas in various formats, all of which quickly fell out of print. Dais Records presents an official reissue, newly remastered by Josh Bonati, utilizing the original artwork of Diasporas in its sole album form, for the first time in over four decades.

New York’s indie disco funk crew is back with a new album. And it’s the right moment: With new acts like Toro Y Moi, Sault, Parcels, The Internet around… the funky, disco, old school vibe is big in 2020. And The Phenomenal Handclap Band fits perfectly. Probably all these new artists are fans of the Phenomenals. Because The PHB popped up for the first time 10 years ago. Some top knotch musicians from NYC’s funk scene playing dirty discofunk. Some of the bandmembers played in Mark Ronson’s projects and in Amy Winehouse’s backing band. Head of the band: Daniel Collás. Their self-titled debut album on Gomma records 2010 made them many fans in the music scene. A nasty fusion of forward-thinking disco, psychedelic prog rock, and classic soul with a splash of yacht rock. Back then the band took the road, supporting Bryan Ferry and Franz Ferdinand, playing shows at Glastonbury, Wireless, and Latitude… as well as getting praise from Sir Paul McCartney about their album! After the album Collás began to produce other artists in Brooklyn. The band paused. Now they are back. With Daniel Collás in the centre, along with new members multi-instrumentalist Juliet Swango, and vocalist and synthesizer wizard Monika Heidemann. Their sound is still essentially analog dance music, with an emphasis on raw soul, vocal harmonies, African percussion, fuzzy guitars and analog synthesizers.

Jon Tye and Pete Fowler have been making music as Seahawks for a decade now. Given the sounds they’ve been exploring over those ten years it was a cosmic inevitability that they would be asked to contribute to the catalogue of the legendary library label KPM.

They replied with Island Visions, an exploration of sound for vision where they construct “audio micro-worlds to explore and inhabit”. A way to transport the listener away from the everyday without the bother of getting on an aeroplane. Mind travel is space travel after all, and much better for the environment.

Mostly recorded at The Centre Of Sound in Cornwall, with additional recording at Studio 34 in London, Jon and Pete’s travelling companions on this particular trip were boogie wunderkind Sven Atterton on fretless bass and keys, Nick Mackrory on percussion and the Seahawks live team of Dan Hillman and Alik Peters-Deacon.

From the grooves of Brian Bennett to the moog vibrations of Mike Vickers, the lush textures of Les Baxter to the experimental sounds of Delia Deryshire and David Vorhaus, this new music channels sounds and moods from across the KPM universe.

The spacious “Hot Sand Shuffle” opens the record with some of Seahawks’ familiar “deck-shoegaze”. The slinky digi-dub of “Sky Blue Sky” follows, gently encouraging us to lay back and relax. “Mystic Beach” is a refreshing ocean spray of a synthetic groove that clears the head, priming a pathway to receive “Crystal Forest”, a new age house groove of birds and flutes.

Dense, deep and dreamlike, “Distant Shore” is ambient rainforest house with a 90s vibe, its dense foliage clearing to let us bask in the shimmer and shine of “River Run”. Hang drum, electric gamelan, flute and loon close side A.

Side B bounces into being with “Catch A Wave”, an upbeat beach groover of synthetic guitar, effervescent synth and snappy drums. Equatorial bubbler “Paradise Bird Bath” soon glides in with marimba, crisp beats and fat synth bass. Fender rhodes, space echo and fretless bass make “Smooth Runnings” a laid-back poolside groove.

“Spirits Have Flown” conjures a hazy vibe with marimba, sax, synth funk bass and chilled beats before “Rolling Deep” serves up a light cocktail of sultry rhythms, refreshing textures, cooling sax and fretless bass. Almost-title track “Island Blues” brings the horizontal poolside feels with melodic chimes, oboe and more fretless bass for maximum vibrations. The marina drone of modular electronics, celestial trumpet and jungle ambience pay the album’s final respects to the cosmos on “Sun Salute”.

Like many KPM suites, this is a record of two distinct sides. The sunrise of side A brings a deep meditation, a journey within to renew the jaded self. Side B refreshes with cocktails by the pool and a chance to groove away the evening at some sunset beach party before dancing under the stars in the house of dreams.

Pete’s front cover for the LP is part map, part postcard: “the record has five different sections and I wanted to reference those in the worlds they created, musically and physically. From beach campfire, to poolside hanging and nighttime dancing. A kind of portal to those places and the pictures they inspired in my mind. All places we’d like to be in this turbulent year”. The track descriptions on the back help guide the way.

2020 marks 10 years since Ocean Trippin’, the first Seahawks release, and Island Visions is the perfect distillation of the sounds, sights, textures and moods that Jon and Pete have been exploring over the last decade. Sunrise to sunset condensed to two sides of an LP. The normal rules of space and time don’t apply here.

This is the first time Be With has worked with Seahawks, but individually Jon and Pete have been members of the extended Be With family since forever (Pete did those posters for our Ned Doheny tour and we worked with Jon on the vinyl version of Hatchback’s Colors Of The Sun). Of course we were going to put this out on vinyl.

Mastered by balearic engineer of choice (and Be With’s regular audio co-pilot) Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, the sonic frequencies of these Island Visions have been precision tuned and encoded for optimum travelling conditions. Take the trip.

We’ve worked with Ian Willson to reissue his insanely good, self-released West Coast classic “Straight From The Heart”. Privately pressed and originally released in 1985, this is the only album Ian ever put out. A magical blend of AOR/sophisticated funk/synth-boogie/spiritual jazz and modern soul, it’s a spellbinding record of many colours.

You might already know “Straight From The Heart” for the dubby-disco paranoid-balearic anthem “Four In The Morning”, and it’s easy to assume this is probably just another one of those one-track LPs. But trust us when we say it’s definitely not. This is an impressively slick record from start to finish, just ask those modern soul DJs and AOR collectors who’ve managed to find a rare copy in the last 35 years. It could’ve (should’ve?) been number 1 all over the world back in 1985.

Album opener “Think About It” is all sorts of right. It’s emotional. It’s tops-off. It’s funk in its purest form. And take the proto-modern-funk of the title track (half Dâm-Funk / half Dâd-Funk).

The shimmering, spiritual Bossa-Jazz of “If I Were You” serves as the album’s soaring centrepiece. A gorgeous suite of Cosmic vibes to get Gilles frothing, it sounds like nothing else on the record which makes sense given that it was recorded a couple of years earlier, and is the only track on the LP that wasn’t recorded in Ian’s own studio.

Side B opens with the propulsive ode to love that is “Two Is Better Than One”. Wonderfully sparse when it needs to be, it’s also richly percussive and that special kind of California-warm. Frenetic, speaker smashing synth and horn workout “Funk Invasion” dares you not to dance and “A Game Called Love” is heavily indebted to Prince with its lush, deep funk stylings. The sweeping sax-drenched instrumental “Song For Katelyn” is head-nod, beat-heavy AOR for that melancholic magic hour we spend our days longing for. It all adds up to the ultimate BBQ record.

Almost all of “Straight From The Heart” was recorded over a few months between 1983 and 1984 on Ian’s brand new Otari 8 track in the Oakland, California studio he built just the year before. Only “If I Were You” was recorded elsewhere, at Bay Sound in 1982.

A “full time poor musician” at the time (and he says he still is), Ian produced the album himself and played all of the instruments, except for guitar. That’s Peter Fujii you can hear, his good friend from growing up together.

Tower Of Power, Average White Band, Earth Wind & Fire and Stevie Wonder was the list of influences Ian gave us when we asked. No wonder the record’s just so easy on the ears.

And why did he put the record out himself? Simple, he had no idea how to go about getting a record deal.

When we first got in touch with Ian he had no idea that “Straight From The Heart” had become something of a cult record, let alone that there were those of us out there that thought the album deserved to be pressed again. The original tapes have long since been lost so this re-issue was only made possible by remastering Ian’s one and only pristine copy of the finished LP.

The end results have been worth the work, including reproducing the original’s unmistakeable sleeve. Ian Willson’s “Straight From The Heart” is yet another Be With release that will find an easy home on the shelves of those of you who up to now have only dreamt of finding a copy and also those of you who who never knew it even existed.

June Records presents the debut release of Lithuanian artist Caroil who has been active in the local scene with his involvement with DOS Club and STRCAMP. Recorded between 2015 and 2018 in Vilnius, Lithuania using hardware digital and analog synthesizers. Sound sources include: Boss DR-660, Formanta Polivoks, Kawai SX-210, Kawai K1, KORG MS-20, KORG KR-55B, Roland SH-101, Roland JX3P, SIEL Cruise, YAMAHA TG-33.