quête:3 pi

Artist previously known for his work as “Mirage Man” returns as “Kaltstam” presenting a three tracker of techno and electro jams.

The streamlined yet gloomy opening track “Reach 4 the heat only if you’re bustin’” sets an energetic tone for the release to start with. This should cater your needs easily if you’re into dancing in the more aggressive manner.

“The Divide” interprets nordic melancholy in the form of trancey pads, echoed stabs and a distorted bass drum. An observant listener might pick up some classic breakbeat vibes from the drum section as well.

“Cattle prod” is the oddball of the trio. Is it nu school breaks? Is it electro? Does it bang? ... Find out by listening to the title track of the record. - Play it fast or slow, it’s your call.

Two leaders from very different musical worlds, the innovative pianist Bruce Brubaker and scientist-now-electronic-artist Max Cooper collaborate to create this latest expression of music by Philip Glass and tell a story of diversity and vulnerability.

Commissioned by and introduced at the Paris Philharmonie in 2019, Glassforms melds the acoustic concert grand piano with synths and cutting-edge electronic production techniques to create a compelling album and a dynamic live experience.

Rather than just reworking or augmenting via traditional means, Max Cooper and Bruce Brubaker fundamentally rewire Glass’ forms in a manner that’s not possible with human composition tools. Max built a new system for musical expression through coding with software developer Alexander Randon, creating a tool for taking live data from the piano and transforming it into new but intimately related forms which drive his synths on stage.

The result is that each of the pieces by Glass becomes its own electronic “instrument,” an instrument Bruce plays in addition to, and simultaneously with the original piece. As Bruce plays the piano and controls synths with his playing, Max modulates and augments, sometimes adding his own melodies to form hybrid variants.

Mr Bongo presents a new and exciting collaborative project with Swedish label Piano Piano Records.

Hearing the Swedish outfit Sven Wunder for the first time is as refreshing as an ice-cold Limoncello after an Italian meal. One of those bands that feel instantly familiar like an old friend, yet simultaneously fresh and new. Straight away we fell in love with their sound and knew we had to work with them.

The Sven Wunder 'Wabi Sabi' 7" is the second collaborative release between Mr Bongo and Piano Piano Records. 'Wabi Sabi' is Sven Wunder’s follow up to the already contemporary cult-classic album 'Doğu Çiçekleri (Eastern Flowers) from 2019. Not one to be complacent and recreate a carbon copy of their previous works, Sven Wunder switched from the psychedelic-Turkish-funk sounds of 'Doğu Çiçekleri' to the Japanese inspired ethereal funk of 'Wabi Sabi'. We have selected the tracks ‘Hanami’ and ‘Shinrinyoko’ for this collector’s edition 7’. Japanese artists such as Hozan Yamamoto, Tadao Sawai, Kazue Sawai, spring to mind, but also David Axelrod and Dorothy Ashby on the beautiful string-led 'Hanami' with it's laid-back funk breaks. 'Shinrinyoku' has a slightly more raw cinematic-funk sound, yet is cushioned with warm strings and tripped-out keys - pure, rare-library music vibes.

We are delighted to be able to release these amazing tracks, cut at the Timmion Records Cutting Lab in Finland.

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

2023 Repress

Acid battleflied... Tribecore

Black Truffle is pleased to announce a new solo album by Eiko Ishibashi, her first for the label, following on from the duo recording Ichida alongside bassist Darin Gray. Hyakki Yagyō (Night Parade of One Hundred Demons) was produced for the ‘Japan Supernatural’ exhibition at The Art Gallery of New South Wales, Sydney focusing on ghost stories and folklore from the Edo period onwards. As with The Dream My Bones Dream (Drag City, 2018), the album is a response to troubling questions about Japanese history, and the influence of the past upon the present, but finds Ishibashi shifting further away from her earlier piano-led songwriting and showing a deepening interest in electronics and audio collaging.

The two sidelong parts of Hyakki Yagyō feature layered synthesisers, acoustic instrumentation, recited verse and field recordings, at times densely mixed but always with a subtle interplay of changing elements. The influence of European and American forerunners as diverse as Alvin Curran, David Behrman and Strafe Für Rebellion can be traced, yet at the same time Ishibashi evokes the flute and string sounds associated with Japanese storytelling, and draws directly on the subversive literary tradition of Kyoka (‘mad poetry’) with a verse by the 15th-century poet Ikkyū Sōjun repeated throughout the album. Revisiting what has gone before, re-thinking what is possible musically, as a way of articulating what else might be possible in the future.

As Ishibashi’s liner notes make clear, the album reflects an attention to persistent dangers, myths and evasions in Japanese culture – as well as the lurking uncertainties that might threaten positive change. This would seem to be manifested in the emerging melodies soon met by dissonance, erratic collisions and near silence, as well as the eerie manipulation of the double-tracked vocals. Ishibashi’s underlying concerns ring true more widely of course. Hyakki Yagyō is a work of multiplicities, and mystery, a landscape where nothing is as it seems at first, and everything is vulnerable to sudden violent interruptions.

The album was produced with regular collaborators Jim O’Rourke (double bass) and Joe Talia (percussion), and features dancer and choreographer Ryuichi Fujimura performing Ikkyū’s satirical tanka. O’Rourke’s immersive mix creates a three-dimensional effect, with Ishibashi’s various sound sources enmeshing and interacting in captivating ways.

Pressed on coloured vinyl and presented in a deluxe package with an inner sleeve featuring and artist portrait and liner notes from Eiko Ishibashi. Cover and label design by Shuhei Abe.
Back cover design by Lasse Marhaug. Mixed and mastered by Jim O’Rourke.

key selling points:

- Black Truffle is pleased to announce a new solo album by Eiko Ishibashi, her first since her acclaimed 2018 Drag City release The Dream My Bones Dream.

- This album finds Ishibashi shifting further away from her earlier piano-led songwriting and showing a deepening interest in electronics and audio collaging.

- Hyakki Yagyō (Night Parade of One Hundred Demons) was produced for the ‘Japan Supernatural’ exhibition at The Art Gallery of New South Wales, Sydney focusing on ghost stories and folklore from the Edo period onwards and is a response to troubling questions about Japanese history, and the influence of the past upon the present.

- Produced with regular collaborators Jim O’Rourke (double bass) and Joe Talia (percussion), O’Rourke’s immersive mix creates a three-dimensional effect, with Ishibashi’s various sound sources enmeshing and interacting in captivating ways.

- The two sidelong parts of Hyakki Yagyō feature layered synthesisers, acoustic instrumentation, recited verse and field recordings, at times densely mixed but always with a subtle interplay of changing elements, hinting at an influence of European and American forerunners as diverse as Alvin Curran, David Behrman and Strafe Für Rebellion.

- Pressed on coloured vinyl and presented in a deluxe package with an inner sleeve featuring an artist portrait and liner notes from Eiko Ishibashi. Mixed and mastered by Jim O’Rourke.

The repress of this must, originally released on 1995!

courtesy of Alex Picciafuochi

vinyl only

​

For that 15th Acid Avengers split EP, we welcome two providers of acid music who know each other very well, as they're also associated in the duo Nite Vision.

On the A-Side, English producer Perseus Traxx, known for his raw house & electro bombs on Bunker, Solar One, I Love Acid or his own imprint Future Flash.

On the B-Side, Barcelona-based producer Mantra, also know under his aliases Myriadd or Acid Phreex, and responsible of several ravey bangers on Pinkman, Creme Organization, Bunker and Polybius Trax.

Two virtuoso producers for five acid pearls!

Jori Hulkkonen was born and raised in a small town named Kemi with a population of 20,000, in the north of Finland. Since the early 80s, his musical influences have been on the side of electronic music, quite eclectic style for a 10-year-old boy who grew up in this period still marked by the seal of the Cold War. At the end of the 1980s, Jori's passion for electronic music was reinforced when he discovered its most abstract and minimal part: techno from Detroit and House Music from Chicago. Excellent DJ, he played in the best clubs and festivals in Europe. Jori Hulkkonen is an artist well known and extremely respected in the Nordic countries for his pioneering status, with his love of music and his involvement in making it known.

Label say : We couldn’t be happier to put this disc out there. Kush’s first time on wax (his Strictly 4 My CDJs series on his Bandcamp site is essential) is four tracks that just relentlessly provide for the DJ in you. Representing the new era of NYC dance music along with artists like AceMoMa and DJ Swisha, mixing footwork and other influences with classic house and techno forms to get busy._

_The whole 12” is lethal stuff that recalls Dance Mania at it’s most melodic and spaced out, or prime-time Boo Williams. “Earth Note” pulls bright synths thru swinging Chi foundations, “Ari Dub” rocks the bells and the bass in Bronx fashion, “Worldly Rhythm” piles UR melodies and techno grandeur on a vicious bassline, and “Reso”
closes things out with a devastating mixer full of blue-hot string work. Relentless and essential. TIP TIP TIP!_

Wu Hen is the sophomore album from Peckham visionary Kamaal Williams -- an invitation to elevate to a higher state Cinematic strings from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases.



Bringing groove back to the forefront, Wu Hen oscillates between celestial jazz, funk, rap and r&b reinforced with the rugged beat-heavy attitude of grime, jungle, house and garage - a self-styled fusion Kamaal describes as Wu Funk.



New players on this record include LA’s Greg Paul on drums (of Kalayst Collective), Rick Leon James on bass, Quinn Mason on saxophone alongside vocal features from cult rapper Mach-Hommy and Kaytranada collaborator Lauren Faith. Multi-talented renaissance musician Miguel Atwood-Ferguson (who has worked with Ray Charles, Flying Lotus, Dr. Dre, Mary J. Blige, and Seu Jorge) contributes signature strings, which add vivid colour and rich depth, evoking vintage David Axelrod.



Kamaal rose to prominence with the hugely acclaimed Yussef Kamaal alongside drummer Yussef Dayes and a catalogue of 12”s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu that became essential DJ tools. In 2018 he launched Black Focus Records with the Kamaal Williams debut The Return, which charted in the UK and saw sold out shows and festival appearances across Europe, North America and Asia.

Bob Marley & the Wailers’ LEGEND stands tall as one of the best-selling and best-loved albums in history, touching millions with a beautiful flow of Bob’s most memorable songs, from “One Love/People Get Ready” to “Get Up, Stand Up,” “Is This Love” to “Jammin’,” “Could You Be Loved” to “Three Little Birds,” and eight more classics . And now, in celebration of #BobMarley75, the album is available in a limited edition picture disc presenting the iconic cover shot backed with a previously unseen image of Bob.

This time, RØDHÅD tunes into a place of reflection and reformation on his most avant-garde project to date: WSNWG – BACK TO ZERO. Intended to provide a space for solo releases, the imprint comes at a crucial turning point, as society circles in on itself during the pandemic.

RØDHÅD christens the label with MOOD, his first ambient experimentalist release, comprised of his own solo archival material mostly from 2017/2018, working on a plane of spontaneity, devoid of set structures. The result is a life-giving, intimate and solipsistic work. Awash with field recordings, droning loops and subtle granulations, the sparse soundscapes on the 18- track album are deeply profound and satisfying.

Collating a myriad of emotions through this sonic venture, RØDHÅD demonstrates his kaleidoscopic nature as a producer of atmospheric and ambient soundscapes, as well as his legacy provider of dance floor energies. The album will have unique artwork contributed by DJ & producer Silent Servant.

The first-time teaming of Poland’s dynamic Marcin Wasilewski Trio and bigtoned US tenorist Joe Lovano brings forth special music of concentrated, deep feeling, in which lyricism and strength seem ideally balanced.

The alliance plays four new tunes by Marcin and one by Joe, as well as Carla Bley’s classic “Vashkar” (in two variations), plus collective improvisations with strong input from all four players; Slawomir Kurkiewicz’s bass skills are particularly well-deployed in the spontaneous piece “Arco”. Joe will be joining the Polish trio for a number of selected concerts in the autumn.

Arctic Riff was recorded at France’s Studio La Buissonne in August 2019, and produced by Manfred Eicher.

Personnel: Joe Lovano: tenor saxophone; Marcin Wasilewski: piano; Slawomir Kurkiewicz: double bass; Michal Miskiewicz: drums

Ramrock Red Records are incredibly excited to present Kameelah Waheed – straight outta New Jersey. Brought to our attention by London DJ/promoter, Barry King, Kameelah immediately delighted us with her direct, no messin’ delivery, compelling, earworm hooks and beautifully crafted lyrics.

Teaming up with Kelly Murray on co-production on the ‘Original Version’, Kameelah unleashes a stripped back, jazzy hip-hop vibe punctuated with a Donald Byrd’ish trumpet riff. The North Street gang take the Donald Byrd flavour a step further with a full on nod to the Mizzell Brothers in the first North Street West dusty funk production. Releasing digitally around April 24th as a five track EP with a further 7” vinyl release around May/June, ‘Holding On’ is set to tick a lot of musical heads boxes.

Growing up in an Islamic household, sneaking snippets of worldly music into her household was close to pulling off a major heist during Kameelah’s teenage years. She was introduced to the world of sound from MTV, rap and house music and the live bands of the 80's courtesy of her older sister, along with tribal and island music that her mother played. Kameelah was encouraged to consider song writing as a career option when she received an opportunity to write for Bunny Sigler of Philadelphia International Records. Heading up the hip-hop rock band band, Gov’t Cheaze in 2000, Kameelah performed at Philadelphia’s Black Lily Film Festival as well as a set at the very first Roots Picnic.

Previous releases have included ‘Traveling’ by Kameelah Waheed & GC, produced by Larry Gold, featured on the ‘Beat Generation Compilation’ released on BBE, making the Top 10 Most Played on UK urban radio stations. In 2011, Kameelah Waheed and Government Cheaze signed with indie label, Philly Through My Ear (PTME) founded by Will Smith Sr. The self-titled CD can be found on iTunes.

With the sole exception of Louis Armstrong, Nat "King" Cole was one of therare black artists to enjoy such celebrity in the Forties and Fifties. He began his career as a pianist, forming a trio in 1937 with guitarist Oscar Moore and bassist Wesley Prince, but he was so successful as a singer that he went on to make many recordings as a vocalist.

Capitol, his record label, was quick to capitalize on Nat Cole's velvet tones. The hits came one after another: Straighten Up and Fly Right (1943) sold a million copies, and Nature Boy (1948) and Mona Lisa (1950) sold over three 3 million each. Some of his other (numerous) popular hits can be found on Side B.

Nat Cole's popular songs, however — some were so sentimental they were even slushy — should never conceal his talents as a pianist and musician, which he displayed with the best jazz orchestras around (Side A), his own trio (Side C) or in outings with Latin rhythms (Side D).

His fame earned him his own NBC television show in 1956, while Presidents Truman andKennedy would consult Nat on complex racial issues. He also appeared in some fifty films, and continued to record profusely (at least a hundred of his titles entered the sales charts). Nat "King" Cole deserved his title: not only did he sell over fifty million albums, but he also belongs to those artists who wrote jazz history.

Visions Recordings present here two new jams from Alex Attias productions with a collaboration featuring long-time friends Mark De Clive-Lowe, Justin Chapman AKA Just One and Hajime Yoshizawa.The A side is a latin house bossa organic track with Justin on vocals and guitar over beautiful lush Rhodes and synths played by the incredible Japanese musician, Hajime Yoshizawa. The track is a 10 minutes’ journey into a jazzy soulful vocal jam. A summer vibe to warm us up before the sun comes back.on the B side, Mark de Clive-Lowe delivers keys and piano sounds on top of Alex ‘s funky and groovy mpc house beat for maximum impact on the dancefloor. Two strong tracks to have in your collection for those who love house music with soul and jazz.

Time for some magic as longtime friends Guti and Djebali present their debut collaborative LP ‘Almost Finished’. The two artists decided to get together in Djebali’s Paris studio when Guti was in the French capital in April. With no real plan besides the chance to have a jam together they ended up locked into a four-day session, producing six tracks. In the months that followed, both men roadtested the music around the world, receiving positive feedback everywhere they played. Feeling they’d created something special, the decision was made to arrange a second session at the end of the summer.They found themselves fully immersed in another intensive recording session, where the idea was to make more music based on the existing tracks to create a cohesive body of work that would form an album. Guti and Djebali composed an intro, an outro, interludes and new tracks that complemented those they’d made earlier in the year. Artwork has been specially commissioned from Mister Piro, a protégé of world-famous Madrid-based artist Okuda. The result is a dancefloor-focused collection of 8 tracks (plus a digital bonus) and stunning artwork, which comprise the ‘Almost’ Finished LP

ANNA HOMLER & ALESSIO CAPOVILLA - VASI COMUNICANTI

Vasi Comunicanti is the oneiric record born from the collaboration between L.A. performer and avant-garde artist Anna Homler and Alessio Capovilla, co-founder of Gang of Ducks.

Alessio Capovilla (1985, Turin, Italy ) is an Italian composer interested in sound modelling.
Imperfect sounds, unpunctual distortion and unsuitable atmospheres are constantly researched by Alessio.
A dialogue between ancient tools and new technologies through synthesis, computer music and field recording, crossing beats and genres towards something not easily definable.
Co-founder of the collective Gang Of Ducks, on which he's published two releases ("NO" and "Eocity") under the moniker of XIII, alter-ego through which he mainly examines the most tactile and digital part of his sound.


Anna Homler is a multy-disciplinary artist working on a blurred line between music, performance, spiritual and visual arts and giving birth to several different projects.
In 1985 she released, in collaboration with composer Steve Moshier, the seminal album "Breadwoman & Other Tales", shamanic and meditative songs brought to life with astonishing live performances.
The record was then re-released in 2016 by NYC label RVNG Intl, bridging the gap with a new generation of listeners, discovering the universal and unique world of Homler.
Capovilla, who was born in the same year of the original release, is one of them. His work focuses on imaginary landscapes and oneiric feelings. He has released two records on Gang of Ducks with his XIII moniker, dedicated to his digital and more computer-oriented sound.
The two of them met for the first time for an improvised live performance in Torino in 2017, after which they decided to spend studio time together exploring where this connection could lead.

The record flows along 5 tracks, with Capovilla taking care of synths, drums programming and audio engineering, and Homler singing in her melodic phonetic language, mixing unique voice and sound effects .

"De'la cocce" moves around on a slow quasi-dub rhythm accompanied by whistle and vocal interventions. In "Ricordo" Anna's voice is more prominent, travelling through a digital dimension made of flutes, Buchla Music Easel sequences and rainsticks.
The B side starts with "Bread Dance", where different layers of vocals and drums repeat themselves in an obsessive and haunting atmosphere.
"Be'ya Sa'di" is an ambient and cinematic piece, which quietly introduces "Mem", the most emotionally and intense song of the collection, transporting the listener into a different dimension.

The whole record creates a world with no geographical coordinates, where humans meet their primary feelings in a suspended time, escaping the present and the intelligible world.

Can you truly believe this record was released in 1965 ? Forging a brand new hybrid of space-age, easy listening and spy jazz the American pianist and composer born in New York in 1927, put together one of the cornerstone of the genre. Before switching to the Moog synthesizer ( right on time with the moon landing in 1969) he had some very influential theme music releases on MGM Records and Command. But The Man From O.R.G.A.N. was a monster in itself. How could you go wrong with this trio of guitars, a bassist and three guys playing percussion? And Dick himself bringing the Lowery Organ (and the Theater model in particular) to the front of the stage ? Dig yourself !

Blowing in like a cool breeze on a sultry Caribbean evening, LA reggae veterans the Lions drop by Names You Can Trust with a perfectly timed sentimental summer blast. Lovingly taken for another dance by the west coast crew, the Derrick Harriott 1967 rock steady classic "The Loser" is canon, a masterpiece of Jamaican sweet soul instantly identifiable from its first chiming piano notes. In a nod to the "disco mix" DJ versions pioneered by Harriott, the Lions mic man Black Shakespeare provides a period-perfect chat backdrop to the Impressions-istic harmonies of the band, giving the tune an au courant spin while staying wide of heavy-handed faux ragga. All said, we wouldn't have felt right about releasing this without running things by the family, so we consulted Duane Harriott who approvingly called it "a brilliant take on one of the best rock steady songs of all time! Not an easy one to cover well and the Lions smash it out the park."

The summer sun is high in the sky. A cocktail in hand. The soundtrack? Chiara. Steeped in Latin rhythms, produced with the golden touch of Francesco de Bellis (Francisco), this two-tracker is set to a serious groove. Beats chatter and mingle in the evening heat of “Rec”. Bass smoothness and brassy blasts are sweetened by Chiara’s vocals before dramatic strings flash like lightning, igniting this already energy-packed encounter. “Studio Line” continues that theatrical touch. Bold keys, echoing the cinematic grandeur of Italy, are supported by dynamic drum patterns as a vocal sample circles. Styles spin and spiral, the track twirling between genre tags refusing to be pigeonholed. Elements of East and West glide and pirouette hand in hand across this stunning 7”, Chiara offering the perfect soundtrack to dance from dusk to dawn.

Brigitte Barbu's Muzak pour ascenseurs en panne (Muzak for broken lifts) marked a bold new addition to the Circus Company repertoire. In a gilded haze of resonant tones conjured by traditional and non-traditional methods, Brigitte Barbu created an inviting sound world brimming with life and doffing its cap to 1970s signal processing. Out of such sonic research and development comes a wealth of material for other artists to sink their teeth into, and so we proudly present an accompanying remix EP that takes Brigitte Barbu's distinctive stamp into new territory.

Roman Flügel makes a first appearance Circus Company with two versions of "Dae-Boj DeMoya" that showcase this constantly versatile lynchpin of European techno. First up is his "kraut remix", which unsurprisingly channels the grainy beauty of Neu! and early Kraftwerk, before his "synth remix" dials back the drums and diverts our attention towards an expansive arrangement of melodious flourishes from classic synthesisers.

John Tejada and Reggie Watts reunite as Wajatta following their triumphant LP Don't Let Get You Down on Brainfeeder to deliver a particularly inventive, soul-stirring vocal techno version of "Couvre chef en peau de taupe". Watts soars over the signature warmth of Tejada's production, while Brigitte Barbu's mysterious tones linger in every fold of the mix.

Matthew Herbert offers up a "Butter Dub" version of the album interlude serie "Trou Vert" that pits his signature stark sampling methods against Brigitte Barbu's material and creates a fruitful dialogue of crooked 4/4 mechanics with all the playful curiosity of the original and a strong dose of Herbert's inimitable musical personality.

What is Randolph & Mortimer? A folk duo, a pair of accountants, a techno act…a law firm? What started off as an ‘art project’, influenced by 80s Industrial, 90s rave music and inspired by the documentaries of Adam Curtis, has morphed into a full on New Beat / Body Music dance-floor moving machine. Their studio releases have gained support from some of the biggest underground DJ’s in the world like Ancient Methods and gone on to top various genre sales charts on Bandcamp. Whilst the R&M live shows have seen them share bills with Godflesh, Youth Code, PIG and 3Teeth.

In 2019 it was time for R&M to throw a marker down and so came “Manifesto For A Modern World”, the debut album comprised of tracks from the “$ocial £utures”, “Hope Tragedy Myths” and “Citizens” EP’s plus some additional songs. This album is basically a greatest hits of Randolph & Mortimer. A statement of intent. All killer and no filler. The original limited edition CDs and tapes sold out and it had some incredible reviews. A Model Of Control called it “An absolutely outstanding release” and super cool New York DJ Andi Harriman (Synthicide) made it one her of top 10 albums of 2019 on Post-Punk

So here we are in 2020 and the Randolph & Mortimer story has seriously stepped up a gear with this double vinyl version of the album featuring all Manifesto tracks plus the acid styled dance-floor favourite “Apply Yourself” and four brand new tracks (“Crystal Peaks”, “Stateless”, “What Are You?”, “Fantasy Land”) which make up a whole new EP.

Limited edition of 400 copies with folded poster/insert and sticker.

Fredfades and Jawn Rice call on the extended family for a remix package. Featuring material from their sizzling 2019 LP Jacuzzi Boys, a track from their upcoming swelter Luv Neva Fades, and some previously unreleased pieces, the Norwegian House duo gets the remix treatment from Chmmr, Deep88, and Hugo LX while Fredfades & Jawn Rice goes OG on a demo version from their highly anticipated LP.
Basking in the warmth of the duo’s analogue sounds, Chmmr transports Show me How to the farthest recesses of the galaxy with some spacy synths and cool reverbs blowing through Dreamcast’s sensual vocal before Fredfades & Jawn Rice tempers Travels through Air with an OG lean on the A side.
Meanwhile on the B-side; Deep 88 carve a yawning a trench for Stimulator Jones’ airy vocal before Hugo LX puts a bounce in the step of Mutual Love to close out the exciting remix package.
The sound of Fred and Jawn peek through consistently, with each artist putting their own distinctive stamp on the originals. Elements of Jazz, Soul and Hip Hop create a heady fusion of sounds breaking loose from the House foundations for this series of heavy steppers.

Purple Vinyl

Opening with "Absolut Bond (Sascha Müller My Name Is Acid Mix)" the pairs first collaboration effort weighs in a deep, hypnotic take on spiralling Acid music for strobe-lit underground raves whereas their second conjunctional joint "What I Mean (Great Evening Mix)" brings forth a darker, more pumping and minimalist approach whilst employing a creepy little motif that gets under your skin like the main theme from your favorite horror flic. On the flip we see Sascha Müller going on a double solo tip with "Work My 303", another masterly crafted Acid piece harking back to the finest twisted clubbing moments of the 90s, before the final cut "Generator Man" explores grinding, distorted Broken Techno / Wonky Techno realms, sucking each and every listener into a cold dystopian, post-apocalyptic future within seconds. Get this.

1970s soul group established after the legendary producers and songwriters Holland, Dozier, Holland left Motown Records to start their own label group

1970’s Invictus Records album features the distinctive vocals of General Johnson and this is the last album with
the original quartet. Highlights include.

Album highlights include ‘Hanging onto a Memory’, ‘Patches’, ‘Everything’s Tuesday’

Reissued on 140g classic black vinyl with original artwork and printed inner sleeve

A follow up to 2018’s Jazz On The Corner which has now sold over 10,000 copies, and last year’s equally successful Soul On The Corner, this compilation see Martin and Eddie return to the world of jazz for another bite at the cherry after Volume one was declared to be “the best jazz compilation of the last 20 years” by Jazz FM’s Chris Phillips

The concept came from a radio show that Freeman and Piller put together for BBC Radio 6 Music which was so well received that the pair decided to dig deep into their record collections and build a double album of some of their favourite tracks.

The concept is simple: an album packed full of jazz gems which they hope are slightly off the beaten track. This year we have hidden gems from Nina Simone and Nicola Conte, classics from Roberta Flack, Roy Ayers and The MJQ, whilst the new British jazz generation is represented by Emma Emma-Jean Thackray. Running the gamut from hard bop, to progressive fusion via Latin beats, it’s an exhilarating listen from start to finish.

Siti of Unguja tells the story of pioneering women, of the ‘golden
voice’ of Siti Muharam, heiress to the singular legacy of her great
grandmother, the mother of taarab, Siti Binti Saad.

On the Corner teases this first taste of a landmark recording that the
label embarked upon two years ago on Zanzibar. Siti of Unguja has a
transformative atmosphere, brimming with romance, passion and
protest.

Zanzibar is an Island archipelago that lies 6 degrees South of the
equator and 30 miles off the East African coast out in the Indian
Ocean. Known for its spices, traditional Dhow sailing boats and being
a mercantile trading capital of Swahili culture.

The modern history of Zanzibar can be animated through the life and
legacy of one artist, Siti binti Saad. Born in 1890 in the small fishing
village of Fumba, on Unguja (Zanzibar’s largest island), she became
the first Zanzibari recording artist and her recordings sold in tens of
thousands across the swahili world.

The tracks recorded for Siti of Unguja demonstrate Siti Binti Saad’s
eclectic influence on Zanzibari taarab and her great granddaughter,
Siti Muharam imbues the compositions with feeling. Siti Muharam’s
golden voice carries the poetry and invects a timeless passion. It is
Muharam’s deep humility and love that brings the spirit of these two
women together.

With Sam Jones at the controls, taarab’s conservative layers were
opened up and given more than a little wiggle room. Under the
direction of Matona, the recording of this album paid homage to Siti
Binti Saad’s innovations by bringing back the percussive Kidumbak
style of music that originated on the streets of Zanzibar. By strippping
back the typically dense string section of taarab a space was created
for Muharam’s beguiling timbre that is gilded with emotion.

"Electronic landscape" tells a story. The heartbeat is so strong within the deep darkness and is waiting for some love and the joy of the next rendez-vous.

Mechanic will bring you into this world side by side with an extraordinary remix of DJ Surgeles.

Limited picture disc edition!

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...

MASH UP Bootyyyyy Hack Sabbath The Wizhard (WHR001)

One of the biggest selling hits by T. Rex from late spring/early summer 1971. These bare alternative versions were recorded in London during January 1971. 500 copies pressed on red vinyl in T.REX House Bags, 500 copies pressed as picture discs. All royalties go to The Light of Love Foundation (These recordings and many more were amongst the tapes stolen from Marc & Gloria’s home in 1977, some of this material was returned to The Light of Love Foundation last year). This year sees T. Rex inducted into the U.S Rock n Roll Hall of Fame in May and has already seen the profile of T.Rex heightened.

DNGDNGDNG is Dengue Dengue Dengue's new alias for this release of extra sensory perception. The duo have projected rhythmic visions of lost continents, unknown worlds and the unseeable past and future that is present all around us. By channeling rhythmic patterns from the matrix they're able to translate the waves of radiation around us which originated at the cosmic event which created the universe. DNGDNGDNG reach deep into their sonic imagination to draw from interlocking time signatures and variant tempos. From the cosmic interference and mathematics DNGDNGDNG create a polyrhythmic theme that brings the sound of continents lost and imagined to our ears. Dengue Dengue Dengue have established themselves as one of the most pioneering artists on the leftfield electronic scene in recent years with heavyweight support by the likes of Boiler Room, Resident Advisor and Bandcamp weekly.

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

Searching for new languages beyond the bitter and nihilist dialect of punk, bands like Gaz Nevada, Litfiba, CCCP, Diaframma, Neon, and many others, began spreading their message all along the Italian peninsula during the early eighties and many of the members of these bands are now some of the best musicians/producers in the Italian independent music panorama (Giovanni Lindo Ferretti, Piero Pelù/Litfiba, Bisca, etc.). 16 tracks by 16 Italian underground bands from 1982-1984: bands who faded into oblivion before ever releasing anything of their own on vinyl. It should, however, be stated that if these sixteen bands had been found on an album, EP or single, they certainly would not have lowered the average quality of albums in that genre…not even in terms of sound quality, which has actually been improved upon here (considering that the original tapes had been lying around collecting dust for at least a quarter of a century) by careful restoration.

Italian producer Clap! Clap! returns to Bristol's Black Acre with his third album, ‘Liquid Portraits’. Born and bred in Florence, Cristiano
Crisci’s musical career extends back to the mid-90s where he started out as a rapper, before picking up a saxophone and exploring
both jazz and jazz/punk fusion with Trio Cane, and then returning to his electronic roots with A Smile For Timbuctu project - a
collaborative effort that released four albums and performed across Europe. By 2008, Crisci decided to strike it out on his own as Digi
G’Alessio, channeling the same hip-hop meets electronic music energies as those animating the nascent Los Angeles beat scene for a
string of EPs and albums. Soon Crisci hit upon a new formula when he started combining samples from the African continent with
energetic drum programming. The results led to the birth of Clap! Clap! in 2013, which has since been recognised and supported by the
likes of Paul Simon and Gilles Peterson. The stripped-back, high-energy yet inventive sound caught the attention of Black Acre with
whom Crisci has been working with ever since, including his first and second albums ‘Tayi Bebba’ and ‘A Thousand Skies’. Returning
to Black Acre, Clap! Clap!’s third album once again deploys his inimitable technique in fine style, however with new eyes as this new
project signifies a definite shift in his work having spent the last few years learning the art of mixing which has lead to some
breakthroughs: “In recent years I’ve spent a lot of time studying essential mixing techniques. I then built an acoustic-treated room and
set up my new studio. I started to convert digital into analogue and vice versa with good converters and achieved sounds that I’ve
never heard before from my speakers. This had a huge positive impact on my mixes and result on my music.” Entitled ‘Liquid Portraits’, the album - as the name suggests - is a collection of sonic paintings, an attempt at capturing furtive, subconscious memories through sound. The tracks reference trips Crisci took and people he met – from southern Italy to Hokkaido via the Kif Mountains of Morocco – as well as more abstract ideas of loss, calmness, and childhood. Having been approached by Paul Simon to work on his 2016 album ‘Stranger To Stranger’ after Simon discovered ‘Tayi Bebba’ through his son, Clap! Clap! is no stranger to collaborations and this album features a small cast of talents, such as south Italy percussionist Domenico Candellori (‘Southern Dub’), Belgian artist Martha Da’ro (‘Moving On’) and harpist Kety Fusco (‘Rising Fire’)

Maestro Egisto Macchi (Gruppo di Improvvisazione Nuova Consonanza - The Group) recorded this mystical ethnographic trip to the South of Italy imbued with its rites, superstitions, magical symbols and popular mythologies in 1977 for the TV Documentary 'Sud e Magia'. Astoundingly evoking the intensity, magic and psychedelia of its subject with the use of inventive and unconventional techniques (aerophones, crystal glasses, prepared piano), Macchi harmonizes kindred spirits from transcendental, religious and metaphysical sound forms. Produced in the Feeling Records Studios, Turin, which had the highest level of equipment and technicians, this pinnacle of experimenal library music is released for the first time with audio restored from the original masters tapes.

This is the 4th ep that continues a volume of a 5 ep project. Its own kind of album type edition so to speak. Destination celebrates the drum and bass genre with its own style reminiscent of Aphex Twin and Squarepusher. type programming. It fuse’s eclectic beats with a more common flow of bass licks that cruise throughout the track. With a more psychedelic presence this track offers a complexity of rich sounds that will encapsulate any avid lover of electronic music from the headphones to the dance floor. Bouncy and fun yet with deep exploration of ‘Abstract sounds’ bringing a serious edge, Destination is equipped for any explorer seeking any type of Destination. Then comes Arrival. Not an ordinary piece of music, with the artist expressing themselves from past musical influences, to curve their own piece of storytelling art, through audio sonic means. An inner world reflective explanation can be as follows - An epic piece revealing the adventures of seeking depth, from ones dense conscious reality, tribal like mannerisms, traveling to a higher frequency of light and wonder, breaking through to the heart centre of ones own unique truth. By doing so, welding together the whole aspects of being, Arriving at ones own true balance of self. Reuniting with the dense tribal like self yet with a complete transformative understanding of life and self in relation to life as a whole. Ones outer world of reflective explanation can be this - starting from earth, leaving the tribal terrains of earth based reality, exploring out into the cosmic wilderness, looking back from a distance, witnessing Earths magnificence and enigmatic beauty. Continuing to swim out to the depths of the galaxy to ‘Arrive” at an unexpected splendour unknown to the human consciousness ,to a cosmic giant….. giant what? This remains to be unseen! It’s left to the imaginators discretion of wonder within the experience of the audio sonic delights presented in,….. ‘Arrival’.

Gwendoline is the project from Micka (a.k.a. Mikoune) and Pierre (a.k.a. Daniel). Based in Rennes, musically influenced by the classic cold wave which originated in their country, precarious and aimless, they shape Gwendoline to their own image. Pure DIY ethics, quick recordings at their home studio. Dark lyrics, self- mockery, criticism, sarcasm derived from the world’s mediocrity.

“Après c’est gobelet!” is their first album. Melodic but dark, ironic but direct, sophisticated but absolutely minimalistic. A testimony of today’s world viewed under a grey prism of sarcasm and wrapped around beautiful melodies and rhythms.

We are really happy to present you this very special record on a limited, hand numbered edition of 140 copies, housed in a matt finish sleeve and including a download code. The digital download includes two bonus tracks.

Decha’s Hielo Boca LP was released in early 2019 and quickly was embraced by many as an exceptional experi- mental yet very personal and soulful piece of art. Artist Viktoria Wehrmeister (half of renowned duo Toresch along- side fellow Düsseldorfian Tolouse Low Trax) is already working constantly on her sophomore album for Malka Tuti that will come some time in the near future. In the meantime, longtime fans of Viktoria, many friends of the label asked to participate in the remix project that fol- lowed Hielo Boca. On this record we will present 4 remixes that are as imag- intive, inspirational and clever as the original composition. Tapan, Eva Geist, Khidja & Philipp Otterbach took upon themselves to reconstruct Viktoria’s ideas in very surpris- ing, intriguing and “out of the box” ways.

‘SAWAYAMA’ is the debut album from Japanese pop auteur Rina Sawayama - an exploration of identity, family, gender and sexuality, set to a backdrop of future-facing, genre-splicing pop music. ‘SAWAYAMA’ is an exciting first step from an artist unafraid to push pop into new realms. Championed by Pitchfork, The New York Times, The Guardian, BBC Radio 1 (Hottest Record In The World), NME, Dazed, The Fader and many more, Rina Sawayama is heading out on tour this September, October and November with an all-new live show.

Midnight Resistance ist das 4. Album von The Toxic Avenger. Und zweifellos das außergewöhnlichste, bei dem seine musikalische Handschrift am besten zur Geltung kommt. Das Album gleicht einer Symbiose aus unterschiedlichen Einflüssen und Elementen, von energiegeladenem Elektro bis zu Popavancen, vom klassischen Song bis packenden House der 90er Jahre, vom neoklassischen Piano Revisited bis zum aktuellen Synth-Pop. Ein Album, bei dem der Fokus klar und direkt auf Emotionen und Gefühlen ausgerichtet wird und die Technik bewusst einen Schritt zurück tritt. Keine Frage - es ist auch sicherlich das Genre durchbrechendste und dabei offenste aller seiner Alben, bestückt mit echten Pop-Singles, wie die berauschende "Lies" (feat. Look Mum No Computer), die nostalgische Ballade "Mandala" aus den 80er Jahren (feat. Ornette) oder der packende Popsong "Rent Boy" (feat. Jay-Jay Johanson). Ein besonderes Highlight des Albums ist die Zusammenarbeit mit Maxence Cyrin bei dem sehr ausdrucksstarken und emotionalen Titel "On My own". Die wohl größte Überraschung dieses Al- bums besteht darin, dass Toxic Avenger bei "Les Heures" das erst Mal selbst singt und der Platte eine ganz besondere Note schenkt. Zum Abschluss beglückt Toxic Avenger mit zwei besonderen Gäste. Diese runden die Platte mit der luftigen und hedonistischen Teilnahme von Simone bei "Falling Appart" und dem Spoken Word und immer ungewöhnlichen Flow von Diamond Deuklo auf dem treffend benannten "L'Avenir d'Avant" genussvoll ab. Über zwei Jahre beschäftigte sich Toxic Avenger intensiv mit modularen Synthesizern – aus seiner leidenschaftlichen Klangforschung ist nun ein neuer Sound entstanden, der die Seele der Synthesizer "lebendiger" und organischer erscheinen lässt. Hier ist ein beeindruckendes Werk eines "Klangchirurgen" entstanden, dem es gelingt Stimmen im Detail zu sezieren und ihnen eine magische Aura zu verleihen und dabei ebenso eine intensive Reise in die Tiefen von Melodie und Klangwelten unternimmt, ohne den Fokus auf die Songs selbst zu verlieren. Dieses Album wird zu einer Zeit besonderer Aufmerksamkeit und Sichtbarkeit für The Toxic Avenger veröffentlicht, der gerade die Musik für Hugo Boss Parfum kreiert hat: (Europa/LateinamerikaKampagne für TV/Kino und Web for the World, für zwei Jahre sowie die Musik für die nächsten Web-Werbung von Armani und Yves Saint Laurent unterschrieben hat

AD and Worldline deliver Toy Opulent’s third release - and it’s first vinyl imprint.

Soft Serve Angel projects a clear and present sense of techno drive and a delightful symphony of melodic synths. The beginning is minimal and evolves into a full cacophony of beauty and craftsmanship, layered with the vocals of the mysterious Crisis Luxury. Here, meanderings of childhood tones echo from an East L.A. ice cream truck. From the hailed vehicle emerges the soft serve angel - with a vanilla cake cone prepared, just for you, on a sunny California day. This track is incredibly versatile.


A Soft Serve Angel remix is presented to us by a master of his art, Persuader. He shows us, once again, that minimal drive that we can all count on to provoke thought and movement with modern engineering skills and a familiar old school flair.


Bubble Gum Eyes is minimal perfectly pitched protocol of TR-909 love with a morphing bassline and epic-scale science-synth work. The track addresses both a question and an answer.


Rocket POP! I mean, who don’t love a good rocket pop? This dubby dub dub mix contains fragments of the entire release that sums it up, and finishes it off perfectly - the cherry on top of the soft-serve angel.

"On this seven track album we hear MinaeMinae (alias Bastian Epple) playfully scurry through his dense soundscapes on a tightrope. The sounds lying somewhere on the crossroads of psychedelic trance, exotica, ambient and melodic dance music – veering further off orbit with nontypical rhythms and dystopian percussive patterns.

MinaeMinae understands musical material similar to documentary footage which he would cut up, repitch, and rearrange freely. Most of his tracks are a mix of analog, synthetic sounds and recordings of ethnic percussion and guitar. Recently Bastian began experimenting with modular synthesis and self made tape echoes - seeking a more reduced and minimal composition style compared to his earlier quite whimsical tunes.

Growing up in a small village in southern Germany, Bastian was never interested in kitschy folk sounds that everyone would mindlessly clap and sing along to, rather he took solace in the time he would spend delving into patterns and repetitions that pleased him. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to continue on this self-taught path of developing his musical language. He then started to experiment with a tape recorder and layering sounds with non-musical samples, which his former village friends found too weird – then to eventually working with a small freeware DAW. Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe – initially enrolled in music but the frustration and doubt of not being able to produce the music he wanted led him into film and documentary media. During his studies, Bastian was living with Florian Meyers (Don’t DJ) for several years where they would philosophize life and music into the wee hours – he encouraged Bastian to start sharing what he’s been quietly working on all these years and slowly emerge from this anonymity which eventually led to his first release on Human Pitch last fall.

Disproportionate forms, color changes, backdrops weaved into the foreground, all lay the dense earth for Gestrüpp through Benjamin Kilchhofer’s artwork."

Limited edition 180gram premium vinyl pressing and 3 bonus tracks. Released in June 1958, this album (originally issued under the title Little Girl Blue on Bethlehem BCP-6028) was Nina Simone’s first studio recording ever.

Made when she was 25-years old, the album was a huge success and led to a tremendous career that would yield over 80 studio sessions. It was originally issued on the Bethlehem label and features the singer/pianist backed by bassist Jimmy Bond (who had been a member of the Chet Baker Quartet among other groups) and drummer Albert “Tootie” Heath (one of the celebrated Heath brothers, along with saxophonist Jimmy Heath, and bassist Percy Heath). Many of the tracks from this LP would become true classics, among them her perennial versions of “My Baby Just Cares for Me” and “I Loves You, Porgy”. Simone’s piano is well featured throughout the LP, but “Central Park Blues” and “Good Bait” are the only purely instrumental tracks.

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.

Kidbug is a love story, one which emerged through a fateful connection when Netherlands-based Marina Tadic (Eerie Wanda) and Australian transplant Adam Harding (Dumb Numbers) met at Joyful Noise Recordings' annual holiday gathering. After enlisting their friends Thor Harris (Swans), Bobb Bruno (Best Coast), and Dale Crover (Melvins), Kidbug emerges fully-formed to present their self-titled debut, 11 songs of beautiful, fuzzed out shoegaze dream pop. Recommended If You Like: My Bloody Valentine, The Jesus and Mary Chain, The Breeders, Pixies, Pavement, Sonic Youth, Stereolab, and/or, Eerie Wanda, Dumb Numbers.

Finland’s Luke Lund is one of the most inspiring modern dub aesthetes. Using odd number time signatures, warped bottom end, and proper experimental murk, HOPIUM creates fiendishly innovative electronic groove and atmosphere. Existing in a far away land tucked north of techno, dub, and noise where all blend and connect, HOPIUM is a wise encoding of fear, frustration, anxiety, and false hope. Luke Lund’s sound is unquestionable sincerity of exploration, equally inspired by Finnish electronic masters such as Mika Vainio and Ilpo Väisäinen, as well the legends Justin K Broadrick and Mick Harris – as such, absolutely at home on our label. Releasing on labels such as Youth, Co-Depedent, Totes Format, as well his own encyclopedic Terranean Recordings, Luke’s catalog of work continues to expand as does his global profile – assisted by touring Europe and playing at venues from Berlin to London to Helsinki. All tracks produced and recorded at Solace, April 2018 – June 2019. Mastered by Daniele Antezza at Dadub Mastering Studio. Design by Luke Lund. Executive producer Kurt Gluck.

Like the Grass documents and reimagines a warm summer's evening in Basel, Switzerland, in June 2018. Four musicians convened: Johannesburg composer and bow expert Cara Stacey, South African violinist and composer Galina Juritz, German harp player Antonia Ravens and Swiss guitarist and sonic explorer Beat Keller.

Together they improvised using a graphic score titled "Luhlata njengetjani" ("Green like the grass" in the southern African Siswati language), inspired by the rivers of eSwatini, blackbirds in the parks of Basel and the evocative, red-flowered umcinci or erythrina tree. The South African umrhubhe mouthbow's dense harmonics folded around skittering, fractal violin loops; temperate swells of guitar were punctuated by agitated harp pings and the hearty thuds of Ugandan and Mozambican lamellophones.

This joyous, unfettered outpouring criss-crossed between southern Africa and Europe, forwards and backwards, for the following two years. The fruits were unpicked and rewoven into new mosaics by Cara, Galina, and two of our favourite recording artists, Object Agency and Hello Skinny.

Recorded as part of Cara Stacey's studio residency in Basel, Switzerland, supported by ProHelvetia Johannesburg.

Black Ark In Dub is another piece of Lee ‘Scratch’ Perry’s limitless musical puzzle.

Featuring a bedrock of deep and heavy rhythms recorded at the Black Ark just before its demise, Black Ark In Dub features bass heavy spooky dub deconstructions of ‘Jah Love Is Sweeter’, ‘Ethiopia’, ‘Lion A De Winner’, ‘Open The Gate’, ‘Guideline,’ and ‘Mr Money Man’, along with an embellished dub version of Ras Keatus I ‘Dreadlocks I’ and the much sought after ‘Guidance’ a longime Jah Shaka killer exclusive to this set.

Originally released in 1981 the hard to find Black Ark In Dub remains a frozen sonic timepiece, captured at the beginning of the end of one era and poised at the start of another.

Black Ark Vol. 2 is another piece of Lee ‘Scratch’ Perry’s limitless musical puzzle. It’s a bedrock of deep and heavy rhythms recorded around Jamaica =just before the demise of Perry’s famed Black Ark Studio. Black Ark Vol. 2 is the follow up album to the acclaimed Black Ark In Dub that unsurprisingly for an Upsetter release, took a different path. More vocal oriented, the album features extended dubwise cuts of (former wife and co-producer) Carol Cole’s ‘Ethiopia’, The Originals ‘Got To Be Irie’, Junior Byles ‘Mumbling & Grumbling and The Inamans remake of the Bee Gees hit ‘How Deep Is your Love’, along with an alternate take of the Silvertones roots classic ‘Give Thanks’ with flute overdub and a couple of solid covers from Third World lead vocalist Bunny Rugs. Originally released in 1981 the hard to find Black Ark Vol. 2 remains a frozen sonic timepiece, captured at the beginning of the end of one era and poised at the start of another.

Two Past Inside the Present artists that have previously released works on the PITP label come together for this anonymous split ep. 19 minutes of lush, slow-moving ambient trails. With this record we want listeners to go in blind, without ego or expectation, with the sole focus on what truly matters: the music. The artists and titles will remain anonymous until the vinyl sells out and then we will reveal all.

Saturday Night is the debut LP by old friends and collaborators Alex Twomey, Matthew Sullivan, and Sean McCann. Recorded over numerous evenings at the artists’ homes, and completed just before the birth of Matthew’s daughter, Flora. The album became an excuse to spend time with one another as well as perform. As the trio ordered take-out, drank scotch, smoked on patios, laughing off the weight of reality–they stumbled into moments of musical focus.

This album has a prism of fidelities. High and low resolutions press together as the environment blows through the instruments. The woozy, side-long titular track of hesitant cello and pianos opens the record. Quiet music with blemishes and inebriated pauses, breathing an alleviated air. Phrases with failing propellers, teetering between melodic and apathetic. The true speed of their Saturday nights.

Side two opens with “London On My Mind.” Reflecting the other pole, manic cassette treatments duel over Twomey’s placid keyboard, ultimately breaking into a little joke on the piano. “Collection” features guitar by Sullivan, remembered for his thick fog of work under the alias Earn. With Sullivan’s return to the instrument, he is joined by Twomey on upright piano and McCann processing the room in real-time. The brief final work, “Bird,” recalls the style of the group's private press cassettes, The Bird and Charlotte’s Office: poorly-played pleasant-hearted music.

Each edition of the record includes a 20-page photo booklet of stills documenting the recording process.

Return of the dirt. Two versions from the earth, from the dirt, our music includes that "what's in this pipe mix", the original home recordings of Orlando Florida session players directed by Tony Cole for Central AYR. This is PPU's teaser for their 10 track album coming this summer.

REMIXES BY VIVIAN KOCH, THE EXALTICS, CARL FINLOW, MESAK, JOHANNES ALBERT, RNDM, RISING SUN AND PHIDIAS.

COVER ARTWORK BY PIECE OF PIE
MASTERED BY SVEN WEISEMANN

Swiss jazz bliss! We Release Jazz is very, very, VERY happy to present its sixth release (following Ryo Fukui’s Scenery and Mellow Dream, Le Cercle Rouge’s soundtrack by Eric Demarsan, Stuff Combe 5 + Percussion, and Marc Moulin’s Placebo Live 1971) coming straight from its beloved hometown of Geneva. Boillat Thérace Quintet’s self-titled album is available for the first time since its original limited private pressing in 1974 and comes as a vinyl LP as well as a digipack CD* (with 3 never-heard bonus songs). Full of prolific and inspired local clusters and boosted by the recently launched Montreux Jazz Festival, the Swiss jazz scene was vibrant and inventive in the 1970s, notably in the region surrounding Lake Geneva. This is precisely where jazz activist and brilliant pianist Jean-François Boillat and wind instrument master Raymond Thérace formed their quintet whose dazzling debut album was recorded in 1974. An absolute Lemanic gem of the soul-jazz/modal kind, the self-titled album includes superb covers of Freddie Hubbard’s “Straight Life”, Keith Jarrett’s “In Your Quiet Place”, and Rahsaan Roland Kirk’s “Sweet Fire”, plus groovy original compositions from the Boillat-Thérace crew. Helvetian fun facts: the velvety “1224” is dedicated to Geneva’s public transport line Tram 12, and one exquisitely funky track on the album is named after the famed yet elusive (and locally legendary) Swiss Marmite: “Cenovis”! This is reissued in conjunction with Boillat Thérace Quintet’s My Greatest Love featuring Benny Bailey (1975), also available via We Release Jazz. *The CD version includes 3 bonus tracks (Herbie Hancock, Wayne Shorter, and Claude Engel covers), never released before.

More Swiss jazz bliss! We Release Jazz (Ryo Fukui’s Scenery and Mellow Dream, Marc Moulin’s Placebo Live 1971…) is madly happy to unleash another reissue from Geneva’s very own Boillat Thérace Quintet. The My Greatest Love album features none other than bebop and hard-bop legend Benny Bailey and is available for the first time since 1975 on vinyl LP as well as digipack CD. Galvanized by the creation of the Montreux Jazz Festival in the late 60s and lively local scenes, jazz music was healthy and booming in Switzerland in the 1970s. One band that beautifully captured this energy was Jean-François Boillat and Raymond Thérace’s Boillat Thérace Quintet whose self-titled debut and impressive Montreux appearance set the tone for quality Helvetic jazz in 1974. Following this first excellent impression, the Boillat-Thérace ensemble connected with American trumpeter Benny Bailey and recorded the magnificent My Greatest Love in May and June of 1975. The modal, hard bop and soul-jazz gem includes first-class takes on Freddie Hubbard’s “Gibraltar”, Kenny Dorham’s “Blue Bossa”, and Jimmy Heath’s “Gemini”, plus deliciously funky originals from the Geneva crew, including the upbeat “Le Colin” and the swaying fan-favorite “Prompt” and its thrilling solos. Bailey is on trumpet and flugelhorn, Boillat on Fender Rhodes and piano, Thérace on saxophone and flute, Roger Vaucher on Fender bass, Eric Wespi on drums, and Rogelio Garcia on percussion and tenor saxophone…heavy sessions and deep vibes! This is reissued in conjunction with Boillat Thérace Quintet’s self-titled debut album (1974), also available via We Release Jazz.

Forma by Lucy Railton, is a work that digs into us. It disorients us, plays with us, but without malice. It is like a nocturnal butterfly whose wings reflect a dark light, thus projecting fleeting hallucinations, which nevertheless persist on the surface of our retina. Its trajectories, too, are unpredictable. But such disorientation is not that of a chaotic space, it is rather a mysterious reason that presents itself to us, an imperious unfolding whose logic escapes us, but which nevertheless fascinates. It is also a history of shapes and their becomings. A story, also of their own vanishing.

Metabolist Meter (Foster, Cottin, Caetani and a Fly), by Max Eilbacher is a teeming piece, a matrix where textures and structures merge together, where the polyrhythmic instances become timbre, where the formal abstraction of the harmonic volutes coagulates around a vibrating form that is actualized in the dramatic reality of a dying fly. And this formal mastery is not disembodied in Max Eilbacher's work and the kaleidoscopic forms of the sound spectra that he has deployed know how to resonate in the sensations and experiences of each one.

These two pieces have this in common, but each with their own agenda, that they evolve with grace and inspiration in the vast domain of the sound world and it is a great pride for us to present them in this new collection.

Released in association with Editions Mego.
Coordination GRM: François Bonnet, Jules Négrier

Executive Production: Peter Rehberg

We are extremely happy to introduce you to Møzaika's first full-length record titled "Silver Tide". Its healing music has been a constant companion to us over the past two years. 2020 finally seems to be the right time to share it with the world. It is a wonderful album to be listened to as a whole - a continuous piece of music with many exciting turns showing the artist's close connection to nature as well as a deep knowledge of his musical ancestry.

The globe-trotting Robert Millis returns to Helen Scarsdale for this beautifully fragile album of dissolved glass rendered as a collage of recontextualized minimalism. To astute listeners, Millis should be a household name due to his work in the unpredictably diverse Climax Golden Twins as well as his impeccable curations for Sublime Frequencies (collections include the Deben Bhattacharya: Men and Music on the Desert Road and Indian Talking Machine books). Hie previous solo work include Relief (released here on The Helen Scarsdale Agency in 2013) and The Lonesome High for the Sun City Girls’ Abduction Records in 2016. His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships.

Related Ephemera is an album composed mostly from the hiss, the crackle, the surface noise of 78rpm shellacs and wax cylinders. “Horrifying,” Millis explains “is the concept to record collectors that vinyl degrades and can be easily damaged. however, initially records were considered ephemeral, especially 78rpm records. They were novelties. Fleeting. Entertainment.” Millis intends for the album to be a feedback loop whereby the patina of handling, playing, living with the record will circle back to the original source material. Furthering that metaphor, Millis amplifies and dilates feedback tones generated from his collection of vintage gramophones.

That said, Millis does cite the intrusion of exactly one field recording, a broken toy, and a few notes from a cello. But the construction of these rarified tones, crispy textures, ghostly rattles, and fluid resonance that ripples through all of Related Ephemera has its origins in the tactile nature of the vinyl medium. It’s hardly the stuff of sentimental nostalgia though. Related Ephemera is more an act of time travel, slipping backwards and forwards with the scratch of a needle (Watch out! What pre-recorded needle jump sound is not your turntable going haywire!). The emotional core to the album is that of a resigned melancholy, almost Bergman-esque in its starkness but not without a brief moment of dark humor.

Here is an album that aligns itself aesthetically with Nurse With Wound’s Soliloquy For Lilith, Philip Jeck’s more languid collages, and even some of Harry Bertoia’s sculptural atmospherics.

The vinyl was mastered and cut by Helmut Ehler at D&M Berlin, whose expertise was necessary given that part of the original compositions from Millis’ reworked surface noise were exceedingly problematic to cut. The D&M cut does temper the composition into a mysterious, diaphanous cloud; where the digital-only mastering provides a cascade of insects gnawing within your inner ear. Two facets. One piece of music.

Re-Release

Black Truffle is honoured to present the premier recordings of two recent works by legendary American experimental composer Alvin Lucier. A friend and contemporary of pioneers like Robert Ashley, David Behrman, Gordon Mumma, and Christian Wolff, Lucier has been crafting elegant explorations of the behavior of sound in physical space since the 1960s. Lucier is perhaps best known for I Am Sitting in a Room (1970), in which he repeatedly re-recorded his own speaking voice being played back into a room until the room's resonant frequencies entirely obscure the spoken text. Beginning in the early 1970s, he has written a remarkable catalogue of instrumental works that focus on phenomena produced by the interference between closely tuned pitches, such as audible beating, often using pure electronic tones produced by oscillators in combination with single instruments.

Demonstrating the restless creative drive of an artist now in his 80s, the two recent works presented here both feature the electric guitar, an instrument Lucier has just recently begun to explore. In Criss-Cross, Lucier's first composition for electric guitars, two guitarists using e-bows sweep slowly up and down a single semitone, beginning at opposite ends of the pitch range. The piece is a model of simplicity, exemplifying Lucier's desire not to 'compose' in the conventional sense, but rather to eliminate everything that 'distracts from the acoustical unfolding of the idea'. In this immaculately controlled performance of Criss-Cross by Oren Ambarchi and Stephen O'Malley, (for whom the piece was written in 2013), a seemingly simple idea creates a rich array of sonic effects - not simply beating patterns, which gradually slow down as the two tones reach unison and accelerate as they move further apart, but also the remarkable phenomenon of sound waves spinning in elliptical patterns through space between the two guitar amps.

In the comparatively lush Hanover, Lucier draws inspiration from the beautiful photograph that provides the LP with its cover, an image of the Dartmouth Jazz Band taken in 1918 featuring Lucier's father on violin. Using the instrumentation present in the photograph, Lucier creates an unearthly sound world of sliding tones from violin, alto and tenor saxophones, piano, vibraphone (bowed) and three electric guitars (which take the place of the banjos present in the photograph). Waves of slow glissandi create thick, complex beating patterns, gently punctuated by repeated single notes from the piano. The result is a piece that, like much of Lucier's instrumental music, is simultaneously both unperturbably calm and constantly in motion.
Stunning LP design by Stephen O'Malley including an inner sleeve with a portrait of Alvin Lucier by Kris Serafin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Belin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Berlin.

Black Truffle’s documentation of the prolific recent work of legendary American composer Alvin Lucier continues with Works for the Ever Present Orchestra. This is a very special release for the composer, as it presents pieces written for the thirteen-member Ever Present Orchestra, formed in 2016 exclusively to perform Lucier’s works. At the heart of the ensemble are four electric guitars, an instrument Lucier began composing for in 2013 with Criss-Cross (recorded by two core members of the Ever Present Orchestra, Oren Ambarchi and Stephen O’Malley, for whom it was composed, on Black Truffle 033). Through the use of e-bows, the guitars take on a role akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s, but with added harmonic richness. Like much of Lucier’s instrumental music, the pieces recorded here focus on acoustic phenomena, especially beating patterns, produced by the interference between closely tuned pitches. The work presented here is some of the richest and most inviting that Lucier has composed. Though all of the pieces clearly belong to the same continuing exploration of the behaviour of sound in physical space and make use of related compositional devices, each takes on a strikingly different character. Titled Arc, for the full ensemble of four guitars, four saxophones, four violins, piano and bowed glockenspiel inhabits a world of sliding, uneasy tones, punctuated by a single piano note. Where Double Helix, for four guitars, rests on a pillow of warm, low hum, EPO-5, for two guitars, saxophone, violin, and glockenspiel possess a limpid, crystalline quality. Accompanying the four new compositions are two adaptations of existing pieces for radically different instrumentation, demonstrating Lucier’s excitement about the new possibilities suggested by this dedicated ensemble. Works for the Ever Present Orchestra is an essential document of the current state of Lucier’s continuing exploration, as well as offering a seductive entry-point for anyone who might yet be unacquainted with his singular body of work.

Presented in a deluxe gatefold sleeve with cover artwork and liner notes from Alvin Lucier. Includes a download code featuring hi-res vesions of the LP material. The download code also includes the bonus Adaptions for the Ever Present Orchestra featuring two pieces (“Two Circles” and “Braid”) that are not included on the LP version. Mastered by Rashad Becker. Design by Lasse Marhaug.

Kenton Slash Demon return to Tartelet Records with Zstring + remixes by Urulu and Kasper Marott + 12' comes in vintage Tartelet sleeves circa 2009-2010. Limited Edition 400 copies. It's been ten years since Kenton Slash Demon landed on Tartelet with their debut EP Khattabi followed by the much-celebrated The Schwarzschild Trilogy singles - Sun, Matter and Daemon all released 2009-2011.Ten years have passed since our first release on Tartelet and with this record it feels like we've gone full circle. It's a beautiful thing.'Zstring marks their return to Tartelet - but it's also a precursor for things to come within the next year. With talks of a full-length album, the KSD project is now being given the attention it deserves.
Kenton Slash Demon have always had an affinity for uplifting melancholic tunes - and Zstring cements their ability to create just that. The track oozes with dance-floor euphoria, offering up a distorted arpeggio bassline, lush pads and layered melodies, all built around a tight and ever- changing groove. There are clear references to Italo disco, early techno and trance, but it's hard to pin down the exact style - if that even matters.On remix duties, man of the moment and label collaborator, Urulu, delivers a fresh take in his signature early 90s style, while local hero and close friend Kasper Marott of Monkeytown fame comes through with an obscure melodic techno workout of the finest sorts.
To further advance the concept of 'full circle,' the 12' comes in vintage Tartelet sleeves circa 2009-2010, salvaged from three different releases - which have been in storage since being produced.Zstring will be available April 12 th 2019 on vinyl and April 26th on all digital platforms.

Hanagasumi - hazy curtain of flowers, cherry blossoms appearing from a far like a white mist - this phenomenon can be seen during the sakura blossom in Japan. The mysterious musician Shine Grooves inspired by Japanese culture is launching a label of the same name. Shine Grooves owns the underground Quadrat label, his tracks were released on the labels such as Kimochi, Rough House Rosie, Udacha, etc. Hanagasumi's first release is a mix of abstract rhythms with an influence of ambient tracks of the 90s. Each track is filled with magical synth chords with a cozy mood. Compositions with a smooth, atmospheric rhythm prevail on the first side of the vinyl, while the tracks on the second side will make you to get lost in zero gravity.

All tracks written and produced by Andrey Kurokhtin at 2019.
Mastered by Shine Grooves.
Limited 12" hand stamped vinyl, 150 copies, vinyl only.

French synth-pop talent Lucien & The Kimono Orchestra unveils his new solo piano album, a journey into cinematic soundscapes

Alone at the piano, Lucien takes us on a very personal album in a deep and quiet reverie. We spend a soft winter morning in his company, reminiscing about tender childhood memories.

Between previously unreleased tracks and revisited Kimono Orchestra pieces, "Piano Matinée" concludes a trilogy of recordings which have barely been released, while paving the way for a wider future. Universal, sensitive, cinematographic, the piano language spoken here by Lucien opens us to his musical world in a light that is both more authentic and accessible.

The album also tells us a personal story. That of a grandfather - an exceptional pianist but forced to give up his career when the Second World War broke out - who passed on to him a taste for music in his early childhood, before passing away.

Many years later, Lucien came across old cassette recordings of his eldest son, soon afterwards having a disturbing dream in which he swore he had had a dialogue with him and decided to go his own way. The self-taught musician spent a whole year honing his piano skills before deciding to freeze his performance in the summer of 2019 at the legendary Steinway at the Studios Saint-Germain.

Drawing freely on all his influences - jazz, funk, classical, cinema - Lucien's "Piano Matinée" is a special object, as intimate as it is melodious.

Repressed in 2023, limited!


Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It's a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year's If Not, When? EP. Musically, there are nods to The Cure's Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints' The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. "The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs_ basically every cliché topic that you could think of," reveals frontman Ryan Smith. "But that doesn't mean they ever stop being relevant. It's a fucker growing up, but I'm lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I've ever met." And that band name, in case it needs explaining, is pronounced the same way as the album title. "I never thought I'd get to the stage where I would have to explain it so much," says Ryan. "We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We're all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title." He's right. The perfect title for the perfect debut album.

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 2009 and issued on vinyl for the first time, this first album features “Noise In Your Head”, “Quicksilver” and “Is It Wrong”.

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) as well as Guest Human on this album, Robert Fripp.
Originally released in 2011 and issued on vinyl for the first time, this second album features “Sea Of Size” and “Small Town Psychopath”

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”.

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).
Recorded in 2010 at London’s Scala theatre, and issued in its entirety for the first time, the concert features Guest Human throughout, Robert Fripp. The set list includes Humans favourites “Labyrinth”, “Sugar Rush” and “Demigod”, as well the two encore tunes, covers
of Nancy Sinatra’s “These Boots Are Made For Walkin’” and Jimi Hendrix’s “Purple Haze”.

Demon Records presents The Final Tour from legendary guitar band The Shadows performing their greatest hits live on this 2LP set made available for the first time. Hank Marvin, Bruce Welch and Brian Bennett together on-stage June 5th 2004 at Cardiff Arena.
It was during a hot summer day in June 1960 that The Shadows entered Abbey Road's Studio 2 to record Apache, the track that was to become the instrumental hit of the decade. It shot to No.1, became an instant classic and saw the start of a string of over thirty hits that included another four No.1’s - Wonderful Land, Kon-Tiki, Dance On! and Foot Tapper.

31 tracks including four No1's are featured on this double LP pressed on red vinyl with printed inner sleeves

Written in 2012 using just a MicroKorg and a mic, “Penguins Can’t Fly” is a magnificent slice of italo disco and a tribute to the Ghent based italo night Pingwing. It became a bit of a local underground hit which lead to Club Mayz performing it live at one of the parties at SMAK Ghent – once. The track never saw the light of day before so we’re stoked to announce this 7inch containing the original version backed with a powerful instrumental on the flip.

Our first vinyl will go with a big bang!

Early support from Mano Le Tough, Dave DK, Maceo Plex, John Digweed, Gardens of God, Ame, Silicone Soul, Hunter/Game, Kevin De Vries, Massimiliano Pagliara, Fideles, Paul Ritch, Shall Ocin, Raxon, Mind Against, Ae:ther, Ilija Djokovic, Jeremy Olander, Frank Maurel, Alexi Delano & more

Barcelona based producer Adwer returns to his Bolygo Records imprint in 2020 with five alluring cuts entitled "Our Genome" EP with remixes from Amandra and Marc Pinol. Adwer has left his mark on the overall electronic music scene in the last few years through his melodic leaning productions that've picked up support from the likes of Sasha, John Digweed, Joris Voorn and Laurent Garnier. Adwer aims to capture emotion within his music with his synth focused tracks and euphoric vibrations that continue to solidify his reputation of being a purveyor of innovative sound design and gentle sonics.

"Our Genome" EP sees him deliver the first release of the new decade on his Bolygo label where he invites remixes from the Ahrpe Records label boss and French producer Amandra and Spain's Marc Pinol who is renowned for releases on John Talabot's Hivern Discs imprint.

"Messing with the DNA" begins proceedings with thudding kicks, growling bass rolls and dreamy oscillations fluttering underneath before "Recombinant" deploys undulating euphoria through tranquil tones, deep vibrations and progressing synth notes that unravel escapist intentions.

Amandra's remix of "Recombinant" lays focus on raw, crunchy percussion, lo-fi experiments and murky pads that keep you locked throughout whereas Marc Pinol's remix of "Messing with the DNA" offers up electro-styled grooves, cosmic waves and acid-tinged oscillations that carry outer space feels.

"Our Genome" then rounds things off with meandering, 80s styled synths, ethereal, revolving modulations and rumbling bass frequencies to finish.

the title track of nine-minute long “the evasion of the spiritual soldier” grooves laidback with jazzy rhythms and italo leaning melodies.

on the opposite,13 minutes long trip “flags of himalaya” opens with restful percussions that unhurriedly start to dance with soft string, piano and horn melodies.

The release of Rising Son in 1986 on Greensleeves began a new era for Augustus Pablo edging his Rockers revolution into the digital age. In his own words Rising uon “mix-up the vibes a little more” from steppers like ‘Pipers of Zion’, revival reggae ‘African Frontline’ and the deep and heavy ‘The Day Before The Riot’. Recorded at Channel One, Tuff Gong, Dynamic & HC&F and engineered by Phillip Smart and Scientist.

IZIPHO SOUL are extremely proud to release, on a 7” single, the track dubbed as the ‘Soul soundtrack to the summer of 2020’

This two step vibe has everything going on: warm vocals, wah wah electric piano, strings, funky bass, rhythmic drums and congas.
Bonus 1: On the flip you get the previously unreleased IN THE NAME OF LOVE - a mesmerising SOS Band / Fatback styled groove.
Bonus 2: A FREE 'SOUND OF SUPERBAD BEER MAT' with every order in replica label design!

Limited edition of 300 copies

Ghent's Steiger are a piano trio, but not in the classical sense. With their versatile style, influenced by different musical genres such as jazz, rock, pop, classical and electronic music, they try to find a balance between composition and improvisation through the use of experimentation and electronics.

Considered pioneers of the Belgian jazz crossover scene, Steiger have been active for 6 years and have recently found themselves performing at major jazz venues in Flanders, picking up numerous accolades along the way.

The trio's highly anticipated sophomore album 'Give Space', released 14th September on Sdban Ultra, was recorded at 7 different locations, with the music composed to fit and fight these locations within a dialogue of acoustics, atmospheres and appetition. Field recordings, reverbs, ambient sounds, all collected within the search for the unpredictable, were given space within this dialogue as the essential part of the encounter. As a result, the locations emerge somewhat as a fourth member of the trio. The music - sometimes fixed, sometimes completely free - takes on an ever-changing journey into their multi-faceted world.

Brooklyn Bridge Music presents the very talented Juliche Hernandez!
Tormento Bridge EP is a well balanced piece of minimal Techno/ House.
Highly recommended!