quête:3 pi

Picking up from where she left off with last years successful Tools of My Purpose, E- Saggila has returned to BANK employing a more sublime and immersive electronic document. Previously leaning toward noisier and distorted rhythms, she has incorporated more sophisticated elements into writing and production. Dedicated to Sublimity is a product of growth and progression but still reflects the raw elements we've heard in her early recordings. Lush and atmospheric elements coincide with the brutality of her live sets and play off one another as a cohesive representation of the E-Saggila project.

Picking up from where she left off with last years successful Tools of My Purpose, E- Saggila has returned to BANK employing a more sublime and immersive electronic document. Previously leaning toward noisier and distorted rhythms, she has incorporated more sophisticated elements into writing and production. Dedicated to Sublimity is a product of growth and progression but still reflects the raw elements we've heard in her early recordings. Lush and atmospheric elements coincide with the brutality of her live sets and play off one another as a cohesive representation of the E-Saggila project.

Black Lodge Ist Ein Mysteriöser Produzent Aus Manchester, Der In Den 1990ern Mit Releases Auf Mo'wax Und The Trilogy Tapes Began, Mitglied Eines Okkulten Northern Soul-kollektivs Und Der Enigmatischen Formation Gescom Ist, Ferner Dj Eines Pirantensenders, Graffiti-künstler, Badly Drawn Boy-remixer Und Autechre-artwork-designer. Auf Dem Neuen Label Disciples Veröffentlicht Er Nun Eine Kollektion Mit Aufnahmen Aus Dem Lodgewars-archiv, Aufgenommen Im Obergeschoss Des Kings Arms-pubs In Salford, Manchester. Geisterhafte Drone-sounds Und -melodien, Die Die Ränder Von Ambient, Post-punk Und Industrial Besudeln. Die Streng Limitierte Lp-auflage Erscheint Auf Schwarzem Vinyl In Schwarzer Innentasche In Schwarzer Hülle Mit Sticker.

The very first release of 2018 from Eureka!, is the well known Parisian sampling master S3A (Sampling As An Art) with his perfect definition between underground quality emotional house music and dancefloor efficiency.
He released from Lazare House Records, Hold Youth, Concrete Music, Local Talk, Phonogramme and Faces and with his background culture based on a solid knowledge of house music, soul, funk made him one of the most promising house artist of the French scene.

Mountain Charr contains 3 tracks in completely different styles. 'Doop Doop' is definitely a sound of S3A, with characteristic vocal cut up by adding powerful horn section and melodic piano loop.
'Emotional M1' is classic yet warm and cosy low deep groove track that is playable regardless of a time or place, from lounge to dancefloor.
To complete the package we have 'Denials', a more down tempo offering, but its melody is fascinating and yes, sexy.

This EP definitely brings you his predominant sense of sampling.

Artwork by Kouhei Asakura

From the remote township of Te Mata, in the rugged hills of New Zealand, comes a new imprint following in the tradition of mid-80s rub-a-dub from an often overlooked corner of dancehall culture.The brainchild of local farmer and radio personality Red Robin - alongside the deadly production duo Naram and Art - the first 12' features two heavy-like-lead riddims with discomix cuts from four unsung heroes of the 80s with conscious, street-level lyrics.
Side A finds legendary singer Winston 'Midnight Riders' Powell rise again on a synth-infused piece of classic rub-a-dub. Despite being his first release in decades, he delivers a cutting edge vocal from his Kingston 9 borough about life Outta Road in the Jamaican capital. He then crosses live to special agent Speng Bond for a deejay report on the current state of Britain in Dread Outta Road. With a more uptempo riddim, the flipside sees Toronto-based 80s star Steve Knight fire some timely shots at corrupt politicians with Dem a Fraud, before Los Angeles-based MC Tippa Lee comes correct with a self-affirming deejay cut on Salute the Veteran.
Both sides are served with one-away dub mixes from Naram and added textural touches from Disrupt. Six cuts on one record, strictly limited pressings.

Warsaw based duo Private Press join Rekids Special Projects this July with four deep techno cuts entitled 'Zero Sum EP'.
Hailing from Poland, Adam Brocki and Jan Wóycicki make up Private Press - a project that's released sought after cuts on labels like Technosoul and Indigo Aera. The duo is also known by the name Raw Feelings, however many will be familiar with Brocki's Newborn Jr. alias, which has dropped releases on Rhythm Section, Echovolt, Dopeness Galore and Les Yeux Orange. 'Miracle Man sets the tone with delayed resonant synths accompanied by crunchy and distorted snares before 'Becomes The Prime' opts for a lo-fi sound with filtered synth blips and enigmatic vocal slices. On the flip side 'Tooms' delivers heavily reverberated horn-like stabs, modulated synth lines and an underpinning bass that rumbles throughout as 'Clan' offers a fast paced cut with high pitched whistling that echoes alongside a thumping kick drum and organic percussion to bring the package to a close..

To Follow A Long Awaited Single From The Legendary D'arcangelo Brothers, Happy Skull Has Turned To A Friend Of The Family And Former Bristol Scene Stalwart, Bass Clef.

The Long-serving Producer First Rose To Prominence Via A Series Of Inspired, Genre-mangling Albums And Singles On Blank Tapes, He Has Since Gone On To Deliver Hard-to-pigeonhole Material On Fellow Bristol Labels Punch Drunk And Idle Hands, As Well As Pan And The Trilogy Tapes Amongst Others.

Those Versed In His Bulging Back Catalogue Will Notice Familiar Stylistic Traits Throughout - Think An Endearing Looseness Built On Hardware Manipulation And A Playfulness Rarely Seen In Modern Dance Music. For His Happy Skull Debut He Takes On Acid House, To Great Effect. This Is Most Evident On Flipside "acid Hearse", A Constantly-rising Roller Built Around A Nagging, Tb-303 Style Riff And A Swinging, Off-kilter Drum Machine Rhythm.

Echoes Of Acid Can Also Be Heard In The Sparser A-side, "charnel House", Where Sharp, Psychedelic Lead Lines And Mind-bending Electronic Motifs Weave In An Out Of A Crunchy Rhythm Track To Create A Track That Is As Fun As It Is Weighty.

"For the final part of SchleiBen 5 - 8, Emotional Response welcomes two Scottish based artists to close out the series. In Jon Keliehor you have a world and music traveler with history from psychedelic rock to fourth world exposure, alongside one of the best electronic producers of the last decade, Lord Of The Isles. As the drummer of West Coast folk rock / psychedelic band The Daily Flash, Keleihor spent much of the mid-60 based in and out of Seattle and Los Angles, playing alongside the likes of Jefferson Airplane, Cream and The Doors, before an increasing interest in meditation and philosophies outside of the 'rock' realm led him to England in the early 70s where he become involved in dance theatre. Teaching Advanced Rhythmic Music Studies at the London Contemporary Dance School, his music composition style became influenced by his studies of world music. Finally settling in Glasgow for over 20 years, while running the Luminous Music label and Gamelan Naga Mas, his earlier recordings for labels like Indipop, Touch and Bruton have seen a recent revival, with music appearing recently on contemporaries Optimo Music and Invisible Inc. The wonderful recordings included here span over 3 decades, from sessions at the Luminous Studio at The Diorama Theatre, London in the early 80s, through to recent field-work based recordings in the Cairngorms. Reconfigured and updated, a common thread appears through the pieces - a sense of longing and appreciation - as Jon's knowledge of outer-national instrumentation alongside equally extensive travels around the globe gives the recordings a seamless blend of organic craft. The tonal consonances within unlikely combinations of instruments, with tuned glasses (tarang), tabla, jaw harps, clay flutes and ocarinas, Chinese instruments that include Xiao-Bo and Xiao-Ping, large Noah bells, small and larges gongs all employed, the recordings have been reconstructed, edited and updated via sampling and digital processing. Featuring the playing of John "Jhalib" Millar - the extraordinarily gifted musician and tabla player - who has appeared with an EP on sister label, Emotional Rescue (ERC029), sadly recently deceased, the contribution acts as a tribute and more. To close, the music of Lord Of The Isles is an excellent companion to Jon's work. Neil McDonald's list of club-based releases on labels CockTail D'Amor, Ene, Firecracker, Permanent Vacation, ESP Institute and Phonica is comprehensive and exemplary, however within his productions has often been an other-worldly element, a space between the beats and occasional fully ambient pieces. Approached originally for series one of SchleiBen, the 7 pieces included were worth the wait, a journey in themselves and the perfect completion. Spanning almost 5 years, the majority were written during an extended exile in the Cairngorms. The lifting, ethereal, but melodic nature of the music fits that aesthetic. Blue skies, snow, long walks, space to think, but with a longing and appreciation of family and friends. The solitary nature found in SchleiBen 8 and the geographical incidence of both artist's recordings including sessions in the Scottish Highlands fits the series ideals and is a nice closure. Enjoy and listen. "

Next up on Francis Harris' exceptional imprint Scissor & Thread comes a collaboration with American Producer, DJ Aakmael. Aakmael has built a reputation for some of the deepest, rawest house music sounds coming out of the States, releasing well-received tracks on the likes of Freerange Records, Release Sustain, Kolour Dogmatik and NDATL. Returning to Scissor & Thread, Aakmael and label boss Harris cook up an intoxicating vibe across this 5 track EP. Each shares a track and work together on the fifth, while also remixing each other's solo cuts. First up Aakmael's Deep Muzik- a quintessential nod to its self-proclaimed mission statement. Skittering drums, a shuffling groove, deep keys, and chords make up this essential opener. Frank's (aka Francis Harris) All That Light Mix shows another side, finding pockets of space and developing the fizzing percussion to produce an equally affecting piece of dancefloor bliss. Sharing production duties from the outset on Mercy of Means, the guys slip into an easy mid-tempo groove with plenty of depth - the rhythm rolls along and offers the perfect basis for some sublime melodic touches. Frank's Part Song also hones in on the subtle deep grooves. Bumping, slightly filtered and saturated drums provide the main body, with beautiful washes and keys finding their way through, Aakmael's remix beefs up the groove somewhat, making the snares snap harder and kick hit a little stronger, but the essence of the tracks melodic atmosphere remains perfectly in place.

Founder of the independent publishing house " Red Lebanese ", hits maker on D.KO Records beat maker as " L Rey ", graduated from " Beaux-Arts de Paris ", Mad Rey today appears as an artist who do not do anything like others but strongly followed by the whole artistic sector. " Quartier Sex " EP (inspired from his district " Pigalles " in Paris) has been a strong career kicker. But Quentin Leroy did not want to stay in his comfort zone. He wanted to push the limits of the House Music in adding Footworks, Hip-Hop, Techno, Acid in his live act. 1 hour of a condensed a finely written electronic music who literally smashed festivals and clubs crowds all around the world during 2015 and 2016 (ADE with Move D, San Soda and Tom Trago, Weather Festival alongside Kenny Dope, Lil'Louis and Mr Ties, or Concrete RA Residence Tour).
After 4 highlighted EPs and a fresh Asia & Australia tour, Mad Rey comes back with a double EP on D.KO Records. This upcoming " Balabushka " double EP has a touch of Omar S and the grove a 90's release from Move D with a really modern way to mix the styles. He comes back in 2017 with his 2xEP Balabushka on D.KO Records.

In 2018 Mad Rey will release 1 Ep on Rekids (Radio Slave's label records), another one on Promesses and the best one on Mamie's Records.

The Mysterious Love Drop Continues His Homage To The Classic Raw Sounds Of Days Gone By As He Drops An Anthemic And Pounding Slice Of House Music For Home Taping.
With His Trademark Moody Grooves And Heavy Delays He Builds A Vibe Which Is Guaranteed To Set Any Dance Floor On Fire.
Keeping It Raw And Proper With A Generous Pinch Of Soul And More Than A Touch Of Badass, Love Drop Just Moved Things Up To The Next Level. Less Is Definitely More As He Destroys The Floor.

On The Flip, Dicky Trisco Plays To The Emotional Strength Of The Original And Delivers A Highly Polished Heads-down, Dubbed Out Version For The Club.
While Rising Star Of The Scene Dan Shake Raises The Tempo And Treats Us To A Raw And Funky Workout To Complete A Very Fine Package Indeed.

Free Your Mind And Love Drop Will Follow.

Here it is !

The long-awaited new LP from former Dubtribe Soundsystem shaman Sunshine Jones

Far from basking in Bay Area bliss, Sunshine has been busy redefining his organic approach to music making and sound synthesis into a rich and textured fresh take on the House blueprint - best realised in his elaborate & ever-evolving live shows.

Assembling these improvised pieces into a cohesive whole, that might well just be the best vinyl based representation off a full night out you're likely to hear this year.
From the emotive opener to last year's anthemic 'Fall In Love, Not In Line' closer, Home represents the fluid but refined garden of sound that's grown from Dubtribe's rich 90's foundation.

The artwork on this splendidly presented gatefold LP is a photograph of Sunshine performing live at the Garden Party in San Francisco by The Holy Mountain, the collage is done by Sunshine and the design is by Fernando_Graphicos. Accompanied by detailed track notes, with all equipment used to make the record alongside sonic schematic. Man and machine aligned for total transcendence !


SINGLE GATEFOLD LP

Time flies, doesn't it It sure does when you suddenly wake up to celebrate your 10th vinyl release as a small label, which is the case with us. But as we're all about quality over quantity, our latest 12" offering comes with a superb collage of fresh music by the one and only Radicall. Having made his mark as one of the most consistent producers, known for his trademark combination of strong, dynamic drum programming and soft and booming basslines, Radicall keeps on delivering top-quality music with each next release. And this 12" single is no exception to the said rule. The playful, happy-go-lucky 'Touch' is a bit of a nod to the old-school/rave/early jungle/footwork/you-name-it style given its complex drum pattern and an array of acid-style synthetic samples and tinges of vocal here and there, but sticking to modern-day standards nonetheless. The flipside comes with 'Build Me Up' remixed by Bungle, who surely knows how to make good things just as good as they are, but yet a bit different. And here we have the Brazilian powerhouse reshaping Radicall's work to make it a bit lighter and upbeat, but still retaining some elements of rawness mixed perfectly with traces of nostalgia. An excellent job, breathing a new life into the original piece - a darker-shaded straight-to-the-point roller, which you can get as a digital bonus added to the release. So here it is - the tenth vinyl item in our catalogue, featuring names you simply can't go wrong with. What better way to celebrate the occasion

Drum & Bass's number one Italian Stallion Maztek on PRSPCT with a huge 2 track vinyl! When it comes to badass quality drum & bass Maztek is is for sure Italy's flag ship artist who puts that Spaghetti western pizza munching ex Roman empire on the map. Two banging tracks delivering his hardest most brutal work to date. This records has no B side. All killer no filler and AA all the way!

All Hail Maztek!

Repress!

First Word Records is very proud to present the debut album by Children of Zeus - 'Travel Light'. It's been a long road leading to this album for Tyler Daley and Konny Kon.

They first embarked on their expedition into the music game two decades back - Tyler entered the scene as a songwriter, producer and vocalist, originally under the moniker Hoodman, whilst Konny began MCing, DJing and beat-making for hip hop crews The Microdisiacs and Broke'n'£nglish, along with DRS & Strategy.

To date, Children of Zeus have released three sell-out singles on First Word ('Still Standing', 'I Can't Wait' and 'Slow Down') and a compilation EP comprised of tracks made by the duo over the last decade entitled 'The Story So Far...'. Children of Zeus are finally at the stage where they are releasing their debut album proper, the over-riding ethos of which is about keeping their eyes on the road ahead, whilst shedding the baggage they've accumulated over the years - 'Travel Light'.

Features mainly come from Manny family, ( K S R ), LayFullStop, Metrodome (Levelz) and former Broke 'n' £nglish spar DRS. Guest production comes in the form of Switzerland's Sebb Bash, Nottingham's Juga-Naut, and London's Beat Butcha, and there's your favourite DJ's favourite DJ,

Mr Thing, slicing up the turntables on two tracks too. There's a few extra special ingredients on this album, along with their trademark sub-heavy, rhodes-laden hip hop soul hybrid. Reggae music has always been an integral piece of the CoZ sound-system ethic, so we see Tyler putting on his lover's rock hat for 'Hard Work', and they invite soul queen Terri Walker to join them on the fierce 'Sling Shot Riddim', while the album closes with the epic K15-produced jazz-bruk opus, 'Vibrations', on which Konny breaks it down quite simply: "high frequency means that you travel light, so get lifted yo, we'll live gifted".

Long as the journey has been, the time for looking back is over. This is about the present and future of Children of Zeus. A shining light in Manchester's now-school, and rightly heralded by many as the best new act to emerge in British soul music in the past decade. Aside from the above features, this project is written, performed and produced entirely by Tyler and Konny.
Since the crew first took flight, the end destination has never changed, the aim remains the same - to create timeless music, in their own unique style, without compromise, irrespective of industry and life distractions. The moral being this - travel light.

Echocord sub-label Echo Echo continues this July with Orbite's 'Interstellar' EP, a threetracker from the Berlin- based producer. Orbite is a brand new project founded in Berlin, Germany with a nod towards the raw, dubby sounds often heard across the clubs in the city, and where better to inaugurate things than the recently launched sub-label of Copenhagen's Echocord, one of the leading imprints in the realms of Dub Techno, home to pioneering acts like Rod Modell/Deepchord, Pole and Fluxion who have paved the way for Orbite's own twist on the genre. The ethereal pad textures of 'Skylar' lead on the package, deftly evolving alongside bubbling synth tones, swelling chords and shuffled percussion to create a create dynamically unfolding six and a half minute cut. 'Moment' follows, edging things further into dubbed-out territories with heavily delayed dub echoes and mesmeric spoken word poetry intertwining to create a, hypnotic beatless soundscape. 'Organi' closes the record with emotive, billowing pads, warm bell like tones and vocal murmurs running alongside swinging shakers and stripped-back micro-house percussion.

Echocord's Colour sub-label returns early June with a four- track EP from Eindhoven's Albert Van Abbe in the shape of 'Klangbilder'. Dutch Techno artist Albert Van Abbe has nearly two decades of experience under his belt in various forms of musical and visual expression, releasing on his own Vanabbe imprint, Figure Jams, Semantica and No Comment, as well as playing live and DJing at hot spots across the globe such as Berghain, Tresor, DGTL and Awakenings festival. 'Klangbilder 1' leads with a robust rhythmic drive, employing bumpy toms, shuffled hats and lumpy kicks at its core as vacillating synths, tension building drones and menacing pizzicato strings develop throughout. 'Klangbilder 2' takes things deeper next, retaining the dusty drums sound of the previous cut whilst stirring in airy ethereal pads and choppy, resonant stab sequences. 'Klangbilder 3' kicks off the B-Side with modulating synth whirrs, emotive organ tones and a muted drum tones throughout before 'Klangbilder 4' closes the package, taking things beatless and cinematic via emotive synth leads, droning subs and expansive echoes.

First Ever Vinyl Reissue, Limited Edition To 500 Copies Only, Bonus Tracks Not On The Original Lp, Remastered Sound, Insert With Liner Notes By Nick Rossi And Photos, Beautifully Housed In Three Back-flapped 1960s Uk Style Picture Sleeve ! The Wynder K. Frog Story Evolves Around Mick Weaver. After He Switched From Piano To Organ He Joined A Band Named The Chapters That Would Soon Be Renamed Wynder K. Frog And Perform Material From James Brown's Flames, Booker T. And The Mgs Or Even Songs Learned Through Georgie Fame's Recordings And Graham Bond's Repertoire. Wynder K. Frog Moved To London And Became Regulars In The City's R&b Scene Playing At Swingin' London's Clubs Like The Tiles Or The Marquee. A Contract With Island Records Was Secured And -under The Wings Of Producers Like Chris Blackwell, Guy Stevens, Jimmy Miller Or Gus Dudgeon- Wynder K Frog, A Name That Would Eventually Be Used As A Pseudonym For Weaver More Than A Proper Band Name, Did Some Some Amazing Hammond Organ-ized Recordings And Issued In Three Lps And A Bunch Of Cool 45s.

At The End Of The 1960s, Weaver Would Quit The "band Scene" To Become One Of The Most In Demand Session Musicians And Throughout His Career He'd Be Heard Backing Names Such As Eric Burdon, Roger Chapman, Dave Gilmour, Keef Hartley, Alexis Korner, Ralph Mctell, Taj Mahal Or Otis Rush A.o, But His Lps As Wynder K Frog Are Classic Hammond Sound From The 1960s Uk And Will Appeal To Those Into Brian Auger, Graham Bond, The Artwoods, Zoot Money, Jimmy Mcgriff, Booker T. & The Mgs And The Likes.

Out Of The Frying Pan

Released At The End Of The Summer Of 1968, And With A Host Of Session Musicians That Included The Brass Section Of John Mayall's Bluesbreakers, Producer Gus Dudgeon Helped Weaver / Wynder K Frog To Improve The Results Obtained On The Debut Lp And Get One Step Closer To The Live Action. The Formula Was More Or Less The Same, Instrumental Hammond A Go Go Covers Of Hits From The Era, Including The Rolling Stones' "jumping Jack Flash", A Funked Up Version Of The Classic Tommy Tucker Blues Number "hi Heel Sneakers", An Exploding Cover Of "tequila" Or The Standard "green Door", But It Also Included The Sensational Weaver-penned "harpsichord Shuffle".

Dauwd returns to Technicolour with 'Theory of Colours - Versions' EP. A new 4-tracker EP containing remixes/reworks of various singles from his debut album. The EP opens with a piano rework of 'Analogische Memories', recoded at his studio in Berlin and the result of countless hours work - 'it took some time, as I had to learn to play piano' Dauwd explains. Dauwd also makes up one third of the Berlin collective, party and radio show, African Acid Is The Future having previously released on Kompakt and Ghostly International. Ukrainian music producer and Leleka label boss Vakula provides a remix of 'Macadam Therapy'. Fresh from the release of his well received LP 'Metaphors' and following on from last years 'Techno Game' released via Arma and 'Cyclicality Between Procyon And Gomeisa' released via Dekmantel in 2016. AAITF partner Romain Azzaro AKA Rouge Mécanique provides two remixes of 'Murmure' (one 'Walking', the other 'Running') - "Romain and I returned to the studio where I made

* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch

* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.

* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.

* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.

* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.

* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.

* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.

* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.

* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.

* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.

* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.

* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.

At last, the vinyl reissue of this masterwork, adding two hitherto unreleased gems recorded solo for Charles Fox's Radio 3 programme Jazz in Britain, in the same few months of 1980 as the stunning Aida performances.The phrase 'in the moment' is often bandied about with reference to free improvisation, and indeed there's no better way to describe Derek Bailey's playing. The acoustic guitar is notoriously lacking in natural reverberation — notes barely hang in the air for a couple of seconds before they disappear — which explains the almost non-stop flow of new material in these stellar performances. Bailey knew from one split-second to the next exactly where to find the same pitch on different strings, either as a stopped tone or a ringing harmonic, and there's never a note out of place. 'He who kisses the joy as it flies,' in the words of William Blake, 'Lives in eternity's sunrise' — and this music is forever in the moment, constantly active but never gabby, kissing the joy.One of the special pleasures of the BBC set is the guitarist's own laconic commentary, a deliciously deadpan description of what he's doing while he's doing it — 'I like to think of it... as a kind of music' — and the interaction between words and music is a particular delight. 'You may have noticed a certain lack of variety,' he quips, while unleashing a furiously complex volley. Is it a coincidence that the final seconds recall the famous cycling fifths of the coda to Thelonious Monk's Round Midnight Surely not — for Bailey, like Monk, was a note man par excellence. And they're both still alive and well in eternity's sunrise.

The first of two wonderful new full lengths for Polytechnic Youth for the first week in July. This is a debut release on vinyl for Spanish based Jordi Navarra whose musical oeuvre stretches between 'Surf, Hippie / Space Rock and crude electronic music' often different yet coated in tons of reverb and echo for 'it's final catalepsy'! 'Micromundos,' needless to say for PY devotees, concentrates on his cruder electronic soundscapes; incredible often ambient, drone themed pieces that on one hand dip their toes into the revered works of Hans-Joachim Roedelius and Dieter Moebius, and the sky back catalogue whilst equally conjuring up a collision of Spacemen 3 psych meets Wire, early Cabs or Magazine darker more atmospheric, post punk industrial / experimental workouts. Eight abstract, kosmische fuelled pieces that act as an interesting sister release to the label's other July offering, the more overtly 'in-yr-face' synth pop themed Mitra Mitra LP. Two beautiful releases expected to sell out pretty swiftly, and released together first week of July.

Salvador Font studied violin, clarinet, composition and harmony at the Conservatori Municipal de Barcelona, but very soon started to gain notoriety as a saxophonist in the rich jazz scene of 1940s Barcelona. Font would soon be playing tenor sax and clarinet in the Orquesta Gran Casino. He was in his early twenties and his hot swing technique was already praised through the citiy's scene, he would grow to be considered the best saxophonist in Spain by playing in many orchestras and combos, among them: José Puertas', Antonio Vilá's Virgina, Bonet de San Pedro's band, Pierre Michel, El Lirio Campestre, Los Marios, Luis Rovira y su orquesta, Orquesta brasileña Fon-Fon, Jaime Camino, Los Embajadores, Italo Leone's... With these and others, Font toured constantly, visiting many countries and even staying on some for long seasons: Mexico, Morocco, Switzerland, Egypt... Hungarian violinst of Turkish ancestry Kurt Dogan gave him the "Mantequilla" surname - he felt "Mantequilla" (which means "butter") fit Font's mellow yet swinging improvisation style.

Mantequilla y su conjunto

In the early sixties, "Mantequilla" had the chance to lead his own combo, Mantequilla y su conjunto, with which he was to record the three splendid EPs that are compiled on the present album. All these 7" have become elusive collector pieces in the record market, with sellers demanding from 200 to as much as 950 euros per copy.

In 1961 "Mantequilla" was at his best moment, his gigs at the Jamboree Jazz Cava had brought him back to the first line of Barcelona's jazzmen after he had been working abroad for a long time, and was approached by the Belter label to record an EP. On the sessions he was accompanied by Manolo Mercedes on trumpet, Pedro Ferré on piano, Rafael Lizandra on double bass and Rafael Verdura on Drums. The material chosen for the disc were four original compositions by Salvador Font which had a high West Coast flavour all over: "La Tuna Club", "Whisky Jazz" and "Jamboree" named after famous jazz clubs and "Azul Trompeta", dedicated to Manolo Mercedes.

In late 1962, after spending some time in Madrid working as members of the Italo Leone combo, "Mantequilla" and pianist Manuel Gas came back to Barcelona for the recording of the second "Mantequilla" EP, also on Belter. We find again Manolo Mercedes on trumpet, Pedro Ferré on piano and Rafael Lizandra on double bass, the drummer this time was José Farreras. Another news is that Manuel Gas also sat on piano and vibraphone. The songs chosen for the occasion were two tunes from the Art Blakey Jazz Messengers repertoire: Bobby Timmons' classic "Moanin'" and the Jacques Marray track "No Problem" from the soundtrack of the Les liaisons dangereuses film (mispelled "Not Problem" on the sleeve and label), plus the Salvador Font penned "Blue Note" and "Full de ases" - on "Full de ases" "Mantequilla" trades his sax for the violin, which he also mastered under high influence from Stephane Grapelli. The record was released on Belter in early 1963 and showed "Mantequilla" adding a certain aggressivity to his sound, in a soloist style which has been compared to that of tenor saxophonists Barney Wilen or Benny Golson.

1965 was the year of release of Mantequilla y su conjunto's third EP, now on the Discophon label. Mercedes and Farreras are again present in the recording sessions, joined by Ricardo Miralles on piano and Enrique Ponsa on double bass. Four original Font compositions make up the fantastic EP: "Blues 3/4", "Atmósfera", "Vat 69" and "Balada".

There would be a further EP on Belter, released in 1971 as Mantequilla Group it was a cash-in operation to take some redits of the ye-yé discothèque phenomenon, it gets quite afar in style from the jazz works of Mantequilla y su conjunto, so we just left it aside for the present edition.

"Mantequilla"'s career would continue, in 1968 he would settle in Majorca and form a swing band with Bonet de San Pedro and Manuel Bolao. He played in local orquestras and also with first class world acts like Gerry Mulligan, Tete Montoliu, Errol Gardner, a.o. He was even approached by Henry Mancini to play sax on The Pink Panther Theme in a gig Mancini did with his orchestra in Palma de Mallorca in 1975, He also joined his son Salvador Font (a demanded drummer himself who has played with Máquina!, Orquestra Mirasol, Música Urbana, Gary Burton Quartet, Georgie Fame, and many others) and his peers Carles Benavent, Emili Baleriola, Josep Mas 'Kitflus' and Jordi Bonell with whom he recorded his acclaimed "Mantequilla" album in 1987.

Now, for the first time ever, the legendary three ultra rare and imposible to find EPs by Mantequilla y su conjunto are compiled in a lavish vinyl LP with remastered sound, featuring liner notes and photos and a fantastic period inspired, three backflaped, front laminated sleeve. It is a stricly limited edition of only 500 copies and they are expected to sell out very soon, do not miss your chance of getting yours - it may be the last chance of chasing the Mantequilla sound on vinyl at a reasonable price!














l

The first chapter of Armand Jakobsson's musical career has been
nothing short of remarkable. After establishing himself with rough
but emotive house as Rimbaudian and jungle as Birds of Sweden,
he unveiled his DJ Seinfeld alias to the world, first with underground hit single 'U', then with his Time Spent Away From U album on Lobster Fury in November 2017. It was a post break-up love letter to the dance floor with heart-on-sleeve emotions colouring the dusty and analogue house grooves. Acclaim came in from far and wide, with everyone from Rolling Stone to Pitchfork fawning over its heart swelling nostalgia and melancholic immediacy. Jakobsson approached his DJ-Kicks with the intention of representing all the things that made him fall in love with dance music more than a decade ago, as well as showing some of the progression that has occurred in that time and 'reflecting the simultaneous fear of leaving something safe behind as well as the excitement of venturing into unknown territories, musically and emotionally.' In order to make it as personal as possible, he called upon the many talented people around him making music. They returned with an enthusiasm that reminded Jakobsson of his own early passion, and in turn invigorated him and the whole process of assembling the mix. It was finally recorded at Inkonst club in Malmo because, recently back from years in Barcelona, he has not yet set up a studio in his hometown. DJ Seinfeld's DJ-Kicks is not only a testament of his characterful DJ skills, but also a complete artistic statement that showcases his unique vision of dance music

Always Seen With A Smile On His Face, Inja The Poet, Lyricist, Storyteller And Unparalleled Master Of Ceremonies Presents His Debut Album On Hospital Records. His First Drum & Bass Focussed Long-player 'blank Pages' Flexes His Lyrical Style With Heartfelt Sentiment, Roughneck Flows And Quick-fire Wordsmith Wizardry. All Partnered With Heavyweight Productions From Pete Cannon, Nu:tone, Logistics, Serum, Whiney And Anile.
Inja's Back With Partner-in-crime Pete Cannon On 'war Games'. A Funky Bassline Lays The Foundations For This Fear-fighting Tale. As The Breaks Roll Out Inja's Militant And Deep Rhetoric Puts This Track On A New Level, With Signature Percussive Flair From The Sought After Hip-hop Beatmaker.
Inja's Spoken-word Piece For Amnesty International 'she Just Wanna Dance' Was A Viral Online Hit In 2017. It's Now Been Given A Turbo-charged Re-work By Med School Young-gun Whiney. Inja's Poignant Commentary On The Prolific Problem Of Harassment In Club Culture Sits Atop A Grimey Half-time Stepper That Switches Up Into A Lethal Upfront Roller.
Inja Proves He Can 'juk' Any Riddim In 'samurai'. Serum's Steppy Beat And Woofing Bassline Balances Inja's Story Of The Samurai, Slicing Through The Tune Like The Lyrical Sensei He Is.
even With A White Page And Black Ink, You Can Spell Out More Colour Than The Eye Can See.' - Inja

Lloyd Miller, Jahrgang 1938, ist ein US-amerikanischer Musikethnologe, Arrangeur, Komponist und Multiinstrumentalist. Millers Karriere begann in den 1950ern mit Dixieland. Aufenthalte im Nahen und Mittleren Osten weckten sein Interesse an orientalischer und speziell persischer Musik. Das machte aus Miller einen Pionier des Oriental-Jazz. Während der Siebziger hatte er als Kurosh Ali Khan sogar eine eigene Fernsehshow im Iran. Die Sendung lief sieben Jahre und brachte dem Musiker eine große Popularität ein Neben diversen erkussionsinstrumenten spielt Miller Bass, Flöten, Kamantsche, Klarinette, Oud, Piano, Santur, Sehtar, Tabla und Zarb. 2010 veröffentlichte Miller mit der britischen, vom Afrofuturismus angehauchten Spiritual-Jazz-Band The Heliocentrics ein gemeinsames Album, das Strut nun in einer limitierten Auflage von 1000 Exemplaren als Doppel-LP neu auflegt. Hier beweist das Londoner Musikerkollektiv, das im Jahr zuvor (2009) mit Mulatu Astatke, dem großen Ethio-Jazz-Veteran aus Äthiopien, ein viel beachtetes Werk in Umlauf gebracht hatte, einmal mehr seine musikalische und instrumentale Vielseitigkeit

ALLFEELINGS is releasing a 12" in dedication to his love for early dub techno coming out of Berlin. The idea behind the title 'Untitled' is to give the listeners more space to interpret the tracks themselves rather than being distracted with any track names.
As ALLFEELINGS MUSIC label is about the amalgamation of sounds and rhythms to bring about a visceral experience, this can be observed in the African inspired percussion on side A and the subtle changes and movement it has throughout its length. Side B focuses more on easy listening with sounds and dry textures meandering slowly demanding the listener's attention at all times.
The other great thing about this record is it works really well pitched down which can be used to great effect during warm ups and after hours. This release has the support from Ario and O:utlier from Astral Industries.

While notorious in the Chicago streets, RP Boo's music had been unfairly confined to a few white labels and self-released mixtapes until his two archival Planet Mu LPs Legacy and Fingers, Bank Pads & Shoe Prints introduced broader audiences to his sonic history, some of it fifteen years after it was first recorded. I'll Tell You What! is the next step in his mission, and the first time he's released an album of contemporary material. The title, a favorite maxim of his, welcomes listeners to sit down and let him narrate in the unforgettable abstract fashion he's known for. He explores familiar motifs such as the cosmos, movement, and opposition, using densely interwoven vocals, unpredictable percussion, and evil humming bass as his tools of choice. RP Boo's music doesn't follow the traditional rules that most compositions do. Layering decades of samples from yesteryear to the present over his commanding vocal cut-ups, he transports the listener to their own realm of the space-time continuum. The main difference between this record and his prior work is now we hear Boo tell new stories about preaching his gospel outside of Chicago, from his experiences frantically touring the globe over the last five years. The words 'things ain't been the same / since I hopped the plane' are repeated on top of engine sounds and rumbling bass on Flight 1235, a glorious paean to his new jet-setting adventures. The spirit of competition runs through RP's veins as much as blood does, something you can't unlearn when you've been making music for Chicago's footwork circuit as long as he has. The local culture has served as a shelter from the violence that has plagued the city, pitting kids against each other with their feet rather than weapons. On At War Boo reminds us 'we are at war in the streets', a double meaning to both the mayhem in this world and the sweetness of rivalry on the dance floor. Another battle-themed track Cloudy Back Yard, one of the spacier moments on this album, is an abstract on the state of footwork's home. Chicago remains the backyard of this artform even though it's left the porch and traveled to new neighborhoods worldwide. Back at home though, competition among the DJs and dancers continues, and as the man himself says, 'with all this hate, there's smoke, and it's cloudy'. I'll Tell You What! throws more than a few curveballs into the mix. Footwork has always borrowed from hip-hop, and many vocal tracks are almost condensed raps, dating back to the street chants pioneered on Dance Mania Records in the ghetto house days. On Bounty, Boo grabs the mic and brazenly lays down a full-on verse of terror over a thick atmosphere of his signature sweltering low-end and erratic Roland R-70 patterns. While he's most famous for his confrontational battle anthems, his melancholy moments are just as powerful. You get the best of both of those worlds on U-Don't No, with soulful samples finishing his own cocky sentences, one of the most elegant tracks RP has made to date. Deep Sole closes the record out, with the words 'It's always beautiful at the end' looping over waves of hypnotic synthesis, confidently looking death straight in the eyes.

As The Title Suggests, Joakim Recorded This New Album Last Year At Studio Venezia, The Installation/sculptural Ensemble/recording Studio Created By Xavier Veilhan For The Prestigious 2017 Venice Art Biennale. Built Inside The French Pavilion & Inspired By The Grotto-like Merzbau By Kurt Schwitters, Studio Venezia Had Dozens Of Artists Create And Record There Over The 6 Months Of The Biennale (from Chassol To Brian Eno, From Joakim To Sebastien Tellier), Invited By Xavier Veilhan Himself With The Help Of Co-curator Christian Marclay.

With An Impressive Collection Of Rare Instruments From Medieval Horns To Rare Modular Synths (baschet Crystals And Percussions, A Buchla, A Clavinet...), Studio Venezia Was An Amazing Creative Playground For The Adventurous Musician. Those Instruments Were Captured By A Team Of Sound Engineers In The Best Possible Way Thanks To Nigel Godrich's (beck, Radiohead...) Mobile Studio Loaded With State Of The Art Vintage Recording Gear.

Before Going There In May 2017, Joakim Examined The Instrument List And The Specific Context Of A Studio Open To The Public Within An International Contemporary Art Exhibition To Anticipate His Creative Process. Instead Of Drafting Compositions And Demos Ahead Of The Recording Session, He Decided To Have An in-situ' Approach By Creating A System Involving The Visitors Of The Studio In The Composition Phase. Joakim Asked Random Visitors Of The Pavilion To Pick A Word, A Letter (between A And G), Tap A Tempo And Sometimes Choose The Instruments That He Would Play For Each Piece. The Word Was Translated Into A Chord Using A Transcription Table Joakim Invented. Hence The Song Titles Made Of The Given Word Plus The Name And Origin Of The Contributor. The Music Was Then Mostly Improvised, Based On Those Chords, Scales And Tempi. The Recordings Were Then Taken Back To New York Where Joakim Made Some Light Editing And Mixed The Pieces.

In Terms Of Influences, Joakim Tried To Channel The Spirit Of Proto-ambient German Heroes Cluster, 60s And 70s Modal Jazz, Japanese Evocative Minimalism And Drone Composers' Hypnotic Transcendence.

One Can Hear The Studio Through These Recordings, Which Was The Point, To Use The Studio As An Instrument, Like The Kraut Rock Pioneers Did. You May Hear The Floor Cracking, People Talking Or Coughing, And The Peculiar Quality Of Music Recorded In A Large Space With Its Acoustic Properties, A Rare Occurrence When Everyone Is Now Working From Small Home Studios And Major Large Studios Are Closing Down. This Album Also Marks A Return For Joakim To His Musical Education As A Classically Trained Pianist As You Can Hear Him Improvise On The Piano ( arms', air', dream'), Fender Rhodes ( trust') Or Harpsichord ( absense').

Following The Release Of The Studio Venezia Sessions, Joakim Will Create A Live Performance Based On His Experience In Venice. The Premiere Of This New Solo Performance Is Commissioned By The Villa Medicis In Rome For Their Villa Aperta Festival Early June. More Shows Will Follow.

2017 saw the arrival of Pin Up Club here at the Bordello with a superb three tracker, Friends of the Vortex. Now the Dutch partnership are back. This time a quartet of tracks has been selected to produce The Forever Machine. The bold bars of Friends of the Vortex, the romantic rushes and soundtrack silhouettes are all present with new elements being introduced to further develop a truly unique style. Breathy vocals and melancholy are countered by warm synthlines in the brooding 'Valis' before the lonesome 'Is There Anybody Out There' blooms into a daringly bright work of disco dimensions. Opening the flip is the title piece. Smouldering, 'The Forever Machine' burns with quivering chords that rise ever skyward on a column of tight rhythms as lyrics spiral ever upward. 'A Deepness In The Sky' is a perfect illustration of Pin Up Club's ability to transform burgeoning sombre sounds into tempered elation, rumbling strings and fragile percussion intermingling for a heady finale. Welcome back to Bordello A Parigi guys, welcome back to Pin Up Club.

Prayer returns to Black Acre with the 'Vital' EP, a heavy four tracker which blurs the lines between sorrowful sounds and high voltage club energy - limited to 200 hand stamped vinyl.
'A four track EP that delves further into his defiantly outsider sound. Living somewhere near the intersection of classical, jungle and ambient' - The Ransom Note
'This atmospheric modern jungle track has a bit of Burial's sad-but-sweet emotional tinge to it' - Resident Advisor

PRAYER blurs the lines between sorrowful sounds and high-voltage club energy in VITAL; a piece of art that refuses to be boxed off by genre or stereotype.

Opener FEAR explores the producers love of film music; a dark sci-fi landscape punctuated with drums and melodic synths, a Bladerunner-esque track. Moving on, A2 'I'M STILL HERE' is an anthem, a nostalgic mix of hardcore, jungle and classical influences with a DIY, rough and ready feel.

On the other side, PRAYER shows his talent for the piano with B1 - KIND, finessing the skills that reflect his first adventures in sound. It's an emotive, stripped back number. The final track is B2 - VITAL, another drum-heavy, weighty track that sounds only like PRAYER - as ideal for the club as it is for headphones

First he had us in Denial. Then he made us an offer we couldn't Resist. Now he's fixing our focus on the most crucial player in this whole house caper: the 'Selecta'.

Come again 'Selecta' is yet another crystalline acid body workout from the Ovum boss who's been dishing out single sinewy shell-outs in a seriously rich vein of form of late. Galvanised by heavily swung drums, loaded and coded with a venom-like funk and characterised by a big soundsystem vocal that tears out of nowhere and disappears just as quickly; it's yet another unique piece of 303 witchcraft, the likes of which only Wink can conjure. Deeply groovy, unabashed darkness and just a nuance of mischief with the vocal, it's yet another precision piece from Mr Wink who's also kindly provided an instrumental for your added creative pleasure.

Selectors, this one's for you. You know what to do...

Subliminale Materiale is the 5th installation on Lustpoderosa. Kind of a split EP. The A side with two remixes and two original jams of Jack Pattern on the B side. With this release we want to point out the remixes on the A side. Both done by Lustpoderosas favourite producers and DJs: Sneaker aka Dunkeltier (Uncanny Valley, Rat Life, Frigio) and Kris Baha (Power Station, Pinkman Cocktail D`Amore) . We guess you know and love them as much as we do.

Pietro 'Bingo' De Lisi and Alex Carpentieri aka Italian duo System of Survival, have long been renowned for their raucous live cuts, the likes of which have firmly established their name amongst fans of discerning house and techno. Regulars at Ibiza institution, Circoloco at DC10, the boys knack for a tune has also brought them to the attention of respected label outlets such as Bpitch Control, Freak n'Chic, Moodmusic, Rawax and Get Physical. However, their latest release - released here via the emerging Deset Music - might just be their best yet. The label's inaugural release sees the boys perk up with two stunning originals and are back by remixes from none other than two Chi-town legends, Boo Williams and Ricardo Miranda.
Opening up the sounds of the release is 'Nu Soul Era'. A raucous, deep cut that displays all that's excellent about System of Survival, this one goes firmly down the rabbit hole in search of kicks. Characterised by its quite brilliant and catchy baseline, the action is dark and trippy throughout, with a firm emphasis placed on a groove that never lets its guard down throughout. A majestic start to the EP, it gets us underway with some distinction.
System of Survival's other original is 'Funky Left Funky Right'. Again, the duo expertly showcase their penchant for melodic structures, this time via a bleepy baseline that's perfectly suited to peak-time floors. Ricardo Miranda's interpretation goes deep and off-kilter, but remains true to the original's full-on characteristics. A stunning indication of the producer's eclecticism and studio mastery, it's an intoxicating take on a track that's never lacking in suspense.

Seeing us out the door is Boo Williams' remix of 'Nu Soul Era'. The 'Mortal Trance' producer can always be relied on to bring the heat in his own inimitable way, and he does so here with the sort of panache for which he's best renowned. Injecting the original with every more bounce, he wastes no time in getting down to business, setting his stall out via an acid-led, 909-flavoured remix that offers up a tantalising version of what's arrived before. An all-round stunning EP of various shapes and sizes, there's plenty here for fans of discerning house and techno to get stuck into on this one.

The new talented Italian producers Sibling and the Russian Artist Heavenchord kicking it off with Lonesome Landscape EP on FAUXPAS MUSIK. An emotional piece of late night atmosphere dub techno music full of analogue warmth and heart-warming depth. Vinyl tastes better...

JA:CK is back to showcase his first solo release on Cocoon Recordings. Tuscany smells of pines and good food, the sea spoils you just like good wine and lots of sun. For some time now we here at Cocoon have been connecting with Tuscany through the legendary Cocoon events at the Tini Soundgarden in Cecina and since last year Segnore JA:CK has also joined our Tuscany vision. Following on from his track 'Naturra' on the 10 with Joel Mull (2017), we're proud to present two new tracks by the Tuscan artist, which once again possess their very own charm. Dry and grainy, they still come across housey and sexy and to put us properly in the picture, JA:CK's called the release 'Paprika' - short and crisp, red hot and spicy - that's alright with us! Listen up as we bring the Tuscany vibes to the festivals and to Ibiza this summer. Signore e signori: Ecco il tuo uomo!

Phil Gerus is a natural musical talent who oozes sound from every pore. Fusing together cassette pop, disco, soul, r&b and funk, his sounds are effortless but hugely emotive and have come out on labels like Sonar Kolkektiv, ManMakeMusic (George Fitzgerald's label), Futureboogie and True Romance. Growing up in Moscow, Phil studied classical piano and was heavily influenced by his parents' music tastes, including jazz records of Oscar Peterson, Bill Evans, and Keith Jarrett, it is these classy vibes that permeate his own creations. Phil has played around the world at leading clubs like Japan's Dommune, Studio 80 (Amsterdam), Mojo Club (Hamburg) and various hotspots in Europe and Russia. Phil is also a regular guest on radio shows around the planet and is considered as an artist on the rise.

limited repress on white vinyl This sacred piece of vinyl will blow all your worries away! No introduction needed for the true new-wave/italo lovers, because what we have here are two of the most sought after holy grails: New Life and Grace. On top you'll receive four extra unreleased Three Of You tracks retrieved from the Italian 80's. Diamonds for tears on the beloved Bordello A Parigi label. Limited repress on white vinyl

When Ann Arbor's Tadd Mullinix began exploring hip-hop under the name Dabrye 20 years ago, he soon honed in on a startling vision of what the genre could be: ingenious, refined, daring. This vision came to life across two albums for Ghostly International — 2001's One/Three and its 2006 follow-up Two/Three— with each record further positioning the quiet Michigan producer as one of his generation's best, equally comfortable creating minimalist instrumental meditations or sharp rap salvos. In the late 2000s, following critical acclaim and accolades from both peers and inspirations (including the late Jay Dee with whom Mullinix collaborated before his untimely passing), Mullinix put the Dabrye moniker on ice and dedicated himself to other genres and ideas. All the while the influence of his work on a new generation of electronic musicians continued to make itself felt in subtle but meaningful ways.

All this changes in 2017 as Dabrye makes his long-awaited return with Three/Three, a razor-sharp rap album that brings to completion a prophetic trilogy. Mullinix's incisive productions provide the backdrop for equally acute rhymes that run the gamut from intergenerational observations and being your best self to back alley deals and having fun in the ride. Guests include indie rap legend DOOM, whose previous collaboration with Dabrye remains a point of reference for many, Wu Tang storyteller Ghostface Killah, L.A word fanatic Jonwayne, and Long Island's rugged surrealist Roc Marciano. Most importantly Three/Three is, much like its predecessor, an unfettered celebration of Detroit-area talent with Guilty Simpson, Phat Kat, Kadence, Quelle Chris, Danny Brown, Shigeto, Clear Soul Forces and more all lending their touch to Dabrye's return.

The blend of American and British dance music, hip-hop sampling, and Jamaican sound clash energy that underpinned Two/Three remains a quiet, guiding principle. At the same time Mullinix rejoices in a refreshed perspective, having had time to incubate ideas and find clarity in the distance between albums and the evolution of scenes.The beats are looser and less angular, more embracing of repetition. Organic techniques inspired by soul and jazz round off some of the harsher sonics. The resulting broad palette of tracks reflects both this evolution and the range of the Dabrye persona: relaxed headnod ("Tunnel Vision"), nervous, slow-motion electro ("The Appetite"), glacial motifs ("Emancipated"), jazzy, cut-up funk ("Sunset"), minimal brutalism ("Electrocutor"), intricate layering ("Culture Shuffle").

Three/Three marks the return of an innovator after close to a decade of silence. Despite what the title might imply, the album isn't the end of the story but rather the completion of a creative arc. Expect more Dabrye in the near future. The game is far from over.

- Final installment of the /Three series, started in 2001
- Guests include Ghostface Killah, Jonwayne, Doom, Danny Brown, Shigeto, and more.
- Media support from: The Wire, FACT Magazine, The Detroit Free Press, Pitchfork, XLR8R
- Past collabs with Jay Dee (J Dilla), MF DOOM, Beans & more
- Vinyl is housed in a matte jacket with black hot foil and includes 24-page zine designed by Michael Cina.

'He Bleeds Stories EP' is the first vinyl release on VRAAA Records, a techno label with the aim of queering-up the genre. Both original tracks contains elements from Projekt Gestalten's past original productions clashing with new sounds and being incorporated into a whole new context; like pieces of different stories scattered throughout the music and reconfigured into a brand new tale. Each track was remixed by projects with contrasting gender identities: the heavyweight techno duo I/Y, representing the masculine side and the fabulous German selector Anja Zaube, giving a feminine perspective.

When Michaela Meise performed at WestGermany at Kottbusser Tor in Berlin-Kreuzberg on March 20, 2015, accompanying herself on the accordion, I was perplexed. I knew her first album from 2010, which was about hymns (»Preis dem Todesüberwinder«, originally released on Clouds Hill, available as a download and stream through my label from July 2018 on), but what she was playing weren't spiritual songs! I wanted to put this music out on my label: the songs sounded sad, aloof and wistful but also proud, determined and unerring.

The album title »I am Greek« is a tribute to Melina Mercouri's album »Je Suis Grecque!«, which was released in 1971 when Mercouri was deprived of citizenship by the Greek military junta. Mercouri lived - like Mikis Theodorakis and many other cultural workers - in exile. Meise's album is dedicated to the chanson scene of post-war Europe, whose songs were popularly folksy, but also political. Some talk about the experience of war, the Shoah and labor migration. Michaela Meise has translated the Greek, French and Romanian songs into German (with the help of Aliki Marini and Carmen Gheorghe) so that the lyrics are understandable to a German audience, a gesture that was also common in the European chanson scene. More than half of the songs are by Mikis Theodorakis. He knows the translations and new recordings, gave his blessing and just noted a wrong tone ... The other pieces on the album are by the French artists Barbara and George Moustaki and the German musician Alexandra. There is also a Romanian folk song.

The album was recorded by Michaela Meise together with members of the group Isolation Berlin as well as the guest singers Carmen Gheorge and Dirk von Lowtzow (Tocotronic). The producer was David Specht (Isolation Berlin).

Michaela Meise and me both have intimate relations with Greece - Michaela has innumerable holiday memories with parents and brother, I have a friend who lives in Athens and whom I have been visiting regularly for about ten years now. This friend, the graphic designer Vasilis Marmatakis, styled Meise's album using an impressive, scary photograph taken in May 1985 during the occupation of Polytechnio Athens. Together, we opted for an elaborate packaging made by a bookbinder, a so-called Japanese tip-on-gatefold cover. The packaging reminds us of the records that were made in Greece for export and taken by German tourists as a souvenir back home.

Moscow Is Mythologized For Its Grandeur And Gravity But Its Parable Pleasures Offer Splendor And Even Absurdity. Over The Ten, Symmetrical Pieces Of For, Kate Nv Scores Her Native Urban Environment With Just Enough Whimsy To Gurgle Through The City Cracks And Grow Psychotropic Foliage. Each Sound Assumes Its Own Personality, Moving Through The Album Metropolis Like Miniature, Mutating Molecules Viewed From Nv's Apartment Window.

Alternately A Guitar-wielding, Post-punker And One Within The Multitude Of Moscow Scratch Orchestra's Avant-garde, Nv Is A Versatile Artist That Maneuvers Instinctively In Whatever Musical Environs She Finds Herself. Nv's Second Solo Album Is An Even More Abstract Endeavor Than The Hybrid Pop Of 2016's Binasu. Inspired By Casual Moments Of Ephemeral Sound From Within And Beyond Her Apartment Walls, The Record Has A Clarity Arrived Altogether And From Right Under Her Nose. Recorded At Home, Nv Says It Was As If The Music Was Not Written By Herself, But Her Chair.

For Inhabits A Stage That Piero Milesi & Daniel Bacalov, Ann Southam, Or Hiroshi Yoshimura May Have Written Music For And Dresses It With Viktor Pivovarov's Psychedelic Depictions Of Moscow - Contorting Bodies, Flying Pencils, And Multi-dimensional Faces Dance With Subtle Arpeggiations, Conversational Voice Synthesis, And Anthropomorphic Midi. Animating Objects Is Essential To The Album. Like A Surreal Still Life, Each Piece Is An Alien Arrangement Of Common Elements That Extend The Everyday Ritual Into An Eternal Landscape Of Unconscious Activity. Somewhere Along That Landscape, Kate Awaits And Greets With Apples For Hands And Fish For Feet.

Like The Album Title, Each Composition Contained Within Is Represented As A Three Letter Word, In Russian And English. The First Half Of For Was Written In The Spring. Starting With yxo Ear,' Previously Released On The Peaceful Protest Compilation Cassette In 2017, Melodies Meander And Lollygag. a Two' Incorporates Human Breath Played Like Notes On A Pump Organ. Oak' Offers A Warm Tune To Tango. How' Loops Curious Notes That Bump Into Each Other With A Chirpy Acknowledgement. You,' The Only Track On For With Lyrics, Sets A Wassily Kadinsky Poem To Song.

The Second Half Of The Album Was Written In The Autumn. The Feathery Edges Of One' Extend Like Watercolors Bleeding Off A Rubber Scroll. See' Is A Subdued, Shadowy Variation Of How', As If The Same Song Were Played In Different Weather, Dimmer Light, Or By Kate's Devious Doppelganger. The Electronics Unravel And Unwind On Dog' Until The Final Track, Who,' Ends With Vague Solemnity And Rattled Metals.

A Short Online Film Series By Shura Kulak Will Accompany The Release Of For. The Films Follow A Solitary Figure Performing Ordinary Tasks Through A Slow, Warped Lens — Each Song Enacting A Daily Habit: Waking, Dressing, Reading, And So On. In Her Live Performances Around The Album, Kate Nv Will Play Each Song From Memory, Allowing For Variation From The Recorded Tracks, And Scenes From The Films Will Be Re-created And Improvised In The Moment.

Cardiff-based singer-songwriter Ivan Moult returns with his latest collection of rich, confessional songs on new album Longest Shadow, out now via Bubblewrap Collective.

The album reflects Moult's progression through the fledglings of blissful romance into the fragmentation of embittered break- up. Each track combines Moult's intricate guitar plucking skills with his warm, soothing vocal to create something both compelling and incredibly moving throughout. His latest single Lay Me Down revolves around the feeling of giving in to depression whilst simultaneously fighting against it. Moult's beautifully natural vibrato soars effortlessly over the cinematic musicality to create something akin to that of Nick Drake or Jeff Buckley's distinctive songwriting charm.

Ivan's soft , subtly shattered vocals are complemented by the orchestral compositions and double bass of Callum Duggan, the precision percussion of Sam Thomas and backing vocals from Kadesha Drija

''Longest Shadow truly is a stunning piece of work and if the likes of Damien Rice, Nick Drake, Willy Mason are your thing, it's a safe bet that you will thoroughly enjoy this - Folking

New Zealand based EBM auteur Body Beat Ritual makes his debut on Bergerac with an incendiary EP of full throttle intense dark wave bangers. Growing up in North West England immersed in hardcore punk and rave culture led to musical experiments and Body Beat Ritual is his unique splicing of both aesthetics.
Using a combination of hardware, audio samples and midi sequencing, Body Beat Ritual reclaims the moment when underground musicians in Manchester, Chicago and Ghent put down their guitars and picked up drum machines and sequencers bringing the intensity, rawness and aggression of the band environment to the dancefloor. Mortal Sin is a certified smasher. Absolute dancefloor decimation whenever it's played out. No more description necessary. No Mercy evokes the Lost Boys vibe with an equally high octane raw workout. Trent Reznor meets Jeff Mills at a DAF gig on a flatliner. The EP closes with Body Politics which lowers the tempo to a chuggier zone, with an ode to female empowerment which keeps up that Body Beat pressure and intensity.

Steve Reich's Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism.Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing - pulling listeners into the rhythm and possessing a raw immediacy, directness and energy.The premier performances of Drumming took place in December 1971 in New York City - first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made - and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden.Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich's investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974.This first-time vinyl reissue and first-time CD release has been carefully remastered from the original master tapes.

500, 12" 180g, black vinyl, hand stamped, individually numbered records, single press only.

Laura Jones returns for another EP outing on her label. Despite weighing in with an incendiary first release that found Mandar's SAM remixing Infuse's Karousel and a follow up from Jones that included one of the sadly departed Trevino's final remixes, the label took a backseat to the birth of her daugter in 2017. A year on however and the pace has picked up with an EP from renowned modular wizzard Kamran Sadeghi at the start of the year and this latest EP from the label boss. The two originals are a snapshot of her evolving style. Pathway places skippy beats and sub heavy kicks under a soaring chord sequence, abstract vocal samples and ethereal pad riff. Tough Crowd takes a moodier approach with a menacing sub bass and drum arrangement, bubbling filters building to a hook that unfolds halfway through to create a moment of formidable intensity. Lee Renacre's recent revival of his 100 Hz alias courtesy of well received outings on Slow Life and Bosconi among others, has found the producer on career-best form and he turns in a sublime remix that makes deft use of delicate top lines and bubbling oscillators to create a powerfully heady atmosphere.

One of our humble imprint's closest allies and a longstanding pillar of Philadelphia's electronic music community, Billy Werner has been a constant presence in the booth at parties throughout the Northeast Corridor since 1998. We debuted his M//R alias in 2014 with the 'Gathering Response Data' 12" . Since he's been busy bringing the grit to points beyond the City of Brotherly Love, putting in work for the likes of DetailsSound, L.I.E.S. and JackDept. Most recently, he turned out a remix of Karen Gwyer's 'Why Does Your Father Look So Nervous' for the 'Rembo' remixes on Don't Be Afraid, as well as another for Chaperone's 'Grit Neglect' on the aforementioned 'SnapbackBalaclava'EP.

Written, recorded, and mixed over a period of 15 months,'Among The Methods' is in no small part a reflection of the affinities and sensibilities Billy holds as both selector and producer. Referencing a variety of influences from jazz to dub to electro, the album's allure stems from his deft ability to recontextualize those genres' disparate aspects into a familiar-yet fiercely idiosyncratic-musical context.The end result is at once wildly fractured and precision-focused as 'Among the Methods' finds its own seductive rhythm within a matrix of dub echoes and modulated low-end. It's heady ground,to be sure;as well as the most declarative aesthetic statement fromM//R to date.
Presented without further comment. The music is the message








s

Five Years After "privileged Life" Was Released P.h.o.r.k. Is Back At It For Opal With Four Hypercolour Tracks Referencing French House, Jit, Uk Funky And All Manner Of Hypnotic, Percussive Goodness.

Opener "my Love" Inverts A Super Tight Duelling Loop Of Voices Against An Increasingly Staggered And Glitched Line Throwing Dancefloors Off Balance Like Cassius With A Head Injury. Title Track "no Afterlife" Sits On A Jerking Snare Pattern While Air Vents Open To Release Plumes Of Steam, Urban Fields And Angelic Drone In A 7-minute Ride.

"get That One Note Jam" Has A Clue In Said Title. The Tracks Bounces Forward On A Super Simple Riff While Modular Percussion Pick Out Spaces In Between. The Track Slow Blends Into Resonating Alloys Of Cyber-kora Offset With Reload Clicks And Abrupt Restarts. The Ep Closes On "love Recirculation' A Cartoon-ish Barrage Of Wooden Perc Just Keeps On Pushing While Synths Wow And Moan All Over The Shop. Killer Minimal Funk Throughout That Is Sure To Build A Smile.

Banoffee Pies Records drop their third Beats release 'Samba Del Sol' with Clifford Brown & Jeen Bassa Ft. Ella Mae Sueref - The album is influenced by Carnival and Latin sounds with Hip Hop drums and Soul roots - meeting in middle ground as an expression of the production duos upbringing, John's heritage in Mauritius and Cliffords childhood in South America. Partnered with Ellas Spanish language fluency and soft Badhu acclaimed voice as previously heard on the single 'Stop Rewind' credited by the like of Gilles Peterson and Mr. Scruff.

The tracks were recorded on Garageband by Clifford Brown and Jeen Bassa with 2 Karaoke Microphones, mixed in Bath and later buried on a hard drive for over 6 years never to be heard again. Sliding into the forgotten darkness of lost tracks and rediscovered in 2017. The production, originally just an instrumental, was then found and reignited, revamped with a vocal insert from the wonderful Ella Mae Sueref.

The 10 track album demonstrates a flurry of drums, latin inspired sampling, and mesmerizing vocals from start to finish. For the music and the lovers. Living room jams made in smoke. Banoffee xx
In Loving memory of Anna Sueref.

"Things take a psychedelic turn for SchleiBen 7 with a welcome to the label of arch exponents of mind expansion in NYC's Georgia and the unlikely but no less diverse inclusion of Balearic stalwarts A Man Called Adam. Having Georgia in the series might not now be a surprise, however discussions with this open, genuine duo started during a visit to New York over 3 years ago and so here, finally realised in this fluid journey of confident pace and harmony, is the best of their freeform evocations. A duo in the everyday sense, Brian Close and Justin Tripp are video / music production teamsters of unnatural talent. Having gained a status of their own that has seen them release for the likes of Palto Flats and FTD, the five pieces that form their contribution drip with psychedelic intent. Culled from archives, the interest is how the tracks - made over different years, locations and situations in life - meld in to something poetic simply by being placed within a specific format. Avant-chimes ebb to rhythmic pulses and erudite teachings before dark percussion and Eastern melodies reach a clattering, but gentle finale. With an upcoming collaborative album with Secret Circuit due on the label later in 2018, as well as recent works with RVNG Intl's Matt Werth and recordings for Sacred Summits' brethren Firecracker Recordings, it's a warm, effusive glow of a welcome. In contrast, the inclusion of A Man Called Adam in the series may indeed surprise but is a false comprehension. The "Sketches" included here show AMCA away from their Balearic pop incarnation of the last thirty years and towards the academia that both members Sally Rodgers and Steve Jones have pursued in the last decade. With both completing PHDs, Sally ('The Diachronic Impact of Technology-Led Abstraction in Oral, Written and Music-based Poetries') is a senior lecturer at Leeds College Of Music, while Steve ('Mobilise: The Carry Principle, Sound and Mobile Media') is based out of de Montfort University, now is the perfect time to highlight the diverse sound environments they have been working in. The music that makes up these recordings are drawn from sound works and audio experiments completed in recent years. From sound toys and apps to home made glass organs and electro-acoustic sound, custom patches to spoken word manipulations, the sketches are excerpts - some evolved from commissions for the National Science Museum, BBC Radio 4 and live performances with the world renowned video artist Milosh JL - fused especially for this release. Bringing these generated pieces in to an audible "mix" creates a discourse of their work in performance, interactions and visual media. An intellectualised album therefore, but still in the premise of the series to allow artists to present something new, unique, discrete, hidden even, all with the aim of giving the recipient the chance to sit back and (un)listen. "

The Four Tracks Composing All My Time Reveal A Unique Bird's-eye Perspective Over The Contemporary Pop Landscape, With Its Ambiguities And Fictional Public. By Developing A Personal Approach In The Bosom Of A Universal Notation, Mechatok Informs Naturally His Compositions With A Deep, Emotional Insight. Ornate But Undisposable, All My Time Glides Through The Skies Of Today's Music With A Rejuvenating Melody. Limited Edition Vinyl. Includes Dl Card.Timur Tokdemir Aka Mechatok Hails From Munich But Now Calls Berlin His Home. With His 2016 Debut 'see Thru' Ep On Staycore The Young Producer Exhibited A Rare Gift Of Honing A Distinct And Unique Style At Quite A Young Age. The Title Song Was Accompanied By A Captivating Videoclip Shot By Benjy Keating On The Stairs Of Athens' Panathenaic Stadium, Able To Reflect Both The Wide Scope And The Intimacy That Defined The Compositions. Mechatok Also Attracted Attention Thanks To The Single 'still Life' (co-produced By Toxe) Which Scored The Kenzo Fw 2016 Prints Presentation. The Allure Of Mechatok's Compositions Can Be Partly Traced Back To The Fact That He's A Classically Trained Guitarist, But A Distinct Expertise Can Also Be Recognized In His Dj Sets, Where He Instinctively Juggles Melodic Pieces With Club And Pop Music, Conveying Feels From Vulnerability To Bliss. In His Mixes For Dazed And Mixmag, Mechatok Tells Stories Of Melancholy, Always Radiating With A Moving Energy. Mechatok Has Also Shown His Face As A Top-notch Pop Producer, By Providing The Instrumental For Uli K And Yung Lean's "schemin" Or By Remixing Sinead Harnett's "rather Be With You" Or Mr Mitch And Palmistry's "vpn", Which Got Recently Published On Planet Mu.

At a time when on every street corner, adolescent wannabe gangstas believed they had to tell everyone and their dog about their greatness and the inferiority of all others, there was a cadre of Munich-based Hip-Hop artists producing incredibly fresh and imaginative music, inspired, of course, by the golden era of the 90s. They played gigs in small clubs in front of some dozens of people, spread mixtapes and Eps and were celebrated by their friends and the rest of the scene. The world took no notice - until now ! Tramp Records, specializing in unearthing forgotten pearls of musical art, documents with "Golden Hits", an era of Munich underground Hip Hop which flew completely under the radar, spanning ten years from 2005 to 2015. The musical bandwidth and quality of the tracks is astonishing, but so much more could have been possible. Much of this music remained fragmented or unreleased for a host of reasons, families, stressful jobs, musical reorientation, and even lost hard disks... but one story has a happy ending! When Masta Ace had a live show at the legendary Atomic Cafe, Primatune's Fid Rizz was able to hand over a CD with demo beats. Unfortunately the CD was blank by mistake! But the curiosity of Masta Ace had been piqued, and he got back to him, the rest is history. Features of other stateside rap heroes like Wordsworth or Declaime followed.

The very best of this era, including tracks never before heard and ideas remaining fragmented, has now been compiled by Tramp Records to take you for a fascinating listening journey.

Hip Hop, as it was since it's inception in the Bronx, fresh and real, and made with passion by neighborhood kids spitting truth about life and the struggle!

Key selling points:

- including many unreleased songs
- the vinyl LP comes with a full album download code

With 'Solidarity Forever Vol.2' Co´meme continues this new chapter of its own history, introducing new artwork, a new logotype and three Various Artists EPs. 'Solidarity Forever' is a motivator for our everyday actions, and a reminder of why we are doing what we do, 'Solidarity Forever' is Co´meme's commitment to the reconstruction of underground culture.

These 12's are introducing artists new to the label, new collaborations and new approaches from Co´meme members already familiar to you.
Volume Two features tracks by RIZU X (Laredo, TX/Nuevo Laredo, MX), ANA HELDER (Rosario, Argentina), VASKULAR (Santiago de Chile) and GLADKAZUKA (Medellin, Colombia). You will be able to hear deep borderline doom house, modern leftfield workout techno, a hispano-oriental acid track, and an uptempo instrumental Hip Hop adventure - here's more utopian music against dystopian times.

To celebrate its 50th Anniversary, The Beatles 'Yellow Submarine' will be issued as a limited edition 7' single picture disc

Austin Based Experimental Collective Thousand Foot Whale Claw Is Back With The New Cosmic Full Length black Hole Party, Out June 29, 2018. Featuring Members Of S U R V I V E, Troller, Single Lash And Future Museums, This Is The Supergroup's Second Lp And Their Most Accomplished Work To Date. Inspired By Progressive 70's German Kraut-rock, Thousand Foot Whale Claw Maintains A Classic Style While Establishing An Original Voice. With Album Art By Renowned Contemporary Sci-fi/fantasy Illustrator Kilian Ang, black Hole Party's Aesthetic Is Cohesively Curated Throughout Its Dense, Multi-layered Track List, Ranging From Serene Sound Baths To Driving Dance Beats.

Tfwc Was Founded In San Marcos, Tx By A Core Group Of College Friends Who Bonded Over Loose Collaborative Jams Of Effects Driven Improvisations. Eventually These Unstructured Practices Evolved Into Refined Studio Sessions And Intense Live Performances, Leading To A Rich Discography And Enthusiastic Fanbase. Balancing Repetition With The Unexpected, Tfwc's Sustained Motifs Slowly Reveal The Band's Signature Free-form Experimentation. Known For Heavy Walls Of Guitar And Electronic Drones, Tfwc Spirals Into Circular Rhythms And Looping Riffs Stacked With Shredding Guitar Solos And Ambient Soundscapes. Explorations Spurring From A Central Theme Is The Basis For The Band's Compositional Approach, Always Seeking New Instruments, Sound Sources And Production Techniques For Each Piece. Recorded And Engineered At Stassney Studios In Austin, Tx With Producer/artist Dylan Cameron, black Hole Party Has Become The Band's Most Defining Body Of Work Thus Far.  

On black Hole Party, The Polished Structure And Acute Development Of All Six Tracks Is Distinct And Tangible, Making This Record More Composed Than Any Of Their Previous Releases.  Propulsive Songs Such As deridium Rail' And The Album's Title Track Are Driven By Four-on-the-floor Dance Beats And Arpeggiated Synthesizers, Contrasting Songs Like genesis Effect' That Predominantly Features The Natural Tones Of 12-string Acoustic Guitar And Harmonium. The Wide Variety Of Sonic Flavors Is Reflective Of Tfwc's Vast Musical Tastes, Refusing To Settle On One Approach And Allowing The Band's Idiosyncrasies To Shine Regardless Of Genre. To Classify Tfwc As An Instrumental Psych Band Is Only Partially Accurate, However There Are A Lack Of Proper Terms To Fully Encapsulate The Band's Broad Scope. Black Hole Party Is The Latest And Brightest Collection Of Songs From Thousand Foot Whale Claw, Meant To Be Enjoyed In A Multitude Of Environments For All Fans Of Expansive Listening. 

Newly signed to Rhythm Rollers, Mr. Wonderful & Technical J introduce The Boss, a 7' vinyl scratched masterpiece with outstanding production and a compilation of diverse and unique scratch samples to DJ/Producer to utilize.
This unique piece of vinyl has a 'Skip Proof' scratch side dedicated for the DJ/Producer with over 4.30min of vocals, drums, synths, bleeps and basses that can make any DJ/Producer standout from the rest.
The Boss is a live Studio scratch track that will have any crowd rocking.  Super low sub frequencies, punchy drums and ear pricking scratches that only Wonderful and J could produce.
Samples
Choosing the right samples for our record was the major focus for this release. We wanted DJ's to standout from the crowd, so spent considerable time getting vocalists and secessionist in the studio to record some very individual samples for DJ's to use.
Skip Proof Technology
'Skip proof' technology - is a way of recording scratch records so that they do not skip from one sample to another. This is achieved by first calculating the time it takes for one revolution of the record (1.8sec). Once you have this information you can then customise your DAW to that specific measure (133.3333bpm). Then layout your samples so they repeat at the start of each bar.
Extra Deep Grooves
The record plant cut extra deep grooves perfect for the more aggressive style of scratching we all love (these will not jump). Making sure the weight of the vinyl was correct giving that nice feel and long lasting audio sound.

Balance Records is happy to release 'Paul Cut' While no stranger to the french scene Paul is one of the up and coming DJ/Producers out of Paris.This release finds it roots in Jazz (Chicago /Paris). A1 starts with some heavy beats, which later combined with the other elements can bring the madness to any dance floor. Side , A2 brings another kind of madness which shakes you from inside like heated particles with its jazzy vibes. B2 heats you in a subtly way, when you expecting it the least with background sounds inspired from Jazz. And once they suck you in you start to be driven by them, like being stuck in the waves. B1 will draw anyone inner energy with its piano. It's a great track to lead to the end of the night or even closing. For the love birds and the loners on the dance floor. B2 heats you in a subtly way when you expecting it the least with background sounds borrowed from Jazz. And once they suck you in you start to be driven by them, like being stuck in the waves.

Written and produced by Maurice Fulton Hanna Sarkari ,all guitars. Mim Suleiman all drums and percussion. Maurice Fulton. All keyboards bass and drum programming. Recorded and mixed at BubbleTease Communications Sheffield UK

After three major releases by Tell, Nachtbraker and S3A, its time for debuting Italian artist Verner to close our beloved Trophy Quartet. This Milanese key virtuoso is ready to blow your mind with this eccentric yet humble ep, taking you on an emotional journey. Long stretched pads, playful chord progressions, organic percussion all produced with analogue 70's and 80's vintage synthesizers and drum computers in Verner's studio reminding us a bit of Harvey Sutherland and Nu Guinea's style. We're talking groove, funk, jazz but also house and soundtrack style compositions which together form a very complete record carefully A&R'd by Nachtbraker.

Drop the needle on the A side and you'll start off with L'inizio, a majestic piece of synthwork. Hurdling through different emotions and vibes, this could easily be the intro of one of your favourite 80's tv series. Upset takes you on a happy groovy tour whilst Crash of the Web Era and The Motion Pictures take us on a trippy and ambient voyage that is hard to wake up from. When flipping the record to the B side, Verner is stepping back into the groove and funk with Tecladista, arguably the dance floor hit of this debut EP. Starting of with again a majestic synth intro Area drops into a festive funk and jazz bomb with some intricate synth work treating us with some lovely solos. Closing this versatile EP is Late Night Job, a deep, deep tune with a thriving baseline and mesmerizing synths.

We suggest to don't sleep on this one and have a listen to this piece of art by the very talented Verner.

Scottish Producer, Stephen Lopkin Is Back On M>o>s Deep With A Great Double Pack Of That Gleaming Sound We Love Him For! Tip!
.
Having Released Two Eps On The Label Since 2014, Stephen Lopkin Now Steps Up To Mos Deep With A 2x12" Release Entitled Clyde Built, Recorded In His Home Town Thornliebank. The Scottish Artist Has Been Making Prickly House And Techno For Almost A Decade. His Style Is Serene And Slick, And Across The 10 Tracks Here He Manages To Conjure Tracks That Work In The Club But That Come With Plenty Of Cerebral Qualities.

He Never Made A Secret He Takes A Lot Of Influence From Early Detroit Techno, Even Several Track Titles Pay Direct Homage To His Musical Heroes Like Derrick May, Kevin Saunderson, Carl Craig And Also The Track New Euro Politique Is Made In Memory Of The Late Uk Producer Matt Cogger Aka Neuropolitique.

'welcome To Nowhere' Kicks Thing Off With Languid House Grooves And Jittery Percussion, 'matrix' Is Awash With Swirling Pads And Astral Grooves And 'new Euro Politique' Is A Blizzard Of Kicks, Panning Percussion And Arpeggiated Synths That Glows Bright. There Are Darker, Driving Cuts Like 'fridays At Pure', Trippy Offerings Like The Title Track And More Thoughtful And Pensive Jams Such As 'qinosen'. The Final Three Tracks Are Busy, Electrifying Pieces That Fire Every Synapse With Their Sci-fi Fx, Crisp Drums And Cinematic Atmospheres.

The Whole Album Is Wrapped Up In Majestic Synth Work And Every Track Reveals More Layers With Each Listen. Offering A Sublimely Complex House And Techno Sound, These Tracks Look Back To Go Forwards And Do So With A Real Timelessness.

Remastered for 2025

Drumcode has become a label synonymous with some of the most-cutting edge and forward-thinking techno over the last 20 years. Their artists include both emerging and established names, and one of those well recognised is Enrico Sangiuliano. Now announcing the very first concept album of his career.

iomorph is born. A very special concept album designed to take the listener on a journey of evolution. A musical adaptation describing how biological and technological advances over numerous generations of time have all started from the same first step in our own biological journey.

Divided into 4 parts, Organisms opens with atmospheric tones, gradually blending complex textures and timbres to begin the evolutional process. The beginning of this section combines full sounding arrangements before stripping it all back to basics. From here it dissolves into the atmosphere. Organisms then progresses into a break-beat influenced, down tempo track using synths to add complexity to the straight, broken rhythms.

Galactic, futuristic elements are found in both tracks in Cosmic Forces. Upbeat, groovy, electronic synths resonate, before 'Hidden T' brings the tension to get things pumped up with stratospheric swirls and twirls to lay down one of the most mind meltingly deep drops.

Metamorphosis is mysterious, its opening beat is a deep and piercing tone that sends the listener into a sensory awareness of their surroundings before breaking into a fully charged, techno track, with Enrico's trademark sounds and textures.

All evolution has an ending.

Two Probabilities shows the positive, starting out evocative and emotional, with a gentle harmony, gazing towards a 'New Dawn'. On the other side of the spectrum lies the negative. This is influenced with a rhythm that articulates the beat of death, mathematical, cold and metallic in texture, it shows the unsustainability of its nature, with a hectic, anxious break beat influenced ending.

MotorCity Wine Recordings returns in fine style with its second EP featuring a swashbuckling blend of house and jazz sounds from Detroiters and their compatriots. Rising live techno star Haz Mat leads this 12' with a house-tinged boogie funk cover of Blue Six's Music & Wine', complete with vocoder and massive drums. Kuumba Reunion Band slides through next with the Afro-Jazz number 3 Fingered Fist (Jabbar)', a cut loaded with hand drums and chunky saxophone solos for the jazzdancers and listeners alike. MotorCity Wine guest and London native Aroop Roy kicks off the flip with a dubbed out beatdown house joint, a brilliant midtempo track perfect for the dread moments of the night. Last but certainly not least, The Hughes/Smith Quintet finish the release with an uptempo Jazz-Funk piece, with generous amounts of Fender Rhodes and call-and-response melodies. Only 500 vinyl pressed— enjoy the soulful sounds of Detroit.

J Colleran's majestic lead single 'bERA' began as a simple experiment using pianos and arpeggiators that slowly developed into a shimmering elemental piece. The coinciding video, directed by Gray was inspired by the photography series by Anton Polyakov who documented the people of Transnistria, an independent state affected by the constant intimidation of military conflict.The film shows the slow shifting balance of power from physical force to the over bearing emptiness of a room. Gray describes the featured bodybuilder flexing to a visible lack of audience as 'a shimmering golden symbol of power and also a fragile vessel shaped around a trauma. The presence of a long gaze and the rapid deterioration of strength reveals a true identity.Recent quick-fire single 'O+SOH' served as a transitional primer for the Irish producer and classical pianist, forming the perfect base from which to launch 'Gardenia' — a sweeping experimental soundscape inspired by childhood memories and the natural beauty of his native Ireland.

Very nice compilation on this artists work - on the ever excellent Born Bad imprint!
.
For many decades until quite recently, little was known about music from Burkina Faso (which was formerly known as the Upper Volta). It is still one of the lesser known forms of popular music from West Africa. A few years before the country changed its name to Burkina Faso, thanks to Thomas Sankara's dream of a new society, Voltaic music emerged as some kind of true cultural revolution in the wake of the country's independence in 1960. Remote, poor and isolated, Upper Volta musicians coveted the orchestras and artists from abroad while creating a music of their own, based on rich cultural traditions

Popular music that sprung up from Burkina Faso owed much to the music from neighboring countries like Mali, Ghana, Ivory Coast or Benin, and to the longing for cultural authenticity' conveyed through Guinean music. In capital city Ouagadougou, as well as in Bobo-Dioulasso (Burkina's cultural capital until the 1980s), the first two decades of independence saw the upcoming of such orchestras and artists as Amadou Balaké, Georges Ouedraogo, Volta Jazz, l'Harmonie Voltaïque, Les Imbattables Léopards, Abdoulaye Cissé, Tidiane Coulibaly or Pierre Sandwidi.

Nicknamed the troubadour from the bush', Pierre Sandwidi stands as one of the finest Voltaic artists from the 1970s. He belonged to an unsung elite of Francophone artists such as Francis Bebey, G.G. Vickey, Amédée Pierre, André-Marie Tala, Pierre Tchana or Mamo Lagbema. His entire released output consists of less than ten 7 inches, two LPs and a bunch of cassettes. A man from the provinces, he always favored social engagement and carefully crafted lyrics over instant fame. His words and music challenged General Lamizana's dreary presidency, which ruled the country from 1966 to 1980.

Very little is know about the apparent duo Stevens & Foster who had this self produced release in 1977 on the Jerri Records label from Atlanta, Georgia that had national distribution though T.K. Productions Inc. Nevertheless original copies are now very scarce and crazy expensive. For decades, the B-side's piano intro has rescued a DJ's dancefloor all over Europe, with it's seductive qualities of lush strings, muted Wah-Wah, simplistic but addictive piano fuse into a must gulp down cocktail of soul delights. In more recent times it is the A-side, that formerly lived in the shadows of that essential DJ tool, is also gathering a strong following, using the same instrumental approach but taking the pace right down. Ballad fans will immerse themselves in the real feelings the girl lead projects as she gets more poignant the deeper she gets into the lyrics. Fully restored and officially licensed, this is your chance to obtain this great soul and funk record as a top quality European re-press at a regular price.

PROFILIC MUSIC COMPOSER JOVAN IS HERE WITH TWO BRILLIANT TUNES, OF WHICH ONE IS PREVIOUSLY UNRELEASED. JOVAN HAS ALSO JOINED OUR LABEL AS A STAFF WRITER FOR UP AND COMING VOCALISTS, SO MAKE SURE TO KEEP AN EYE OUT FOR MORE TOP QUALITY SONGS PENNED BY THIS MAN. FROM THE NEW UK LABEL SIX NINE RECORDS Ltd BASED IN NEWCASTLE UPON TYNE AND WEAR. TRULY NOT TO BE MISSED
AS IT IS A LIMITED UK PRESS OF 250 COPIES ON LAQUER CUT VINYL WITH SMALL HOLE AND FULL COLOUR PRINTED PICTURE COVER!

One of the world's most iconic drum & bass acts, Pendulum have announced their return for 2018 with a brand new album and brand new live shows. 'The Reworks' is a project unlike any
other released by the band before, and marks the end of their seven year hiatus, officially launching on 16th March.

To mark their return, the band have announced their first headline show since 2011 at London's unique new space, Printworks . The show sold out in under an hour and will be both an auditory and visual spectacle for fans.

Also announced is Pendulum's return to one of the UK's biggest events - Reading and Leeds Festival . Headlining the BBC Radio 1 stage - the same slot they graced the last time they played in 2010, the shows mark a welcome return for the band in the UK.

The news will undoubtedly be well received by Pendulum 's legions of fans, with the band having hinted at a comeback by returning to the live stage last year, headlining the UK's South
West Four and Nass Festival , and confirming for this years Snowbombing festival in Austria.
For 'The Reworks' , the internationally-renowned band have tapped some of the most innovative talents from over the past few years to deliver dynamic and refreshing interpretations of their
biggest hits and some of their personal favourites. Friends and collaborators Skrillex , Icarus ,Knife Party and Matrix & Futurebound take their turn on this who's who of electronic music
royalty, whilst Noisia 's explosive cut of the now-iconic track 'Hold Your Colour' will be available with the album preorder from the 16th March.

'The Reworks' album will be available in both CD and vinyl formats from the 29th June.

This exciting announcement marks the beginning of a new era for Pendulum , who have long been considered one of electronic music's most important and pioneering acts, famed for their
no-holds-barred live shows. With more huge festival dates TBA across the summer and new originals on the horizon, 2018 marks the an exciting chapter in Pendulum's already lengthy career.

Noisia' s remix of ' Hold your Colour' , the first single to be taken from Pendulum 's 'The Reworks' album, is set for release on 16th March alongside the preorder, with the full album set to drop on 29th June.

Drumphilia volume 1 is a rhythmic experiment that sits on the fault line between traditional instrumentation and analogue electronics. The project is a response to many years spent working with, learning about and listening to African and Caribbean percussion. Traditional rhythmic influences are combined with analogue drum machines and drum synths to create a hybrid sound that continues in the tradition of artists like Francis Bebey

To celebrate the 10th vinyl release on Lossless Music, Soul Intent delivers 4 cuts on dark and moody drum and bass as only he can. The title track 'The Tide' sees Soul Intent collaborate with label regular and dark vibe master Paragon. 'Cypher' hails the first production outing from Ben Repertoire (from the Repertoire label) who happens to also be Lossless graphic designer and fellow lover of Co-Op Pickle Pork Pies.

Also on the B-side is a solo effort from Soul Intent called 'Lose Yourself' which demonstrates yet more of his love of that classic Headz sound, turning heads whenever it's played. Lastly, as a digital exclusive Soul Intent raided the archives and unearthed a rugged roller called 'Helpless' which along with 'Cypher' has received Radio 1 airplay from Rene LaVice.

Out-ER sub-label Pregnant Void is proud to announce the release of hi.mo's debut album Urtiis. Landing on double vinyl in June 2018, it is a fantastically absorbing showcase of the Italian's weird and wonderful fusion of various strains of sound from jazz to hip hop to classical. "The alteration of conventional musical patterns thrills me," says the artist who is classically trained in piano and uses that knowledge to play with rules, structures and forms. Influenced by IDM, African drums, jazz and the interplay of chords, rhythm and harmony, hi.mo infuses his electro-acoustic productions with found sound samples and analogue and digital tools. This is a spelling-binding and intimate album that is filled with invention, but never at the expense of the overall experience, which is beautiful and beguiling throughout.

TE RECORDS presents on this beautiful 12" picture disc collection six tracks of electro-pop music, yet all songs sound different from the other. Smea, who has produced the music, has invited six vocalists from Gothenburg (including himself) to put lyrics on top of each track. The result is synth, dark wave, techno, break beat, electro boogie sounding coolness!

3x12"

Mark Archer aka DJ Nex returns to Music Mondays for a limited edition, bespoke, shrink wrapped, collector's item, triple pack vinyl album of his legendry DJ Nex EP's.

Originally released in 1992 and 1993 The Nex EP and Poundstretcher EP have become incredibly sort after on vinyl. However, The Poundstretcher EP was always cut to low with 4 tracks aside. We are now taking both EP's and remastering them to 3 loud pieces of vinyl.

The sleeve will be a specially designed piece of art just for this project, while the label on the 3 records will represent the original releases, keeping that authentic DJ Nex vibe!!!

* Arikon is a solo project of Berlin-based drummer & producer, Arik Hayut - half of doom-tech duo Gainstage with Pierce Warnecke. Loyal to the sonic concepts of Gainstage, Arikon presents The Prophet's Blood Is Boiling, a solo enterprise into deepest 'drum & drone'. Hypnotizing distorted polyrhythms puncture through shards of fragmented melodies, producing potent mixtures of desperate tin can banging, a panoramic sonic scope, and the bleakest of soundsystem nightmares. Across the album, Arikon deploys an arsenal of samples plus electronic, acoustic, and self-constructed percussion instruments, constructing eight powerful productions that manage to embody both brute force and delicate decay.

* Formerly active in Tel Aviv's leftfield experimental scene during the 90's, Hayut made Berlin his permanent home for working on his own projects while composing and performing music for off-theater and contemporary dance. In 2004, a severe health crisis initially threw Hayut into crisis, slowing down his activity to a standstill. However, the precarious process of his fortunate recovery contributed to Hayut involving himself more deeply with concepts of time, death, and decay.

* Inspired by the decadent still life paintings of the Flemish Baroque, the cover artwork for The Prophet's Blood Is Boiling comprises a bowl of decomposing fruit. Like the music, its aim is to illustrate the beauty and perfection of the decay process, whilst also referring to the West's hyper-capitalistic, technology-centric culture. In recent years a new form of 'digital life' has been born, whereby all data - regardless of its worth or importance - is mummified, reproduced, and distributed with no real disintegration or loss in quality. This new digital life is resulting in a sort of 'frozen death', ending the hitherto natural cycle of life.

* The songs on themselves are inspired by the 'beasts of holiness' - mythological monsters that appear   in the Hebrew bible and the Jewish apocrypha (non-canonical scriptures). There's the punching of bassy thuds out of an oceanic ambient swell throughout 'Tanin Gadol', named after the ancient water monster of Babylonian times. The dense net of fumbling scrapes and amp-busting hits of noise on 'Nahash Akalaton' similarly refer to a titular sea-snake monster, its tendrils lashing out of the speakers aggressively. These demons symbolize a force of evil equal in power, yet in direct opposition to the monotheistic deity of their time. They were therefore neither acknowledged nor canonized in much dominant scripture. Arikon invokes these demons across The Prophet's Blood Is Boiling, setting them loose across these gnarled noisy chambers of pummeling percussion and cracked sampled detritus.

In 1982, a group of friends deep into post-punk, jazz and dub got together in Mad Professor's studio and lay down their youthful interpretation of a NYC disco cut. Their unique take included trombone, vibraphone, piano, and an ital dose of tape delay. They called the song Trouble and released two versions (vocal and dub) on their friend Tony McDermott's !Drum! label with artwork inspired by Russian Constructivism. TIP!
.
The group, comprised of Justin Langlands, Chrysta Jones, John Schofield, Tom Dixon, and Dave Killen, decided to call themselves A-Team, having no idea that Mr.T and Co. would make them almost totally ungoogle-able 30 years later. The result of their adolescent studio idealism sounds akin to otherdisco misfits like Arthur Russell, Maximum Joy, Talking Drums and wouldn't sound out of place on legendary NYC label 99 Records. Remastered with an extended Club Dub formaximum dance-floor action.

Sfetsas formed GFO in 1976, in order to accomplish an ambition dating back to his 1960's Avant-garde period in Paris: to create a piece of work that would expand the boundaries of Greek traditional music. The result is a Progressive-Jazz Fusion masterpiece comprising complex and intriguing compositions, and performed by Athens' best musicians of the day.
.
Sfetsas grew up on the island of Lefkada where he studied classical music from an early age at the local conservatory. At the same
time he was genuinely connected to traditional music and especially to the sound of the clarinet, the lead instrument in the region's
folk music. From a young age Sfetsas would perform with Gypsy orchestras in local feasts. It was this experience that inspired him
to create the GFO after his return from Paris in 1975. Sfetsas founded the orchestra while working at the National Radio, an orchestra comprised mostly of members of the Variety Music Orchestra, who had a solid background in both classical and traditional music. In that way, he was able to realise his ambition. Something he could not do in Paris, since it was impossible to find musicians trained
in both musical cultures.

The recordings on this album, forming only a small part of his overall body of work with GFO, are previously unreleased. The music
was recorded Stereo on Reel Tape and with high standards for the time, with the current mastering process highlighting even more
the quality of the recordings. The result is a truly impressive and pure audiophile album.

Following the success of Joey Negro's 'Produced With Love' album, four of the album cuts get the remix treatment from an all-star cast of producers each with their own particular flavor.

Kicking it off Chicago legend Ron Trent takes the original funked out, Arthur Russell flavoured, 'Distorting Space Time' and turns it into a deep house groover complete with a strong walking bass alongside adding a soul & richness to the elements that only he knows how. Crackazat step up next to take on 'Lactican Boogie' crafting it into an uptempo piano driven, emotionally charged stomper sure to do some damage this summer.

Flip it over and Lay-Far delve into 'In Search of The Dream', adding squelchy synth stabs and a deep bass to give a more hard hitting edge to the track whilst retaining that disco flavor with Angela Johnson's emotive vocals.

Closing out the e.p. Fouk come full circle, bringing their hazy, jazz tinged style to 'Distorting Space Time' - building the remix around those warm Rhodes chords, shuffling rhythm and dynamic bassline.

Gold once again from the Z Records camp!

On A side, electronic music wizards Kompozyt team up with a Dub Legend Lee 'Scratch' Perry to bring you a heavy-hitting and instant bounce-inducing Dub Techno track 'Hidden Force'. Lee Scratch Perry's amazing and charismatic Dub poetry blends superbly with the neat fusion of spacey and subterranean sounds of Kompozyt productions. The single is not to be missed this summer.

On B side, Kompozyt brings you a 7' version of 'Homesick' - Dub and Trip-hop inspired Experimental Electronica with Olgierd Dokalski on the trumpet. Olgierd's incredible performances of real haunting beauty further reinforce the analog, live and improvisational aspect of Kompozyt's music.

Both tracks come from Kompozyt's debut album: 'Synchronicity' - out everywhere now on CD and DL.


Selected Reviews of Kompozyt's Debut Album and the Single

5/5 Decoded Magazine: 'Incredible album 10/10'

4/5 Lars Berhenrot (Deepershades): 'LOVE THIS .. never-ending deepness ..'

5/5 Pierre Ravan: 'Amazing work from the heart'

5/5 Queensradio.org: 'I'll definitely be playing these guys on air'

4/5 Garth Trinidad (KSRW Radio) 'Exquisite score without a film'

5/5 Hoxton FM (London): 'Incredible release!'

4/5 Stereo MCs: 'Nice vibes refreshing'

4/5 Robert Babicz: 'I love dub. in all forms'
5/5 Adam Hannibal (Balanced) : 'Neat fusion of spacey and subterranean sounds. Reminiscent of the Beyond Recs Ambient Dub compilations with some freshness... Well done'
5/5 Al Bradley (3amrecordings): 'This needs full love because it's excellent :) I can really picture myself just letting this play from the first sound to the last & becoming utterly immersed as it flows through! Gorgeous.'
5/5 Bartlomiej Blesznowski- 'One of the best electronic music albums this year'
4/5 Neil Brown (RMFM; Pro Mobile Magazine): 'Some nice tunes to get your head in gear to.'

5/5 Jorn Kirk (DJ Jay Kay) (Faith Sundays): 'very nice album !!! a joy to listen to'

Favorite Recordings presents this new official album reissue of State of Emmergency by French band The Fizz: A real underrated, complete and intriguing album, originally released in 1986 as a private-press LP and quite hard to find in good conditions nowadays.

The Fizz is mostly the result of Patrick Jouanneau, a French musician, composer and producer who's still active today. He remembers: In the early 80's I had a recording studio allowing me to easily fulfil my desire to create songs. It was then that I began to compose and write songs, in French or in English in this case. State Of Emergency (spelling on the LP is a mistake), is born from a fierce will on my part, and the other four have followed, but it was not easy, the musicians, you have to get them out of bed! I have to say that Richard Larozé, the pianist, was a very strong guy with harmonies, and has somewhat changed my first version, much more oriented in Soul and R&B.'

And when asked about his main influences, Patrick says: It's always difficult for me to speak about influences, out of respect, and humility especially, but they nourished us and nourished this project, Stevie Wonder, Al Jarreau, Earth, Wind & Fire, and so on, were and still are important to me and this was the case for the entire FIZZ group.'

At the end, State of Emmergency by The Fizz is a very interesting and brilliant album with great inspiration in melodies and compositions. And who knows, listening to the title "A So Called Being", it could even have inspired a certain King of Pop'...