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Bogwoppa is back with some serious tunes recovered from DAT! This time we bring you a 4 tracker of some of the tracks from Secret Squirrel . These tracks are all from the original 1992 releases on the Bogwoppa label but includes 2018 remix of "It's Outrageous". Ltd to 300 copies!

Little Things 04:51 B5. Onlee Desire 01:58 B6. Reelax 03:43 Shortinfo: soulphonic Means Speaking From The Soul, And That's What My Sound Is All About.' - Ohbliv

The second Keep on Wankin EP continues Hell Yeah label boss Marco's on going quest for the perfect remixes. This time out he serves up the most Balearic Gabba influenced material yet and takes you on a trip to the clouds with Bjorn Torske and Fango both stepping up.

First up is Bjorn Torske's take on everybody's favourite Luminodisco tune 'Oh Mary.' It's an impossibly adventurous 11 minute epic with buoyant chords dancing over trilling guitars. Lush, multi-layered and brimming with musicality, this is the sort of dubbed out yet percussively lively masterpiece that will mark the high point of any set as it washes over you time and time again.

Then it's to Fango's chunky and spaced out take on Somerville & Wilson's 'Yantar.' It's been the final track of all recent Fango sets around the world for a while now and that won't change any time on thanks to the slow build to a colourful dub disco peak. It takes you ever higher on wandering lead synths as the fat drums pump away below. Essential stuff.

Press:
Resident Advisor New Tracks Review

"This unhurried, euphoric bit of cosmic disco will bowl over a daytime festival crowd in just about any country"

DJ Support:
Andrew Weatherall (A Love From Outer Space), Kolsch, DJ Tennis, Tim Sweeney (Beats In Space), Benjamin Frolich, Front De Caseaux, Gerd Janson...

20 years after his debut, here comes the Reconstruct EP by PEAN ROMAEL!!! Join the spring'/ summer with this warm & Lovely "house" trip...

The title of this new album by Vanessa Wagner refers to John Cage's Imaginary Landscape (1939), one of the first works to use electronic devices. After all, when Cage wrote his manifesto The Future of Music in the late 1930s, he already knew that the merging of written and electronic music would bear exquisite fruits. The album is the lone protuberance from 2016 album Statea, on which Wagner, alongside producer Murcof (she on the piano, him manning the machines), reinterpreted pieces from the fathers of minimalism: Arvo Pärt, Philip Glass, Morton Feldman, Erik Satie, or John Cage. The same secret conversation between the artist, the piano, and contemporary music is now continuing on Inland. Making more with less, the album turns long harmonies into multicolored prisms, miniature detailed embroidery, sighs and breaths, syncopated or restrained chants. In this brave new world, sounds exist for themselves, and silence comes to life. While the repertoire remains in the minimalistic vein, it gives priority to living composers, of which almost all are still active.

Initially a duo formed in Berlin, FITH have since multiplied and expanded to become a revolving collective of musicians and poets spread out across a Paris/Manchester/Berlin axis. The project, currently comprised of members Dice Miller, Enir Da, Rachel Margetts, ChrIs Lmx, & Arnaud Mathé gesture towards notions of the literary salon, expanded cinema happenings, and the ancient traditions of Greek oratory and religious sermons. Driven by the spell of the spoken word, minimal percussive refrains, oneiric textures & deep melodic synths, FITH channel cinematic imagery, enigmatic narratives & spiritual frenzy.

Their self-titled debut 12' album was released via their collectively run imprint Wanda Portal in November 2016, a 'quietly alluring debut of post punk tempered avant-pop songs' (Boomkat) that laid out the project's foreboding mystique and intoxicating dream sequences with a lurking, devastating sense of purpose and (mis)direction. Other outings have included myriad solo collections of poetry, a two-track release of lurid dissonance and elegiac elevation (Signs / Cornerstone, December 2016) and an extraordinary reinterpretation of the soundtrack for cult film & iconic document of modern alienation Wanda (1971, dir. By Barbara Loden)

With Swamp, their sequel to this activity and their first appearance on Outer Reaches, FITH become a refined force, on a record where all their compelling pluralities and attributes are honed and augmented; everything dilated to delirium. The atmosphere here is one of veiled dread and psychic disturbance, a haunting and macabre psychedelia strewn with echo and dub FX, fragmentary fever dream poetics, elemental drum patterns and volatile synthetic interference. Although the collective conserve the raw crux of their earlier material their execution is, in this special instance, heightened by an intent to broaden and prolong their unique strain of intensity.

Emphatically sinister openers like Forest and Pound present sidereal sequences before building to barrelling, corrosively processed percussion, paroxysmal free jazz and a baleful, concrète-inflected score of electronics, while Swamp introduces phasing currents and a vocal evocative of a chorale from some forgotten giallo film. Elsewhere l'au delà (the beyond) presents a stunning, sombre passage to another state entirely, like some desolate new inflection on Coil's Going Up, before Bialystok shifts into a finale of transportive and meditative evaporation. Together these tracks make for an incredibly immersive and congruous conception; an utterly complete and mesmerising document.

In Swamp's various dimensions perhaps there's comparisons to be drawn with the ritualistic krautrock of Conny Plank and Holger Czukay's Les Vampyrettes, with the hallucinatory, tribal rhythm cycles of Shackleton & Anika's Behind The Glass collaboration, with the primeval drone of Jeremie Sauvage, Mathieu Tilly and Yann Gourdon's France project, with the echoic, disquieting chamber intimacies of Tuxedomoon's Pink Narcissus material and with Lucrecia Dalt's eerie free verse abstractions. But really, we've not heard anything like this before.

Discussing their own inspirations and touchstones the collective cites Franz Kafka, Dario Argento, Lucrecia Martel's La Ciénaga (The Swamp - the film the record is named after) and Yiddish ghost theatre as figures, works and artforms that were prominently drawn upon during the making of Swamp. Yet whilst their imprints could be traced by some, they resemble more of a covert presence within a nuanced whole rather than obvious aspects which moor this record to any familiar setting.

Instead, the acutely unsettling yet poignant spoken word of Miller and the mercurial nocturnes and visitations produced by Margetts, Lmx, Mathé and Da make for a record of strange, novel and striking energies. In revealing the remarkable location and period in which Swamp was recorded Margetts and Miller give a vivid indication as to how these energies are so potently invoked:

'The record was mostly recorded in a caretaker's wing of a 17th century castle in Normandy. It was early March 2018, and our first encounter with the Spring. We had no idea how everything would unfold. There was a lot of tension. Some of us felt compelled to get out the attic room where we had set up our makeshift recording studio and just walk and walk down the vast flat meadows and explore the relics of the wartime barracks, others wanted to keep recording. The outside was serene and inviting, and even though we had been cooped up indoors recording for long stretches of time, we could see from the corner of our eyes, the branches of the trees quivering; an impersonal energy blew through us and then things just happened.'

Running Back welcomes Blood Shanti! The Falasha Recordings main man and brother of UK's living sound system legend Aba-Shanti delivers four breathtaking versions of Feater's 'Time Millionaire' (taken from the album ‚Socialo Blanco") in proper style. It might sound like an odd pairing, but it's a match made in heaven. Blood Shanti makes it sound as if the song was written for him. Pressed on one 10 in appropriate design and sleeve (watch out for the lion) it sounds as good as any slice of British reggae ever made (horns and piano included). While the 'Main Mix' is everything that lovers rock should be, the three dub versions deconstruct and dismantle the composition more and more as they go along. A modern take with an old-fashioned style of loving.

Following 3 maxis on Hilltop Imprint and the label Construct Re-Form, the producer Fareed – formerly of the Society of Silence duo (Versatile, Concrete Music) – returns on the new label, MAZE, dedicated to experimental breaks and cinematic soundscapes.
This first EP, with irregular rhythms and metallic sounds, loses us in the meanders of a jungle and transports us into a world borrowed from mysticism.

Varme continues its musical exploration, with the purpose of releasing and promoting under the radar artists, carefully selected by its founder Paul Popa.Second release is by Crump, a rising producer from UK, who provided 3 tracks with a minimalistic touch + a breaksy remix by long-time friend Christian Jay.

Pumping West Coast electro in a new jacket, with bouncing 808's, driving acid, and old school futuristic vocoders.. Kleptocracy's are taking over the planet and humans are getting entangled in their own web. We need some extraterrestrial help. In the Thee J Johanz remix a bunch of oversexed electro disco aliens are coming to save the planet by love and destruction. Justin Cudmore (Bunker NY) is taking it to a darker space in his more abstract and highly effective remix. Three massive 808 floor fillers!

Limited to 150 copies, transparent green coloured vinyl / comes with OBI-strip.

The 10th Snaker is straight out of Bucharest, Rumania. Eirwud Mudwasser dreams about an imaginary tropical planet from his quiet place somewhere in between. Organic yet electronic past-futuristic soundscape created from daily ideas, in combination of FM synthesizers and African instruments (i.e. Balafon) and off course with interesting samples. 'Contemporary Library Sound' --an ongoing theme of Snaker -- is expressed again in 11 distinctive songs, treated with touch of East-Europianic feeling.

The Juan Maclean Returns To Dfa With A New 12" - Last June's Electrodisco "what Do You Feel Free About" Backed With "zone Non Linear,"
Which Evokes Early Pet Shop Boys. As Usual, Juan's Sunny Productions
And Nancy's Layered Vocals Come Together To Lend A Maximalist Warmth
To The Dancefloor. Man Power (esp Institute, Correspondant) Gives The Aside A Club Rework With A Dubbed Out Vocal Arrangement That Adds A
Touch More Drama To The Track, While Massimiliano Pagliara (ostgut Ton,
Robert Johnson) Revitalizes Tropes Of Old-school Piano House.

Schwarzes Standard Vinyl inklusive Downloadcode.

In late 2017 Hyperdub released 'Diggin In The Carts', a compilation put together by Nick Dwyer and Kode9 of pioneering and rare Japanese video game music from the 1980s and 1990s.
Since then, from Sonar Festival in Barcelona to Liquid Rooms in Tokyo, Kode9 has been touring a live audio-visual set in collaboration with visuals from anime legend Koji Morimoto, who also designed the artwork for the original compilation.Finally, on this first new Kode9 EP since 2014, a handful of these remixes see the light of day.

9 rivets his 80/160bpm rhythms onto these classic 8bit and 16bit melodies, re-animating the Steve Reich-ian arpeggios of Soshi Hosoi, the grimelike horn fanfares of Yuzo Koshiro, the sour pads of Koichi Ishaibashi, and pitching Tadahiro Nitta down into a slow building, frantic low end grind.
Sleeved in artwork by Konx-om-Pax, adapted from the visuals from the live A/V performance

iggatunez debuts on Times are Ruff and splits a 12inch with the label owners. Both share a Berlin connection through their studios located in the same building, something unknown at the time the first contact was made. Unsurprisingly that became the theme for this joint effort of music. Both sides contain serious dancefloor intended tracks, in signature style of the label, where beats and groove take the lead, but keeping the soul.

Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.
But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.
Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.
There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.
Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
JOSEPHINE WIGGS BIO
Josephine Wiggs grew up in an unconventional family north of London. Returning home from a summer holiday with a donkey riding in the back of the family's 1927 Rolls Royce was not considered at all bizarre. Wiggs studied cello as a child, segued from college in London to undertake a master's degree in Philosophy, and then, in a move few would have predicted, joined a rock band.
After making three albums with The Perfect Disaster (1987-1990), Wiggs left to join Kim Deal (Pixies), Tanya Donelly (Throwing Muses), and Britt Walford (Slint) in forming indie supergroup The Breeders, whose debut album Pod came out in 1990. Following a shift in line-up—with Kelley Deal on guitar and new drummer Jim Macpherson—The Breeders released Last Splash in 1993; with its hit single 'Cannonball' and 'Divine Hammer,' they became alternative rock superstars.
During the same period, Wiggs released two lower-key albums with Jon Mattock (Spacemen 3, Spiritualized): Nude Nudes (1992) under the name Honey Tongue, and Bon Bon Lifestyle (1996) using the moniker The Josephine Wiggs Experience. She also recorded and produced Klassics with a K (1996), the beloved and only album by the Kostars (Luscious Jackson's Jill Cunniff and Vivian Trimble). During a brief run of shows, Wiggs joined the band on drums, showing her range of musical ability.
In the late '90s Wiggs collaborated with Vivian Trimble as Dusty Trails, whose eponymous 2000 album is an homage to neo-noir soundtracks, spaghetti westerns, and Gallic pop. Time Out described it as 'one of the most subtly suggestive, understatedly elegant...things likely to have caressed your cochlea in years.'
Allusions in Dusty Trails to film music foreshadowed the next stage of Wiggs's career, writing scores for feature and documentary films—from Happy Accidents by Brad Anderson in 1999 to Appropriate Behaviour by Desiree Akhavan in 2014. Her new album We Fall began as a suite of short pieces for the documentary film Built on Narrow Land. Wiggs has also composed and recorded music to accompany live performance and short films by the acclaimed Brazilian choreographers chameckilerner.
In 2013, following the 20th anniversary of Last Splash, the classic lineup of The Breeders reunited for a world tour. Five years later in 2018 they released All Nerve, with Wiggs co-writing two songs and singing lead on the standout track 'Metagoth.' We Fall, Josephine Wiggs' third album of her own design and ninth album in a career spanning three decades, will be released on vinyl and available for download and streaming on April 12, 2019 by Sound of Sinners.

oe Budden is one of the mainstays of rap. Originally hailing from New Jersey, Budden entered the game after heating up the streets via mixtapes that made the rounds, and eventually caught the attention of Def Jam recordings. After a successful stint there, and a Grammy Award for “Best Male Rap solo Performance” for “Pump It Up”, Budden parted ways and soon after formed the supergroup, “Slaughterhouse” alongside Royce Da 5’9”,Joell Ortiz, Crooked I, which were signed to Eminem’s, Shady Records. After a slew of releases and starring 2 successful shows on VH1; “Love & Hip-Hop: New York”, and “Couples Therapy”, Joe Budden’s brand has never been bigger. Throughout the summer he dominated headlines and timelines via an open and running dialogue with Drake, a dialogue that has resulted in millions of Soundcloud and Youtube streams. With momentum at its peak, Joe Budden returns with his highly anticipated new solo album Rage & The Machine.

Rage and the Machine, is produced entirely by super producer, AraabMuzik and features the likes of Tory Lanez, Fabulous, Joell Ortiz, and more. The music, as Joe describes it is for listeners who still appreciate lyricism with an updated twist. Backed by AraabMuzik’s sonic landscape, the album delves into Joe’s life, thoughts, and perspectives. Budden, never one to shy away from the spotlight announced the album via Complex by jumping out of a plane.

Is another EP from D.K. about to land on Antinote while the first one has been announced only a month ago
Well, this looks very much like a series and - spoiler alert - Riding For A Fall EP is the second installment in a
trilogy.

With a BPM crossing the 120 line on 2 out of 3 tracks, there's little doubt that this second 12' is also meant to be
played in a club environment. The 9:37 min long Voices sprawls over the whole A-side. Like many productions
stamped 'D.K.', the structure is linear only in appearance: it winds up and down between fantasized exotic
landscapes, digital plug-ins mimicking 'far east' instruments that are barely recognizable. It gets even snakier with
the Samurai Showdown-inspired Shoubuari (Battle): pixel swords brushing past our ears, martial drumming and
menacing synths (D.K., were you the kind of kid who owned a Neo Geo) - it's pretty obvious that we're in the
world of SNK's legendary fighting game.
Things calm down with Riding For A Fall: less button-mashing, more concentration as we're witnessing the sacred
martial art known as Street Fighter's quarter circles... But enough with these video game metaphors! No need to
be a pro-gamer to enjoy this piece of music. It's sad & slow house music with a cinematographic quality - and,
perhaps, the most moving moment in this series of 12'.
To be continued...

No-nonsense, 12' releases. Cut loud for your pleasure.
DJ-focused, functional records made for having fun on the dance floor. Rooted in UK club culture and taking inspiration from techno, house, garage and breakbeat, every release will have at least one track that absolutely bangs.Human Resources christens this new series with two tracks of absolute heat.Lovingly delivered by the crew at YAM Records