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DJ Richard's first release of 2019 sees him drop four invigorating electro tracks on Flexxseal titled "Eraser".

Emerging from the Providence noise scene, DJ Richard forges a path of disciplined selectiveness as a producer and DJ with his idiosyncratic style allowing him to make impressive, self-assured connections between 80s EBM, new beat and Italo disco, electro, techno and "post-minimalist" house. DJ Richard's feral approach evolved from the roots of his White Material imprint which quickly achieved cult status after early releases from himself and co-founders Galcher Lustwerk and Young Male.

As a solo artist, DJ Richard continues to push the boundaries of his talent and influences reflected in his two utterly distinctive and bewitching albums released in alliance with influential German electronic label, Dial. "Eraser" sees him join up with fellow American Christopher Joseph and his Flexxseal imprint as DJ Richard masterfully maintains his skill in propagating ephemeral and raw sounds with his aptitude for electronic body control.

"Critical Damage" kicks things off with resilient oscillations fused beautifully with angelic leads and thudding percussion reflecting a post-punk aesthetic while "Eraser" delivers tough, acidic swirls undulating beneath sharp, broken grooves and growling undertones.

On the flip, a slow, chugging drum sequence balanced with haunting modulations and machine-like vibrations that echo throughout take the focus in "His Threshing Floor" before "Casca's Theme" concludes the EP with meandering, robotic synth flutters and distorted bass resonations driven by hypnotic rhythms and world-ending atmospheres in this powerful electro cut.

There Existed An Addiction To Blood" ist das insgesamt vierte Album von Clipping und ihr drittes für Sub Pop. Es ist der Nachfolger des von Kritikern und Publikum gleichermaßen gefeiertes Album ,Splendor And Misery" aus dem Jahr 2016. ,There Existed An Addiction To Blood" enthält die Singles ,Nothing Is Safe", ,Blood Of The Fang" und ,La Mala Ordina" (Feat. Benny The Butcher, Elcamino, The Rita), die von Clipping produziert, von Steve Kaplan gemischt und von Dave Cooley bei Elysium Masters in Los Angeles gemastert wurden. Das Album enthält auch Gastbeiträge von Ed Balloon, La Chat, Counterfeit Madison und Pedestrian Deposit. ,There Existed An Addiction To Blood" ist Clippings Interpretation eines neuen Rap-Splitter-Genres unter Zuhilfenahme ihrer einzigartigen Lupe. Clipping wenden sich auf dem neuen Werk intensiv dem Horrorcore zu, eines bewusst absurden und kreativ bedeutsamen Subgenres, das Mitte der 90er Jahre blühte. Einige der bemerkenswertesten Pioniere hießen Brotha Lynch Hung und Gravediggaz, aber es umfasst auch bahnbrechende Werke der Geto Boys, Bone Thugs-N-Harmony und die nahezu vollständigen Veröffentlichungen des klassischen ,Memphis cassette tape rap". Der wahrscheinlich subversivste und experimentellste Rap hat sich oft als ,Alternative" zu konventionellen Sounds präsentiert, aber Clipping verzerren das Ganze respektvoll in neue Konstellationen. ,There Existed An Addiction To Blood" absorbiert die hyper-gewaltigen Horror-Symboliken der Murder Dog-Ära, stellt sie aber in einem neuen Licht dar: immer noch dunkel getönt und düster, aber in einem seltsameren und lebendigeren Farbton. Wenn der traditionelle Horrorcore mit ,Blacula", dem populären Blaxploitationsfilm-Klassiker aus den frühen 70er Jahren, verwandt war, so ist das neue Output von Clipping analog zu ,Ganja & Hess", dem blutrünstigen Kultklassiker von 1973, der als unbesungenes Wahrzeichen des schwarzen Independent-Kinos gilt, dessen Score von Sam Waymon, Clipping als Inspiration zum Titel des Albums diente und auch Samples auf dem Track ,Blood Of The Fang" lieferte.ENG The science-fiction visionary Octavia Butler once declared that "there is nothing new under the sun, but there are new suns." The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping's transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an "alternative" to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang's Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with "Piano Burning," a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band's career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018's critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping's last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork's Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single "The Deep" became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards - a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It's horrorcore that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.

Dj Brisk is a legendary old skool artist who has been a force in both the hardcore and the hard house scene for decades, and remains committed to his craft in a way that many artists have not.

These timely remixes of his classic anthem “Airhead” run the gauntlet is style and texture, with the superb work from all involved. Sanxion brings a proper birth of rave feel to his remix, while Fracus & Darwin take it right up to today’s sound. The Sunny & Deck Hussy remix is an amen workout worthy of any 1995 set, and Audio X throws down a bright d’n’b roller.

Club/DJ Support: Billy Bunter, the Fat Controller, Dj Brisk, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder, and ... many others.

Floating Points' personal collection of global soul, ambient, jazz and folk treasures form the latest in the warmly revered Late Night Tales series.

Sam Shepherd aka Floating Points' music taste is notoriously tricky to define, ranging from ethereal classical at one end to coruscating techno at the other, united only in a firm belief in the transcendental power of music to move hearts, minds and - yes - feet. Similarly, his production career has ranged from early experiments in dance music with breakout records such as the 'Shadows EP' and collaborating with legendary Gnawa master Mahmoud Guinia to his expansive album 'Elaenia', which met with critical acclaim upon its release in 2015.

This Late Night Tales excursion into the depths of the evening reflects his broad tastes. The globally-travelled producer has collected untold treasures on his travels from dusty stores in Brazil to market stalls near his hometown. There's the gorgeous 'Via Làctea', culled from Carlos Walker's debut album, Abu Talib's (Bobby Wright) plaintive 'Blood Of An American' and Robert Vanderbilt's gospel reworking of Manchild's 'Especially For You'. Raw soul and feeling oozing from each song's pores.

At the other end of the music scale are the modernists, such as Québécoise Kara-Lis Coverdale who weighs in with the indelible 'Moments In Love', Kaitlyn Aurelia Smith whose 'Milk' is an exercise in tranquility, while Sarah Davachi's meditative mix-opener offers respite from a weary world.

We have some exclusive tracks for Late Night Tales; alongside Davachi's offerings there is also Toshimaru Nakamura's 'Nimb #59', as well as the now traditional cover version. hepherd delved into his childhood
memory for this one, a track taken from the first album his parents bought him, Kenny Wheeler's 'Music For Large & Small Ensembles': Sam offers up his interpretation of 'Opening Part 1'. Wheeler also contributes horns to Azimuth
track The Tunnel, written and performed by Norma Winstone and John Taylor who, coincidentally, are the parents of Floating Points' drummer Leo Taylor. Closing the album, Lauren Laverne reads the suitably nocturnal poem 'Ah! Why, Because The Dazzling Sun' by Emily Brontë.

'I tried to find music that reflects the stillness of night. And because my musical interests lie all over the place, it's quite difficult to distil that notion down to just a few songs. I was quite keen to have some electronic music in there but I also really wanted to have some soul music mixed in, so I had to try and find a pathway between all of this different music.' - Sam Shepherd (Floating Points) March 2019

Sonido Gallo Negro has been a mainstay of the current revival of tropical and psychedelic music throughout Central and South America since the first of their three albums was released in 2011. Hailing from Mexico City, a hub of cumbia, chicha, surf and garage music for over five decades, it's no wonder that SGN has such a wonderful and integrated blend of traditional styles that have travelled from the Caribbean, up the Andes, through the Amazon, around the shores of coastal Peru and back through Central America. SGN is part of a long line of artists in Mexico to make these cosmic connections found in the music's terrestrial path, yet are completely unique in their own mystical approach, both visually and sonically. As a hefty 9-piece orchestra, the band is quite capable of summoning a rich tapestry of sounds from an array of instruments of the psychedelic persuasion: farfisa, electric guitar, flute, theremin and, in the case of B-side Niño Perdido, accordion from master Colombian artist and NYCT alumnus, Carmelo Torres. It's the making of a swirling kaleidoscope of sounds and squiggles, all of which ride effortlessly over the fluid percussion and pace of those beloved Afro-Latin rhythms. In anticipation of their next full length release,Unknown Future, Names You Can Trust presents the first 7-inch 45 single to ever be released from SGN, a double-sided dose ofsonido psicodélico, spectacularly swirled into a perfect concoction of old meets new.

Over the years Kid Loco has become a reference in the French electronic music landscape. Firstly, known for being an activist in the French underground music scene, he cofounded Bondage Records in 1982. With Bondage Records, he introduced several bands to the French alternative music scene like Bérurier Noir, Ludwig Von 88 or Washington Dead Cats. Alongside his activity of label manager, he composed and released under the name of Kid Bravo, an experimental music at the crossroads of rock and electronic. Astonished by the beginnings of the instrumental hip-hop of DJ Shadows, Jean-Yves Prieur aka Kid Loco experimented new ways of composing music with the sample technic in his own studio near Orly. This new musical adventure led to the birth of a mini album Blues Project released in 1996 on Yellow Productions.

Exploring further his own psychedelic universe, he released his first album A Grand Love Story in 1997 under the name of Kid Loco. Acclaimed both by the French and international music review, “A Grand Love Story” established itself as an iconic album of the trip-hop and electronic music scene. During the two years following its release, Kid Loco continued to invent his own musical universe nurtured by multiples influences. In 1999, he released Jesus Life For Children Under 12 Inches, an album featuring thirty remixes he composed for French and international artists (Pulp, Talvin Singh etc.) as well as his mixed compilation for the famous DJ KICKS collection released on the German electronic music label, !K7.

After a first European tour, Kid Loco returned to his studio, nicknamed “The Lafayette Velvet Basement” and composed his second album Kill Your Darlings released in 2001. Compared to his previous compositions, Kill Your Darlings features more tracks without sampled vocals. Eager to explore new musical horizons, Kid Loco produced in 2004 the original soundtrack of the American movie The Graffiti Artist directed by James Bolton (Narrative Feature Sound Award – Austin Film Festival 2003). Cruising to new musical galaxies, Kid Loco continued to compose and released the album Party Animals & Disco Biscuits in 2009 followed in 2011 by the album Confessions Of A Belladonna Eater. In addition of his albums, Kid Loco continued to experiment with the production of compilations celebrating the trip-hop music with “Trip-Hop Classics” released in 2010 followed by a second opus released in 2013 on Wagram Music.

2019 marks the return of Kid Loco with his track Here Comes The Munchies selected in the original soundtrack of the show Vernon Subutex (Canal +), the vinyl reedition of his cult album A Grand Love Story and for the first time the digital release of the album Confessions Of A Belladonna Eater with exclusive remixes.

The always on-point and culturally significant Tuskegee Music is back with more essential music, this time from venerated American producer D’Marc Cantu. Over the course of a distinguished career, Cantu has contributed to everything from jackbeat to acid, house to techno on labels like Creme Organisation and Les Disques De La Mort. Always serving up raw-edged, uncompromising sounds, he does so again here on another standout EP. Opener ‘Beat The Move’ is an urgent, high tech piece of slick and supple acid house with 303 undulations, dark vocal loops and the sort of hammering drums that get the club locked right in.
The sublime ‘In The Forest’ is a tripped out bit of restless electro with skittish hits and rueful pads that gets right to your heart. Last of all is the militant, marching ‘A Narrow Connection’ which closes things out with crisp kicks and scintillating sheet metal drums that straighten your back and get you stomping.
These are utilitarian yet wonderfully unique club tracks from a real master of the form.

50 years ago, a young Panamanian singer by the name of Ralph Weeks, who a few years prior had cut his teeth in the US music landscape with the group Johnny & The Expressions, self-produced and independently released a record with an absolute monster of a soul ballad called "Something Deep Inside." It was a song that Weeks had come up with on the spot during one of many gigs in the heart of Brooklyn's Prospect Heights, at the time a cultural hub and community for many Panamanians living in the borough. Along with his group, The Telecasters, Weeks often played at a Panamanian-owned club in the neighborhood called 4 Star's (STA4R's) which would independently sponsor the release of the tune on a 7-inch single.

Fast forward to 2019, where a serendipitous meeting between Ralph Weeks and Names You Can Trust turned into a solid formation of musical synchronicity, bonded over a shared belief in musical fusion, a weaving of musical threads that was similarly the foundation of that earlier era in Panama. It's a fusion that has become a constant theme throughout the Names You Can Trust catalog in the last 10 years, connecting the dots from NY, the Caribbean and Latin America. An immediate plan was put into motion: return Weeks to a studio atmosphere that had eluded him in the preceding decades, a vibe and live musical presence that would be reminiscent of his time recording with The Telecasters and The Exciters in Panama.

In the ultimate tribute to Weeks and that foundation, NYCT label mates Combo Lulo unpacked the 50-year old original tune and refashioned it into a timeless rocksteady ballad. It was an opportunity for Weeks to acquaint himself with a new band and a new generation of musical talent. Ultimately, it was an unexpected chance for Weeks to reconnect to the music he wrote one fateful evening in a Brooklyn club. For Combo Lulo, Names You Can Trust, and now the rest of his musical admirers, it's a chance to hear how gracefully Weeks' voice has aged, still silky smooth with those beloved falsetto runs, sweet and rounded like a barrel-aged añejo rum. It's a testament to the timelessness of Weeks' original music, and certainly another reminder of how far and wide even the smallest of musical blips can spread.

Presented as a double-sided bilingual 45 single, both versions of Weeks' classic tune, "Algo Muy Profundo" and "Something Deep Inside," have been formatted in the traditional Jamaican style, skillfully cut live and mixed under the guidance of NYCT and Combo Lulo's talented musicians. It's a tribute to a brilliant record and an unsung architect of Latin American sweet soul, but also a love letter to a very particular NY-Caribbean fusion that theoretically could have happened 50 years ago, depending on the borough you resided in. After all, there was always something deep inside. Comes with NYCT / STA4R'S Company Sleeve & Liner Notes.

lack Truffle present In Real Life, the latest in a flurry of releases from Berlin-based guitarist and composer Julia Reidy. Having drawn acclaim for solo performances on 12-string acoustic guitar that bridge microtonality, ‘American primitive’ stylings and classic minimalism, Reidy’s recent releases have utilised an increasingly broad sonic palette, fleshing out guitar-based composition with electronics, field recordings, and – most strikingly – heavily auto-tuned vocals. On In Real Life, Reidy pushes one step further, crafting an epic LP-length suite that moves from abstracted song to lush electronics and explorations in contemporary musique concrète. Beginning with a passage of eerie electronics and creaking percussive interjections, Reidy’s heavily auto-tuned voice quickly takes centre stage. Surrounded by explosions of electric guitar and synthesised arpeggios, the auto-tuned voice delivers a melancholic ode, bringing together poetic images to reflect on the instability of experience and mutability of identity in a contemporary world saturated by digital technology. This concern with the unsettled relationship between the physical and digital is reflected musically by the constantly shifts in emphasis between Reidy’s physically demanding guitar-picking and the various forms of synthesis deployed. Similarly, the dynamic imagery of cutting, shattering, and ‘racing streams’ present in Reidy’s lyrics also serves to characterise the structure of In Real Life, which ceaselessly shifts between distinct episodes. The song-based opening, long sequences of frenetic 12-string guitar shadowed and eventually overtaken by synth tones, passages of delicate chiming harmonics, electro-acoustic cut-ups – each flows seamlessly into the next, often recurring throughout the record’s duration, which lingers over interstitial moments between these episodes.

Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Vinyl cut at 45rpm for maximum fidelity by Rashad Becker at D&M, Berlin. Artwork by Suze Whaites. LP desgn by Lasse Marhaug.

Elf Jahre nach ihrem letzten Kollaborationsalbum "Inlandish" veröffentlichten Hans-Joachim Roedelius, deutscher Experimental-Musiker und Krautrock-Legende (Cluster, Harmonia), und Tim Story, US-amerikanischer Neoklassik- und Ambient-Komponist, ihr neues Werk "Lunz3", angelehnt an ihr gleichnamiges Werk aus 2002. Das Ergebnis ist eine facettenreiche Exkursion im Spannungsfeld zwischen Electronica, Neoklassik, Ambient und Drone.

Amen manipulator extraordinaire FFF and fellow Dutchman Coco Bryce team up for the first release on Myor's sub label Myor Massiv.FFF kicks off the a-side with "Superhero Can't Test", a 170 bpm slice of reggae infused jungle
wizardry, followed by "Free Your Soul", which brings down the tempo a couple of notches, taking things back to an era where breakbeats, piano riffs and pitched vocals reigned supreme.
The flipside holds 2 cuts by Coco Bryce. "Deeper And Deeper" features heavy Amen choppage and filtered breaks, carried by a small series of rap threats and boasts uttered by a not-so-underground MC, whilst "Runnin" takes a more melodic and rave-centric approach.

Razen celebrate their 10 yr anniversary with “Ayîk Adhîsta Adhîsta Ayîk”, an album that takes a paragraph from CG Jung’s Memories, Dreams, Reflections as a reference point to set off a journey that goes from light to dark, from day to night, from life to death, and back.

As much a reflection of primal imagery and rituals of knowledge as a way of coming to terms with anxieties about the chaos of the night, the album concerns itself with the question: who - or what - are we in the moments before (re-)birth, before waking up, in the state inbetween darkness and light?
On “Ayîk Adhîsta Adhîsta Ayîk”, the wind instruments and organ stabs of band leaders Kim Delcour and Brecht Ameel are expanded with Pieter Lenaerts’ five string double bass and sarangi, Jean-Philippe Poncin’s bass clarinet and chalumeau, and Paul Garriau’s hurdy gurdy.

The album sees the group explore new straight-to-the-gut emotional territory, while simultaneously showcasing Razen’s intuitive, continuous investigation of the acoustic properties and resonant possibilities of churches and chapels in the countryside around Brussels; after “Remote Hologram” (2014) and “ The Xvoto Reels” (2017), this time the St Agatha Church (St.-Agatha-Berchem) functions as the conduit for Razen’s acoustic sound jolts.

With the past ten years entirely devoted to the search for archetypical timbres and connotations by improvising on Early Music instruments, it’s no wonder that the world of Razen would one day collide with the world of CG Jung and take his writing as an inspiration.

A sonic hex tour de force from this unique ensemble, “Ayîk Adhîsta Adhîsta Ayîk” is a present-day, nocturnal emitter of the Coleridge quote that opens Jung’s Memories:
‘He looked at his own soul with a Telescope. What seemed all irregular he saw and shewed to be beautiful Constellations and he added to the Consciousness hidden worlds within worlds’.

Twenty years ago the duo HIL ST SOUL released a groundbreaking debut album SOUL ORGANIC.
Zambian-born vocalist Hilary Mwelwa and producer/musician/songwriter Victor
Redwood-Sawyerr (VRS) had been working away in a North London studio creating a unique blend of neo soul, jazz and R&B that had critics on both sides of the Atlantic in raptures.

Billboard magazine enthused: “Brimming with R&B/hip-hop/jazz-flavoured rhythms and image-rich
lyrics….Even Aretha’s Until You Come Back To Me glows again under Hil’s touch”.
And talking about the lead single Strictly A Vibe Thang, US magazine Radio & Records were
smitten: “You can’t sit still on this one. While listening to this infectious tune you got to move something – even if it’s just your big toe!” In the UK Echoes magazine called it “one of the best UK soul albums ever”.

Strictly A Vibe Thang charted on the Billboard R&B Singles chart, following in the footsteps of Loose Ends, Soul II Soul and Brand New Heavies, while Hil’s acoustic take on the Stevie Wonder-composed Until You Come Back To Me came out of nowhere to be a sensation at America’s Smooth Jazz radio format It ended 2000 as the most-played vocal track of the year across US Smooth Jazz radio stations, and in the ensuing two decades it has been the most-downloaded - and one of the most-streamed - tracks on the Dome label. Also heavily played: the joyful mid-tempo groove of For Your Love

This 20th Anniversary Edition of the album – now in a gatefold sleeve – includes three bonus tracks not included on the original vinyl release: the acoustic version of Until You Come Back
To Me, the VRS Remix of Just A Matter Of Time, with its insidious groove, and Down To Business.

Hil is still very active, playing several UK shows this autumn, including one at London’s Jazz Café, where she first performed 20 years ago.

Vibrations is the second album released by American free jazz saxophonist Albert Ayler's quartet featuring Don Cherry, Gary Peacock and Sonny Murray. The album was recorded in Copenhagen in September of 1964. Originally issued by the Freedom label, it also been released under an alternate title, Ghosts. Previously out of print for decades, the recordings were remastered for an audiophile-grade pressing on 180gram vinyl at Pallas in Germany.

Sense returns to Infrared with two Vintage Jungle inspired tracks. The Edge starts with a catchy piano, before unleashing into amen madness. Let You Go shows the deeper side of the sound and takes the listener back to the Golden era and could easily have been produced in the mid 90's.
300 Limited Edition Run - This will not be repressed.

This is the dawning of ARCYDARO. For the first time ever he unveils his work, expressing a very own approach to the current state of sound.

Early support for this one comes from Âme & Dixon.

2019 marks the 20th anniversary of ‘Low Birth Weight,’ the second album by Piano Magic, then a loose collective of musicians centred around founder songwriter, Glen Johnson. Though a year later, the collective would take shape as a bona fide internationally touring group, in 1999, Johnson had one foot in his native Nottingham and the other in his new home of London where, finding himself label manager at Rough Trade Records, also became highly prolific, releasing his own records across a myriad of micro-labels (Che, Wurtlitzer Jukebox, Darla, Rocket Girl, etc).

By his own admission, ‘Low Birth Weight,’ owes much to the East London experimental group, Disco Inferno who, embracing sampling technology, attempted to turn pop music inside out. By 1995, the Inferno had burnt out but Johnson remained inspired by their playful, subversive manifesto and thus, the album here, partly produced by “Nottingham’s own Martin Hannett,” Martin Cooper, is difficult to pigeonhole either at the end of the millennium or even now. Drum kit signals are fed through a tiny amp literally inside a cardboard box; breathing is employed for rhythms; kick drums are replaced with broken glass; there’s a ragbag of tablas, huge slap back delay and phase, theremin, shortwave radio, and more.

Aside from the DI benchmarks, ‘Low Birth Weight’ bears the marks of an infatuation with the dreampop of the time – the guitar saturated in delay and overdrive – inspired by the likes of AR Kane and Kitchens Of Distinction and not the more languid “shoegaze,” which has oft been levelled at LBW.
There’s a revolving door of guests on the album, including Pete Astor (The Loft/The Weather Prophets) on a cover of Disco Inferno’s ‘Waking Up’; Simon Rivers of The Bitter Springs supplies lyrics and voice to ‘Crown Estate’ and ‘Dark Secrets Look For Light’; Jen Adam, then an American art student on a year’s placement in London, writes and sings ‘The Fun Of The Century,’ a personal account of being pushed off a roof at a party by someone she thought a close friend.

‘Low Birth Weight’ is undoubtedly of its time, though undoubtedly more playful and literary than much of the music made during the late 90’s and a fascinating bridge between dream pop and experimental electronic music.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Flatliner, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* The year is 1994 and the awesome combination of Flatliner & Ant Miles gave life to the infamous tracks ‘The Big Bang’ / ‘No Boundaries’. Release no 9 on RAM records tore up sound systems at every Rave in the country. A follow up was on the cards and ‘Flatline’ was born. Put to one side to make way for the Big Bang/No Boundaries remixes, somehow it never resurfaced again... until now!
* A similar story evolved for the A side ‘Just Stop’. A track made in the latter part of 1995, Flatliner comes with yet another amen monster, but this time taking things on more of a rolling Drum & Bass vibe. A golden nugget to own on vinyl for any true Jungle/Drum & Bass fan.

S-Type returns with his first full EP project in three years with the expansive “S-Type-Beat”: dedicated to the art of hip hop production for its own sake.

The sound of S-Type has been defined by producing massive, melodic instrumental hip hop played out in clubs as dance music - but this was always a side effect of growing up far away from the rappers he sought to collaborate with. His track ‘Billboard’, released alongside the first TNGHT and Baauer music was seminal in the genre that some American festivals mistakenly termed “trap”. But the reality has always been that S-Type’s primary inspiration is hip hop. For the online subculture of DIY producers dating back to early ‘00s Louis Den beat battles to his own releases to his co-writing, S-Type is a leader of the beat scene.

The recent term “type beat” refers to the scene of uploading your instrumentals replicating the sound of your favourite production on commercial releases, tagging the original artist in the title of the upload in the hope your track gets exposed to the fans of the original ie. “Drake-Type-Beat”. On this new S-Type ep he celebrates the booming scene of producers and affirms himself as one of the best doing it: your favourite producers favourite producer.

'Mantra Moderne' is a stunning, contemporary masterpiece that fuses Anatolian Psychedelia, Brazilian Tropicalia, 60’s European pop and American jazz. A must for fans of Khruangbin, Portishead, Arthur Verocai, Goat, Caetano Veloso, Tom Zé, Os Mutantes, Cortex and co.

The duo is formed of Kit Martin, who lives between London and France and plays all instruments on the album, and Merve Erdem, vocalist and multi-disciplinary artist from Istanbul, now based in London. This is their debut album.
The album explores universal themes such as love, loss, decay, language and ideology, mixing three different languages: English, Turkish and French. Written and recorded by the duo - Kit composed all the songs and Merve wrote the lyrics - in rural France during 2018, each song was completed within a 12-hour window, pawning contemplation for spontaneity.
Dubbed by Kit and Merve as ‘lo-fi-hi-fi’ in reference to the high-end tube equipment that helped it find its way to 8-track cassette tape. The style owes its sound to narrow tape width, valve distortion, spring reverb, the mixture of high end gear with lo-fi equipment as well as a disregard to the norms of hi-fi studio techniques. All instruments were analogue and no samples were used. The instruments that are used range from tablas to darbukas, balalaikas to ouds, MS20 synths to Farfisa organs and a lot of cuica. The mixing techniques were done on-the-fly, tracking immediately to tape: compression, EQ, delay and reverb; meaning mixing could not be revisited!

This record contains: filters, singing, Polish railways samples, the right touch of big beat and melodies & it can help you clean the air of the club.

Solpara is an agile performer, both in sense of the nature of his live acts, background and tour schedule. Brutaż is also about nimbleness and acrobatics so it was only logical for their paths to cross. Both are connected with record dealing (Record Loft, Berlin and Halcyon, NY, respectively) and both are emotional and undergoing changes.

Contrary to his previous endeavours (incl. on Nicolas Jaar's Other People), Solpara's release does not quite want you to relax, it's fast and slow, it's emotional and rackety, it's fire and water. This Lebanese-American raconteur seem to have a similar goal to Polish complainers of Brutaż - records are not meant to wreak havoc, their purpose is to refresh the perimeter. Woda różana stands for "rose water" - it's about scent, touch & flavour.

Philippe Cam is the Thomas Pynchon of the electronic music world. Little is known about him and only a couple of pictures have been put online since he emerged on this planet to write his first and only album18 years ago. We know he worked as a sailor and that’s it. If you dig deeper you might find out that he worked as a DJ in the beginning of the 90ies in Brussels and began to study electronic music there and also began to write music for theaters and ballets.

The American distributor Forced Exposure once wrote that about him: „Philipe Cam is a star in his own field. He is among the few people who have succeeded to write hypnotic dance music without a conventional beat still conveying a thrilling, dramatic feel. Cam has developed an accurate, intense and complex formula of modulation-techno. Starting with music similar to Pan Sonic in 1996, his music turned towards a more elegant form of minimal music. Abstract soundtracks lead to an organic form of music, which was equally influenced by modern techno as Wolfgang Voigt's Studio 1/Gas or Basic Channel/Maurizio. Cam's music corresponds heavily to the Cologne scene, where his music is appreciated and played throughout the clubs by the likes of Michael Mayer, Tobias Thomas and various other DJs as well as experimental djs from the A-musik corner.“

So what’s new with his music? Basically the art of filtering is still his passion. Maybe he can be less associated with techno and the themes of his new tracks emerge in a more distinctive pattern? Well that’s hard to say, we would comment the energy of his early techno days in Brussels have returned here in a fierce way with some oft he tracks. The rhythmic movements are classy and stick with you. Whereas other tracks look for a distinctive relaxation of some kind.

We are releasing the album as a double clear vinyl with cover art by Yvette Klein who also designed the cover for his Philippe Cam’s album 18 years ago. Graphics for "Rotterdam" come from Cologne designer Daniela Thiel. We also would like to thank the cultural department of Cologne for supporting us to finance the album and to see the artistic value in this piece of minimalism.

The album kicks off with the mellow and soothing "Cocoa Beach". A Gentle beat that moves like bodies swaying in the hot summer sun. The clock moves a step forward and then a step backward as evolution takes a rest.

"Manga" feels like an acceleration to the moon, the contemplative moments come in spurts and hide in the intervals of the chords which are on the loose. Philippe Cam is the most energetic person in the world when it comes to core activity, this is head banging stuff for the ambient lounge.

"Short Summer" is a heavy and violent recognition. As intensive as it is it knows when to stop and disappear. In the ear and brain of the listeners it leaves an indisputable echo which lingers on for minutes. We suggest not to make a pause but jump directly into "Vermillions Sands".

What can be said about into "Vermillions Sands"? Be prepared some Terry Riley might lure around the corner to offer you some oranges on a silver plate, but don’t eat them. This is luring and beautiful at the same time. Maybe the best ambient track ever written and yet who can ever venture to say that without making a fool of himself. "Vermillions Sands" comes in waves and they could be longer we think.

"Rotterdam" the home of Philippe Cam for a long time but not anymore. He moved away. So that changes the perspective. But when was the track written? "Rotterdam" seems mechanical and rusty and spooky and divided. This arrangement is very different to all the other tracks so far and is almost dub in style but way more fractured. A steady stop and go emerges. But the longer it runs the better it gets. At minute 6 the brain resets itself and tries to grasp what has happened so far, reconstruction as a result of its own phantasmic imagination and hardly true at all, wonderful. Applause included!

Here comes "Bis", a short episode of a track and before we can comment on it, it is already over.

"The Game" is a mule of a track. It has a quiet stubborn sequence that bites and kicks you in the back without any change in near sight. We can hear a voice whispering, which sounds like a miniature vocoder featuring the voice of a child calling out - never stopping. This is treadmill to some extend but starts to breathe towards the middle of the track and slowly changes perspective. In fact there are some changes taking place here which go beyond a sound design that works heavily on the stereo image. Stick with it and the experience will be a great one.

"Ultimate Fly For Halloway" somehow orchestrates how you might feel after you climbed a 8000 meter high mountain and reached the top. A rejoicing off a special kind. Lava for the ears. No cheerleader murder plot sorry.

"Last Track" is a perfect example of a true minimalistic pice of music that manages to make contact with other genres and does this with elegance, determination and a lot of soul.

key selling points: The key selling point is the fact that Philippe Cam once was referred to as one of the main protagonists of the minimal music scene along with Wolfgang Voigt's Studio 1/Gas and Basic Channel/Maurizio. A true artist with a vision which is very rare.

Philippe Cam has picked up the sound he was famous for but has developed it further without selling out to any genre and expectation that rules our daily business.

Exactly this is the strength of the album to create a vivid world of impressions by using instruments in a whole different way than all software developers would suggest.

"Rotterdam" is a piece of art that can set off a firework when you listen to it and it owes nothing to anyone.

Matasuna Records once again dug deep for its latest release and comes up with probably one of the best Latinfunk tunes. It was recorded by US band "Los Sobrinos del Juez" and released on their debut album in 1974. Matasuna Records is delighted to officially reissue two cuts from the album on 7inch single.

Founder, producer and singer of the band is Carlos Oliva, who was born in Cuba. He moved to Miami, Florida in 1961, where he had his first engagements. There he linked to other Cuban musicians and decided to move to New York with them to make music.

Some time later Oliva returned to Miami and founded his own band "Los Sobrinos del Juez (The Judge's Nephews)" in 1967. The group is regarded as one of the pioneers of musical fusion, which developed in Miami in the late 1960s and became known as the "Miami Sound". The music styles rock, blues, funk and soul that were popular at that time had an influence on their own compositions, which were enriched and spiced with Cuban/Latin American sounds. The band's first album was released in 1974 on an independent label in Miami and is a good example of this new sound. The album is much sought after and hard to find.

Oliva has released several albums with the band and toured Latin America and Europe. In the early eighties he also founded his own label. In the course of time he and his eight-man band got deeply rooted in the cultural life of Miami and enjoy attention and recognition. They are still on stage as "Los Sobrinos del Juez".

"Harina de Maiz" is the name of the song on the A-side - an uptempo latin funk monster driven by the characteristic wah wah guitar and a psychedelic sounding organ. Listening to it reveals why the song is one of the most funky Latinfunk tunes.

On the flip side it's quite different: "Corned Beef Hash" is a vibrant easy Latinjazz tune, where the talent of the musicians is audible. The perfect interaction of the piano player, the vibraphonist, the flute player and the rest of the band is a musical delicacy for its connoisseur.


a A1 Harina de Maiz clip

Should you find yourself taking a Thames-side stroll in the shadow of the City of London, keep an eye out for the headphone-clad figure of Ilan Pdahtzur. While be-suited bankers and frustrated office workers scurry home to their families, Ilan can frequently be found casting admiring glances towards the blinking lights of towering skyscrapers while filling his ears with the synthesizer-driven sounds of lesser-known 1980s dance music.

Ilan, an avid but little-known record collector best known for sharing the artwork of obscure and under-appreciated early-to-mid ’80s club cuts on his popular Instagram feed, has been digging for vibrant, kaleidoscopic records since his teens. Now, thanks to Spacetalk, he’s been given a chance to offer a glimpse into his neon-lit nocturnal musical world.

The result is Night City Life, a killer collection of 1980s synthesizer songs inspired by Ilan’s admiration for the glow of London’s late night skyline. Over the course of 13 essential tunes, Ilan escorts us on a vibrant sprint through rare Italo-disco, steamy South African synth-boogie, fizzing American freestyle, oddball Austrian electrofunk and so much more.

There are naturally a fair few sought-after cuts present, but also a fine selection of under-appreciated gems that for one reason or other have been all but ignored since they were released three and a half decades ago. In fact, some selections are so obscure that barely any information exists about them online.

Check for example Preludio’s “Mysterious Nights”, an evocative fusion of slow electronic grooves, dreamy chords and twinkling piano motifs previously buried on a lesser-known album of unremarkable German synth-pop, or the dollar-bin brilliance of Fragile’s sweet synth-pop gem “We’ve Got Tonight, Boy”, a cut that Ilan says is capable of “wrapping itself like tendrils around your soul”. He’s not wrong.

At the other end of the scale you’ll find the ultra-rare Italo-disco breeziness of Friend of Mine’s incredible “Just Your Pride” and Mac & Monica’s soulful 1986 South African synth-boogie cut “You’re So Good To Me”, copies of which regularly change hands for hundreds of pounds online. Ilan originally reached out to the men behind the record last year to tell them how one of their other forgotten gems had been played on a Boiler Room session; naturally, they were thrilled.

There’s plenty to admire elsewhere on the compilation, too, from the waves of analogue synths, bubbly melodies and bobbing beats of the instrumental dub version of Brian Tatcher’s “Hot Love” – a cold-war era cut inspired by the idea of love blossoming in the midst of a nuclear meltdown – to the Bobby Orlando-esque freestyle bustle of Janelle’s “Don’t Be Shy (Dub)” and the sparkling post-boogie brilliance of Jarmaz’s “Night City Life (Disco Remix)”, a track Ilan has listened to countless times while admiring the midnight skyline of his home city.

Spencer Parker returns to Rekids with looping techno roller ‘You’re Under My Control Now’ featuring remixes from Truncate, P.Leone, Fadi Mohem and label boss Radio Slave.

Released on last year’s ‘Dance Music’ album via Parker’s own Work Them Records, ‘You’re Under My Control Now’ is an infectious and mesmerising techno banger that’s garnered support from the likes of Midland, Len Faki, Amelie Lens and Marcel Dettmann.

One of the track’s biggest supporters, Radio Slave is now releasing it on Rekids with a medley of top tier remixes. Radio Slave’s reimagining scales back on the original’s high-octane energy, instead taking a more uplifting direction with an arpeggiated bassline, meandering synths and clattering percussion.

A regular on Seilscheibenpfeiler (alongside artists like FJAAK, Solid Blake and Kasper Marott), Fadi Mohem is next with a dark and atmospheric rendition complete with driving kicks, subterranean chords and echoing effects before Truncate serves up his cavernous ‘Mind Control’ Remix which combines tantalising melodies with robust drums and murky vocals.

E-Missions co-founder P.Leone and Radio Slave, having paired up for a remix of Deep Dimension last year, collaborate again here to provide a robust, compelling piece of house music littered with breathy samples and oscillating atmospherics.

Moon Boots a.k.a Pete Dougherty returns with his second studio album ‘Bimini Road’ on September 6 via Anjunadeep. An ambitious and evocative follow-up to his acclaimed debut First Landing, Bimini Road combines delectable club-ready grooves with soulful songcraft into a seamlessly organic whole. Inspired by notions of mysterious lost civilizations, ancient magic utopias and the sci-fi landscapes of the mind, ‘Bimini Road’ is a joyously celebratory listen that builds off the ‘deep textures and funky melodies’ (Mixmag) of his album 'First Landing', a disco house masterpiece supported by KCRW, Annie Mac and others. Featuring familiar faces KONA, Black Gatsby and Nic Hanson among the featured vocal talent, ‘Bimini Road’ also includes new collaborators like rising US talent Niia, Kaleena Zanders and notable British sing-songwriter Little Boots. OutJuly 9, ‘Tied Up’ is the first single off the album, a sexy slice of deep house pop sure to ignite dancefloors and bedrooms alike. Moon Bootsembarks on his Live Bimini Road Tour this Fall, with dates across North America and Europe. Born in Brooklyn, Moon Boots’ musical obsession started not long after he could walk. His early love of piano lead to a passion for keyboards and synthesizers. Teenage nights lost in the work of Daft Punk, ATribe Called Quest and Herbie Hancock followed. Inspired by legends like Frankie Knuckles and Derrick Carter, he moved to the house music epicenter of Chicago, where he tirelessly passed out demos to local DJs and scoured the web for like-minded people with whom he could share and expand on his sound. Heplayed in a synth-pop trio whose demo caught the attention of Lupe Fiasco, and after a stint touring alongside the hip-hop icon, Dougherty went back to DJing with a renewed focus. The stars aligned when he had a chance encounter withPerseus, founder of an adventurous label, French Express. A fellow junkie and fan of French House and R&B-infused dance music, Perseus became a friend and mentor, the Splinter to Boots' Donatello. The label eventually disbanded but Boots has stayed true to his mission of making dance tracks that can’t be confined to one style. Pete blends the music he loves --jazz, house, funk and soul -- into songs that last longer than their runtime. Songs not just for DJs, but for everyone.

Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba’s ‘Pata Pata’, her first album recorded for Reprise in 1966.
The album marked a significant international breakthrough for Makeba. Moving to the US after the anti-apartheid film ‘Come Back, Africa’ gained international attention and staying there in exile, she quickly built her career in New York during
the ‘60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: “I wrote ‘Pata Pata’ back in 1956, back in South Africa,” remembered Makeba in her autobiography. “It was a fun little song and I was thinking of a dance that we do at home (“pata” means ‘touch” in Zulu and Xhosa).” Originally a hit in South Africa with her early vocal harmony group the Skylarks, the new recording, produced by Jerry Ragovoy, brought a lighter uptempo R’nB arrangement, adding some English lyrics. “It was my first truly big seller. All of
a sudden, people who never knew I had been in America since 1959 were asking me to be on their television shows and play at their concert halls during 1967. In the discotheques, they invented a new dance called the ‘Pata Pata’ where couples dance
apart and then reach out and touch each other. I went to Argentina for a concert and, across South America, they are singing my song.” The track peaked on the Billboard Hot 100 at no. 12 and the album. Other songs In the album included a version of the traditional Xhosa classic, ‘Click Song Number One’ (‘Qongqothwane’), the atmospheric ‘West Wind’, later famously
covered by her friend Nina Simone, and a version of Tilahun Gessesse’s ‘Yetentu Tizaleny’ which Makeba learned on a trip to Addis to perform for Haile Selassie at the Organisation Of African Unity. Mastered by The Carvery from the original reel to reel tapes, ‘Pata Pata’ is released in its mono and stereo versions for the first time. Physical formats feature brand new sleeve notes alongside rare photos from the time of recording and session details.
The album is released on 6th September on 2LP, 1CD, streaming and digital

Enigmatic multi-instrumentalist Clive Tanaka returns after nearly a decade since his cult-classic Jet Set Siempre was released into the world with a collection of indie gems entitled ‘Pre-Sunrise Authority.’ This is an album experience ready for
summer road trips, shifting FM dials as the terrain changes and signals fade. In his words: What started as a rejection of loneliness with lyrics grew into a rejection of the ephemeral with the final musical composition. The dissonance between the mission
of the lyrics and the music is what finally satisfied me. The album, Pre-sunrise Authority, took 10 years to finish. This record is a tribute to scheduled, communal listening to music; to driving up to the bluff to get a clear signal of America’s Top 40 with Casey Kasem; to the friend that gave you Beck’s Mellow Gold on CD and said, “You have to listen to this;” and to my friend Carroll, who played all over this record, but passed away before he could every hear it… Music is not disposable.

In 1985, I started working as a sound engineer in the famed Far Studios of German hit producer legend Frank Farian in Rosbach near Frankfurt, and there had an array of gear at my disposal that not many producers could afford, and know how to use in consequence. In the center a high-end Neve studio desk, but also the finest machines created by mythic brands like Linn, Kurzweil, Publison, or Quantec. Confronted with this considerable amount of opportunities on a daily basis, I soon decided to use what I was surrounded with for my own musical ideas, and started experimenting with it in my spare time. My perception of sounds quickly surpassed what I had known before. The equipment offered me many possibilities to position sounds within a song and I learnt how to compose by filling up all the places in between the speakers. There was not only left and right but near and far as well, and even up and down. My preferred perspective grew to be that of standing in front of the speakers, "looking down" on a song from a slightly higher position. The material was recorded on analogue reel-to-reel audiotape, which I subsequently edited and deconstructed manually with a razor blade, an edit block and a roll of audio splicing tape.

Atmomatix Records return to black wax with arguably their biggest release to date. Taking three favourites from their growing back catalogue and reaching out to some of the scenes most respected for remix treatment was always going to come up trumps. Add a fresh original from the ever collaborating head honcho Critical Event into the mix and it is easy to see why this is getting pressed. Zero T features once more on a velvet smooth rolling twist up of Humanature's jazzy "Upside Down" from last year. It has all the warmth and grit we have come to expect from Irishmans's output and sets the tone perfectly for the remaining tracks. Remix competition winners Bert H and High N Sick take on the second Humanature track on this release "Cosmos" flipping it around with fresh vocals silky piano licks whilst retaining the sumptuous atmosphere of the original. Macca makes his spectacular Atmomatix debut with a vintage remix of fan favourite "Take Your Soul Away" by Low:r and Hiraeth. Pure euphoric amen scattered bliss, Macca builds on the vibe of the original to create a 3am hands in the air piece of classic liquid. Rounding out the release is a collaboration from Critical Event, Humanature, Hiraeth and Pixel entitled "Never Let Me Go". The close friends linking in perfect harmony to bring forth a soothing glide through their unified take on the Atmomatix sound.

Concentric Circles presents ''For the Moment'', which features tracks from some of Di Stefano's early cassette releases, as well as a number of unheard explorations of Indian polyrhythms from the early 90s. Di Stefano’s prescient and unique work will appeal to fans of Cybe, Joel Graham, UnknownmiX, Zru Vogue, and provides a fascinating view of the 80s US electronic underground.

American-born, Japan-based composer John Di Stefano self-released a number of cassettes as part of the 80s DIY underground on his own imprint Oktron Produktions, including Klang's Drift, a collaboration with Joel Graham.
Living in San Francisco, Di Stefano had access to multiple University electronic music studios, where he had an impressive array of synthesizers at his fingertips, including both Buchla and Serge modular systems. Combining his knowledge of modular synthesis with a background in percussion, his early releases were a uniquely human approach to electroacoustic music, with flourishes of post punk in the mix. Di Stefano developed an interest in world music, studying Indian music theory and tabla, and after an extended trip to Indonesia in the mid 80s, he was particularly drawn to Javanese gamelan music. Future recordings would forever be indebted to the sounds he heard during those travels.

30th anniversary pressing limited to 1000 copies. With the 2016 Roots

mini-series such a success, there is new interest in Quincy Jones’ original

soundtrack to the ground-breaking 1977 mini-series.

Highlights include the “Roots Mural Theme,” composed by Gerald Fried, and

the 28 minute, ‘Roots Suite,’ with Letta Mbulu as the featured vocalist. Plus

the stunning “Main Title: Mama Aifambeni” as sampled by Moodymann and Andrés.



Also included are snippets of dialogue from Roots actor Lou Gossett. Featured

players include: Shelly Manne, Victor Feldman, Ernie Watts and Lee Ritenour.

Juan MacLean and Man Power debut as Juan Power for Life and Death

Life and Death continue to serve up brilliantly unpredictable releases with a new one that brings together American DFA stalwart Juan MacLean with the UK’s Me Me Me label head Man Power, plus an edit from the boss, DJ Tennis.

Juan MacLean is a multi-faceted artist who has a history of everything from playing in post hardcore bands to producing some of DFA’s most celebrated releases. He does classy house bangers with synth pop and disco layers like no one else. Man Power, meanwhile, is someone who is fantastically eclectic in what he does on all fronts as a DJ, label boss and producer. He’s made corrugated acid, hands in the air house and machine disco and plenty in between on his own label, but also cult outlets like Correspondent and ESP Institute. The coming together of these two undoubted studio wizards, then, is a fascinating prospect.

And so it proves right from the off: opener ‘Crescendo’ is a nine minute masterpiece with rickety house drums making you move while the shuffling percussion builds the pressure. Gorgeously warm chords eventually join the fray and have a blissful effect that sets you off dreaming and keeps you in a trance until the end.

DJ Tennis himself then steps up with an edit of ‘Excuse Me Daddy’ that is deep and cavernous. Next to the suspensory pads is an intricate synth line that takes you in on yourself in perfectly melancholic ways.

Closer ‘Praise The Toad’ then picks up the pace with more live sounding drums and a sparkling lead synth that rises and falls to cosmic effect. Drawn out over the full length of the track, and in amongst some chattery claps and smart effects, it makes for a journey to the stars that will cast a real spell on all who hear it.

This is an innovative collaboration between two masters of their craft.

Pacific Breeze is a collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between.

Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early '70s, as heard on Light In The Attic's acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, 'Deconstructing the line between imitation and authenticity.' Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card

Maybe the best Alessandroni's album ever. A true holy-grail for any collector and worldwide music lover, which we can consider nowadays as the most sought-after record of the whole legendary RCA SP 10000 series, and as the rarest album from the king of Italian libraries.

Jazz, mellow-funk, downtempo breaks, and incredible rock blends, make this record a refined portrait of the 70's American way of life, viewed through the fully Italian lens of Alessandroni's sensitivity.

The magic around Spontaneous is that this album is not only beautiful and astonishing, but is certainly on of those amazing records to which time gives new life and freshness, making it sounds unbelievably contemporary.

After five years of exhausting research, finally Four Flies can give a light to this obscure and fascinating mystery, rescuing it from the darkness. It's not just another piece of Alessandroni's legacy that is finally put back in the right place. This should be considered as the definitive act to re-estabilsh Alessandroni's leadership into the library music scene, and beyond.

Available again from July 19, coming in 180gr black vinyl, housed in a hard tip-on sleeve cover.

Limited Edition 500 copies, don't sleep!

Vinyl-Wiederveröffentlichung des vierten Studioalbums von Millencolin aus dem Jahr 2000.

Melancholie verbinden die meisten mit Schwermut. Für Skater ist "Melancholy" aber einfach ein Trick mit dem
Board. Und wer des Schwedischen mächtig ist, verbindet Millencolin mit einer Ska-Punk-Band. Die wird von
Nikola Sarcevic (Gesang, Bass), Erik Ohlsson (Gitarre) und Mathias Färm (Gitarre, Drums) im Herbst 1992 in
Örebro, Schweden, beim - ist doch klar! - Skaten gegründet. Komplett ist die Band 1993, als Schlagzeuger
Fredrik Larzon dazu stößt. Einige Platten und weltweite Touren später erscheint im Frühjahr 2000 ihr viertes
Album "Pennybridge Pioneers". Pennybridge ist die wörtliche Übersetzung des Namens ihrer Heimatstadt
Örebro (Öre = Penny, Bro = Bridge). Produzent ist Brett Gurewitz, Chef der Labels Epitaph und ehemals
Mitglied der amerikanischen Punk-Urgesteine Bad Religion. Für viele Kritiker gilt "Pennybridge Pioneers" als
beste Veröffentlichung von Millencolin. Kennzeichnend für das Album ist der Abschied von Ska-Rhythmen bei
gleichzeitiger Hinwendung zu eher rockigeren Riffs. Wenn man so will, bietet "Pennybridge Pioneers"
Punkrock nach amerikanischer Tradition in einer schwedischen Variante. Die Vinyl-Wiederveröffentlichung
kommt wie seinerzeit das Original via Epitaph auf den Markt.

The 4th release from Bring Back Records is dedicated to all selectors and dj's, who support vinyl and continue to help give to it new life every day.
The A-side is the title track of the record with a mysterious atmosphere, bells, voices and stretched amen-break in the best traditions of 93-94 jungle style.
The B-side contains two tunes with summer vibes, one is a 4/4 jungle tek tune with sweet vocals and a nod to early rave music, the other one has killer breakbeats, funky moods and references to gangsta rap.

Season Four of Outlander continues the story of time-travel 1960’s Claire Fraser and her 18th century husband Jamie Fraser as they try to make a home for themselves in the rough and dangerous ‘New World’ of America. The score to the series is composed by American film and television composer Bear McCreary (The Walking Dead, Cloverfield, Black Sails). The settings of the series were a challenge for the composer, because each culture and geographical location offers other potential musical influences for the score. The score supports all these different locations and he even used the banjo this time. As it was one of the most exhilarating creative challenges of his career you’ll hear the integration of both bagpipes, fierce Afro-Cuban polyrhythms and French baroque ornaments. Above all the typical folk music will set the tone for all the settings in the movie.

Outlander Season 4 is available as a limited edition of 500 individually numbered copies on coloured (gold & black mixed) vinyl. The package contains an insert.

Mateo Kingman conceives of his second album Astro as a cure for the healthy. It’s a journey across the constellation of the snake, a journey at once earthly and cosmic. The poetic text expressed with a multiplicity of vocal timbres drives the musical journey, starting with the decision to face up to our demons, passing through a deep sense of vertigo and sacred healings, to return us to ourselves, reconciled and grateful.
 
Musically, Astro expresses an intense investigation, tying together different threads: contemporary urban song (trap, hip hop, and elements of electronic music), traditional Latin American melodies influenced by shamanic icaro chants, and the emphasis on synthesizers, resulting in a new, hypnotic kind of sound. 
In a world in which we increasingly need more stimuli and approval from the outside, Astro invites us to take a look inside and explore all the aspects of the self, from the darkest to the lightest. On this record, Mateo Kingman shows a strong point of view as the author, although he moves away from the sounds and themes with which he made his name, daring to mix current trends, urban rhythms and vocal experiments, forming a constellation through which we can all travel, showing a clear personal and musical evolution.   

Suitman Jungle is a creation of percussionist Marc Pell. The idea behind it is a man in a suit playing jungle music. He uses his voice, plays a standing drum kit and utilises live electronics such as an SPD-SX, a clunky office keyboard and guitar pedals.

Suitman Jungle is the Director of RBS (Regional Bassline Services), a company that provides a wide variety of sub & mid-range bassline services internationally.

'Liquid Lunch' is an album influenced by the sounds of London and daily routines. It was produced in OpenOffice spreadsheet processor and mastered in a cracked version of Microsoft's Powerpoint. Track four, 'Nil Cash Option', is a recording of two gig-goers who gatecrashed Brighton's Great Escape Festival by pretending to be accountants. Track six, 'Lift Going Up', is about how some days one's mood can be better or worse than on other days.

“Stop here!” exclaimed Robert Oumaou as we passed a mango tree on the side of the road just outside of Point-a-Pitre, the balmy capital of Guadeloupe. He filled a plastic bag with ripe fruit, and we set off on our journey across the small Caribbean island in search of musicians he hadn’t seen in years. On the way, we shared stories in broken French and English, stopping at truck stops to eat delicious fried fish. Robert took me to his hometown, and placed a mango and a flower on the grave of his teacher and mentor, a local poet. The seeds of Vwayajé (Traveller) were sewn on this trip, but shortly after returning home, I heard that Robert was ill, and he sadly passed away in 2018. This compilation was originally intended as a way to share Robert’s brazen work with a wider global audience, but it now also serves to immortalize his indomitable spirit.

Gwakasonné is the ecstatic articulation of Robert Oumaou’s artistic and political vision, a unified expression of his interests in American jazz, pre-colonial rhythms, Guadeloupian independence, and Créole poetics. Over the course of three albums, all released in the 80s, Robert piloted a revolving cast of musicians, a venerable who’s-who of Point-a-Pitre avant-jazz pioneers, to deftly intone his creative communal concepts. The songs on Vwayajé are compiled from these three releases, Gwakasonné, Temwen, and Moun, along with an electronic mantra taken from his 2007 solo album Sang Comment Taire. Viewed from our current artistic and cultural landscape, Robert’s work is exceptionally enduring, grounded in its declarations of freedom and foundational use of the Ka (drum) and voice, and prescient in its borderless explorations of protest folk, electronics, ambient atmosphere, music from the African diaspora, and spiritual jazz. The long-form hive-mind expression of the group has parallels with similar explorations by The Grateful Dead, electric
Miles, Pharaoh Sanders, and even the Boredoms, but these are only oblique references for a truly peerless sound. Like other conceptual children of Gérard Lockel, the group was part of a progressive movement of like-minded musicians, such as Serge Fabriano, Dao, Erick Cosaque, and Gaoulé Mizik, who embraced Lockel’s modernist ideals, fusing Gwo Ka drumming and tuning systems with contemporary jazz and vanguard recording technologies. Robert’s ecstatic phrasings, embrace of electronic instruments, and daring lyrics set the group apart as the beatific expression of a sagacious soul.

It had taken him almost three years to record, but in 1985 Jake Hottell finally finished his debut solo album, Break The Chains. Inspired by his opposition to fracking, anger at government corruption and a series of profound spiritual experiences, a hundred copies of the album were pressed and given away to radio stations, friends and local business interests in Hottell’s home state of New Mexico.



The album would have remained an obscure footnote in musical history had it not been for the efforts of DJs Danny McLewin and Jeremy Spellacey. Between them, they tracked down Hottell to hear his story, offering the former electronics engineer and Nashville-based music producer the chance to get his music to a whole new audience. Now, some 34 years after the private press edition was produced, Spacetalk is giving Break The Chains a full release for the very first time. Hottell began recording the album in 1982 after reading Your Body’s Many Cries For Water, a best-selling book by Dr Fereydoon Batmanghelidj about the health benefits of clean, purified water. Remembering the poisonous, methane-laden water that came out of his mother’s taps in the 1970s – a by-product of extensive fracking activity in the area around the family farm – Hottell wanted to create a set of tracks that registered his concerns, reflected his recent spiritual experiences (many of which he still finds it difficult to discuss today) and offered a meditative listening experience.



The resultant set is suitably cosmic and emotive, with Hottell cannily fusing gentle drum machine rhythms and dreamy synthesizer motifs – influenced, he says, by a love of the contemporaneous new age output of former jazz label Windham Hill Records – with his own glistening guitar passages, which sit somewhere between the homespun riffs of country music and the classical guitar solos that have long been a sonic staple of Spanish styles such as Flamenco. Many of the tracks have stories attached. “Horizon” features a profound spoken word vocal from local man Darald McCabe – whose homemade purified water helped Hottell recover from serious illness – while “El Rio dos les Delores” was composed after discovering that fracking was taking place on a local Native American reservation. “The Truth Is All I Want”, meanwhile, reflects Hottell’s growing exasperation at the extent of corporate greed and government corruption in the United States.



This new edition of Break The Chains has been painstakingly re-mastered from the original master tapes, while extensive new liner notes shed light on the remarkable musical and personal experiences that inspired Hottell to create an obscure, overlooked classic.

Massive crossover hit from the American Gospel star Kirk Franklin, marrying Patrice Rushen's classic with R&B and hip hop leanings to create this uplifting, inspiring and infectious feel-good sensation.

A true Tony Humphries, Southport and soul collectors favourite finally getting a full single release.

'Junction' - a six track EP produced entirely by Samrai & Platt - features vocalists from Jamaica, Ireland & the UK and rounds off an excellent 12 months for the label & crew who've toured across North America, Mexico and Europe in 2017.

The set kicks off with ST favourite Alexx A-Game (originally voiced at his studio in Kingston in 2016) urging listeners to 'free up' their mind and souls and let the 'good times take control'. It sets the tone for upcoming Jamaican talent Blvk H3ro to step up on the soulful party number 'Can't Wait' (recorded at Equiknoxx's studios in Vineyard Town in 2016), which has been a staple in Swing Ting sets over the last 18 months.

Slowing the pace is 'Addiction', a link up with Irish artist and frequent Murlo collaborator Gemma Dunleavy who lays down an impressive vocal over the skittering drums, muted guitar and glistening keys. The listen is interrupted momentarily for an interlude from Gavsborg whose moving voicemail is accompanied by a poignant piano line from JP aka Without Understanding. One for the clubs - 'Turn it Up' features Equiknoxx's Shanique Marie riding a stripped funky-esque riddim with ease.

Fittingly the set closes with 'Contagious' which finds two of Manchester's finest vocalists - Fox & Tyler Daley searching for an escape from the reality of our turbulent times over a refined yet sparkling production. The 12' vinyl will be limited to 200 copies.

Support from: Murlo, Toddla T, Jamz Supernova, HDD & Equiknoxx across NTS Radio & BBC Radio 1 / 1xtra.

Coal’s self-titled debut is a crushing rejection of the hive-mind colony of your scene, your values and your reality, not an escape, not a distraction, but a true-vision of the world in all its grotesque, hate-filled glory. Listeners will step away from this record as from a Coal show, cleansed, purged and altered.

After initial flirtations with the project being a ‘live electronic act’ proved unsatisfying, Anthony Arcana & Oliver Kohlenberg chose to morph the project into something unbound: hoarse-barked, one-line lyrics, mutant chainsaw guitar feedback and drums that sound like a nightmare, Kronenberg trash-compactor collide to form their own world. Coal’s sound is a blurred vision of influences, fusing elements of post-metal, hip-hop, black-metal, American hardcore, sludge, doom, jungle and trap into something that feels cathartic, potent, whole and unique.

The Voice of Love is the second album by American singer Julee Cruise, known for her collaborations with composer Angelo Badalamenti (Twin Peaks, Lost Highway) and film director David Lynch (Twin Peaks, Mulholland Drive). It’s the voice of love we hear all over the record, even when the lyrics getting darker and darker. The lyrics are written by David Lynch, while Angelo Badalamenti is the musical creator. The pulsing drums are a little more upfront compared to her earlier work. Julee’s voice is amazing and she has no problem with creating different moods on the album. It’s a beautiful follow-up of her first record Floating Into the Night.

Following the release of grime legend Jamakabi's “Wickedest Ting” EP, grime fans and vinyl collectors alike have been screaming for the bass remixes by Truth and Ghosty to be released on vinyl.

We heard, we listened and we can now deliver!

Rhythm Rollers is proud to present “The Bass Remixes” of Wickedest Ting on limited edition 12” vinyl.

Track A is an absolute monster brought to you by LA based dubstep veterans “TRUTH” which incorporates all the lyrical energy of the original while providing atmospheric low sub baselines that Truth are so well known for around the globe. If you love your dubstep this is a must for your collection and sets!

Track B is a whole different take on Jamakabi and D Double E's 2018 grime anthem. Ghosty steps up to the plate for this one and rises to the occasion in superb style. The Reaper Recording head honcho is quickly becoming renowned for his high energy amen drum patterns and this does not disappoint! If you get a chance to play this on a large system, be warned! The low subby basslines and heavy hitting drums will bring the roof down, and the rest of the building for that matter!

It's not often Grime greats like D Double & Jamakabi bless these type of styles and its even rarer to find them available on vinyl. If you love your Grime, dubstep or your amens this release has to be an immediate addition to your vinyl collection!!

Here comes another sucker punch to the gut via the American underground. These five DJ-ready mutant acid cuts will have you leaping out of your skin, crawling along the floor, begging for a drop of water.

Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album 'Desert Fairy Princess' which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented 'Man From Tanganyika' and makes the title track start with a mystical 'Allahu akbar' chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.

It is well known that talent never guarantees any success in the music industry. This sentence summarizes the story of The 9th Creation, one of the best soul, funk, disco and boogie band to make it out of Stockton, CA.

Founded by J.D. and A.D Burrise in 1970, the 9th Creation went on for almost two decades and released 3 albums and half a dozen singles that regularly flirted with the US Charts, getting them featured on Soul Train in 1975 and allowing them to tour North America and Japan a few times over. 9th Creation regularly shared the bill with Irma Thomas, James Brown, The Whispers, The Sylvers, The Main Ingredient, Con Funk Shun and many others.

The music that J.D, A.D Burrise and their 10-12 band members created was a perfect combination of West Coast raw soul, disco and funk that resulted in a religious fan following across the globe.
To this day, The 9th Creation has been sampled by Pete Rock & C.L. Smooth, Artifacts, Quasimoto, 3rd Bass, Basement Jaxx and many others.

9th Creation was undoubtedly one of the greatest funk band of the Seventies.

Past Due Records is proud to officially reissue the 9th Creation's essential full lengths and singles, carefully remastered and all in their original artworks. 'Mellow Music' is the most sought after 7' from 9th Creation. This single marks the band's new direction and was announcing an album that remained unreleased (more on that later). This single is a boogie funk gem and both tracks are pure monsters of heavy bass, synth, horns and massive vocals. A must have that'

Two contrasting remixes of ‘Space Date’ come courtesy of Pleasurekraft and John Monkman, as the three-way collaboration between Adam Beyer, Layton Giordani and Green Velvet continues to thrill.

Joining the strong reworks is an unexpected treat for fans; a last-minute inclusion of a fresh new original track from the trio.

Drumcode got its first taste of Pleasurekraft’s unique production touch in 2016 when ‘Dopefield’ dropped on ‘A-Sides Vol.5’.

The Swedish/American duo’s exploration of cosmic techno realms made them the ideal candidates to re-work ‘Space Date’.

Their contribution is as visceral as they come; defined by a hypnotic vocal arrangement, a stirring call and response melody and propulsive galloping beats fashioned for peak-time moments.

No surprise it was a highlight of Adam Beyer’s Ultra Resistance sets and gobsmacked Maceo Plex who requested a promo to play at Time Warp a week later.

Meanwhile Drumcode debutant John Monkman steps up with a very different, but not less deadly reinterpretation of ‘Space Date’.

The Brit has impressed in recent times with strong releases on Ellum, Kompakt and his own Beesemyer imprint, and takes this form into DC207.

His is a twisted intergalactic re-rub drenched in warped electro, blistering modular sounds and touches of IDM that manages the difficult task of taking the original to darker, more leftfield realms without ever losing its powerful dancefloor pulse.

When South-Americans gather, many things can arise, but one will be certain: it
will be intense. It could be it a party, a conflict, a work of art or an EP such as this
one that involves a Brasilian label releasing a collection of eclectic, dark and deep
electro-boogie and post-punk by a Colombian artist. Gladkazuka is the guitarist
on Matías Aguayo’s pan-american ensemble The Desdemonas and here he offers
us four slices of synthetic trunk funk on Gop Tun’s label. Each one of them are
guaranteed not only to entice sensations of all types and provoke emotions of all
kinds but also with the intensity expected from such a combination and required
for maximum fun.

After introducing the world to the elusive named Gitkin last year with the release of his debut album "5 Star Motel", Wonderwheel Recordings is back with another special 7" of two deeply funky, lo-fi globally influenced cuts from the travellin' man himself. "Saint Claude Dash" with it's 70's disco influenced drum machine undertone brings in Middle Eastern & North African vibes on the melody, while shifting into an even funkier B section reminiscent of the Meters. On the flip side, "Chicha Nola" finds Gitkin vibing on the mysteriousness of late night New Orleans (where his studio is now located) playing the South American instrument Charango & juxtaposing the NOLA bump with a just enough twang. Just a taste of the brand new album to come this year…or when the spirits will it.

Remastered 6 song mini LP​ originally produced in the
mid-80s *very in-demand with funk record collectors and
DJs worldwide. Featuring ​6 upbeat synth-driven, boogie
funk dance tracks​ *first officially licensed vinyl reissue*
Colours of the Rainbow contains the best 6 tracks from two rare South African LPs by recording artist Bibi
the Kid Msomi: 4 tracks from the ​1985 album Searching​, and 2 tracks from the ​1986 LP What Kind of Love
is This?
South African funk music from the 80s​ has recently gained recognition as ​some of the best funk
productions in the world​; yet so many titles remain virtually unknown outside of South Africa, especially
due to the scarcity of the original pressings (due in part to the destruction of any music perceived as
subversive by South African government censors at the time).
The level of musicianship on these recordings is simply world-class. Even ​Paul Simon​ ​was trying to work
with Bibi Msomi​ while recording his Graceland album in South Africa (read more about it in this ​exclusive
interview​).
Combining American and South African funk influences, these 6 upbeat dance tracks feature ​popular
synths and drum machines of the day​. The subversive lyrics and infectious grooves on these recordings
address the political turmoil during the peak Apartheid years in a way that was just subtle enough to slip
under the radar of stringent government music censors. ​Deep messages of freedom and universal
brotherhood are backed by​ some of South Africa's greatest musical talent​, including:
Mac Mathunjwa (​Street Kids, Neville Nash​), Sello Mphatsoane (​Bayete​), ​The Hot Soul Singers​, Cisco the
Champ Mokoena, Blackie Sibisi (​Step Ahead, Brenda & The Big Dudes​), Alistair Coakley (​Hotline, Stimela​),
Ladysmith Black Mambazo​, Jantshi Mayo (​Sipho Mabuse​), Peter Mokoena (​Pure Magic​), Solly Ledwaba
(​Juluka​), Joey Mabe (​Mahlathini and the Mahotella Queens​), Deborah Fraser (​Brenda Fassie​), Zamo
Mbutho, Banzi Kubheka (​Banjo, CJB​), Cyril Mnculwane (​CJB​), and ​Stimela​ ​vocalists​: Marilyn Nokwe, Tu
Nokwe, Hlengiwe Maphumulo, Beaulah Hashe.
Meticulously ​re-mastered with love for maximum impact on the dancefloor​; we hope you enjoy the
songs contained on this spiritual boogie masterpiece.

As with the first SchleiBen series, Emotional Response follows the success of the second set of split releases with a stand-alone album by one of the highlights, in Neil Tolliday.

Recorded over a 17-year period, the ambient, drone and noise pieces collected here offer a glimpse in to the depth of a supremely talented, thoughtful and at times, troubled musical mind.

As his love for house music and the success of his Nail moniker grew and waned during the ascent 90s boom, there followed his somewhat surprising success as one half of Balearic-pop combo Bent, propelling Tolliday in to a world of indie-charts and endless touring. The eventual unhappiness of this 'music career' and increasing need for personal escapism led him start experiment new musical forms of expression.

A thinker and oft-over drinker, success was viewed with a deep suspicion and introspection, drug use and later, depression. As his other music projects slowly imploded, this new, personal music was for many years, made purely for Tolliday's own absorption and comedowns.

Taken from an initial 4 track recording in Nottingham in 2000, more pieces were subsequently recorded around the globe on numerous devices - old portable cassette recorders, hand held digital stereos and even mobile phones. These heavily manipulated samples were slowed down, reversed, smudged and stretched before analog and modular patching, Mellotron, editing, programming and post production were added to the melting pot.

With hundreds of tracks collated, in the last few years Tolliday began putting them out via Bandcamp using different aliases, on made up record labels, with no press or mention to anyone. This would happen every 6-9 months - a new label was created with logo, band/artist names and a few albums worth of music, leaving it there for a few weeks before then deleting the lot.

Here then is a snapshot of those recordings, chosen to represent the depth of music, while trying not to think too much about in to the emotions that were used in making them. With special hand painted artwork by Sam Purcell, commissioned from the artist's own photographs taken from a adjournment at Homerton hospital, the hope is to do justice to such wonderful music and present Neil Tolliday, finally an artist, shorn of pseudonyms, in a broader light.

Platform 23 returns with the reissue of songs from Canadian project, Vini Vidi Vici. With just one privately pressed mini-album in 1989 that bridged the gap between the later years of New Wave and the early vestiges of House, the music included in this edited EP highlights a thriving Montreal scene in its heyday.

Vini Vidi Vici was created out of two different music backgrounds. Paul Klopstock was a classical pianist, while Mario Langlois was a DJ, self-taught musician and radio producer, who came together when both worked at the underground arts / club Le Lezard. Starting in 1986 the space mixed painting, drag shows and bands alongside the latest alternative sounds, from Rap to New Beat, Electro to Acid Jazz.

As House and Techno started to filter through, Mario (aka Ave Mario) and the other resident DJs laid the ground of what was to come. From this Paul and Mario collaborated from late 1987 through in to 1988 and created the mini-album, however this EP concentrates on the duo's self penned work.

Recorded at Oliver Sudden Production studio, the A side is made up the raw House of 'Club Stuff" and Native American meets avant percussion of 'Vini Vidi Vici'. Showing a confidence and experimentation beyond their years, the two tracks production and all round hypnotic danceability, highlight why original copies are so prized (and expensive).

The B side follows with two tracks recorded in Mario's home closet studio. Lo-fi to the max and improvised, the no wave / world beat experience of title cut, 'Ou Sommes Nous' and the proto-electro-wave of 'AA HHH' are like something again, a mesmerising fusion and quite unique.

Self pressed, the project ventured to live performance and (sadly unreleased) remix work, before the partners went their separate ways, however this archival document can be seen as their own special conquest.

Fiestas is an ultra catchy foxtrot by the Colombian clarinet player and ar-ranger Ricaurte Arias. This American-style swing spiced up with a layer of Colombian sauce is an irresistible ear worm that takes the concept of smoothness to another level. Definitely the foxiest of all foxes.

The legendary composer and band leader Pacho Galan’s take on Estambul is another example of how American swing and Colombian music can blend into a unique musical melting pot. The song starts with hard tambor breaks and maracas kicking in badly. The playful horns driven by the cumbia rhythm make it impossible not to dance on this tune.

The Soulpop Continuum – by Arno Raffeiner
Six songs, one sound signature, one vision. Supreme Beats Series by Drei Farben House is an album
that firmly stands in the tradition of the big records of the disco era: a vinyl disc full of kicks and licks,
just as much as two sides in amazing sound quality can hold.
The album is the latest work of Michael Siegle, the Berlin-based producer and owner of Tenderpark
Records. 13 years after Drei Farben House's first full-length on the acclaimed Force Tracks label, it
features contributions by singer and songwriter Mavin and none other than Robert Owens who's voice
shaped house music forever. The trademark sonic elegance of Drei Farben House blends perfectly
with the timbre of the man behind Fingers Inc.'s Mysteries Of Love. Siegle's work as a producer is not
so much about turning this rich heritage upside down, but about refining it and creating a space within
that realm that's very much his own.
The title of the opening song with Owens states it: I’m Remaining Here. And Supreme Beats Series
invites you to come over and stay there, too, in a refuge of class and funkiness. The record offers
dense layers of rhythm, vintage keyboard sounds, chucking guitar, and vocal samples that indulge in a
many-voiced conversation. Not to forget the prominent, singing rather than walking bass lines
performed by the hands of Michael Siegle himself with his bass guitar.

New Release Information
You could think of Supreme Beats Series as a cross-section in time and space. It allows you to take a
closer look at the here and now of a much bigger picture, both aesthetically and socially. Siegle uses
the vocabulary of house music in a way that transcends its conception as merely a genre and speaks
of the historic evolution and the profound roots of this music as a movement. His record takes
inspiration from 60s Motown hits as well as the blue eyed soul of the 80s, you can discover influences
ranging from Philly's pre-disco craze to new jack swing and on to the heyday when house-pop divas
stormed the charts. By drawing these lines, Siegle deliberately opens up the space of a visionary
Soulpop Continuum.
In the 1950s, the American issue of Vogue magazine had their say about Coco Chanel's work and its
ever-lasting impression on fashion and design. They claimed it was all about “infinite variety within
narrow limits,“ and meant that as a compliment, of course. Michael Siegle likes to think about Drei
Farben House in a similar way. And you should, too.
Info about the artwork:
As far as the cover artwork of 'Supreme Beats Series‘ is concerned, the release of Drei Farben
House’s new album shows the second part of an image series which has been started with TDPR
release # 021 and which revolves around architectural photos taken by Achim Valbracht. Tenderpark
art director Till Sperrle and photographer Achim Valbracht like these pictures of various commercial
buildings erected in Berlin in the 1990s to be seen as a critique of investor-driven architecture which
has been dominating Berlin for several decades now.
The fascination of these pictures lies in their ambivalence of staging a normalised and globally
standardised kind of beauty, but at the same time revealing a strong sense of isolation - noticeable not
only but also in the absence of human beings. This new series of images is to some extent a
continuation of art director Till Sperrle's and label manager Michael Siegle’s interest in architectural
photography. However, at the same time the photo series also embodies a new angle on the subject
since all previous picture series on Tenderpark had been an affirmation of socially progressive
architecture which expressed a longing for socio-cultural utopia.

The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single ‘Lo/Hi’. The Black Keys’ touring begins in North America in September, with further international dates to be announced soon.



“Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”



The “Let’s Rock” Tour will hit cities including Chicago, Nashville, New York, Los Angeles, and Austin. Special guests Modest Mouse will provide support on all dates, and Shannon & The Clams, Jimmy “Duck” Holmes, *repeat repeat, and Jessy Wilson will each open select shows on the tour. The band also headlines 2019’s Life Is Beautiful festival in Las Vegas on September 21.



Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’



Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.



Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:



Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.



Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

A very warm welcome aboard to the splendid AMERICAN STANDARD label !!

Critical & hedonistic acclaim have already been lavished on this Charleston based sonic excavator of considerable note, so we won't bore you with an exhaustive biog, mainly because there isn't one.
The music is most definitely left to do the talking as this one man 'Folly Beach Psychemagik' fills the record boxes of the world's most discerning diggers with treasure beyond measure.

So, for this latest 3 piece for American Standard we're firmly in the FM synthesis musical district of early 80's planet earth.
70's session players still strung out from the previous decades' debauchery tried their hand at piloting these electricity powered units to wildly varying degrees of success.
Luckily for you, Jaz has been kind enough to find and reload three of the finest, more esoteric, obscure but eminently playable moments from this fertile era for some primo 'back to the future' frugging...

• John Power is the singer, songwriter and guitarist known as the frontman of Cast and
previously from the La’s
• Following the split from Cast, Power released three solo albums, his first solo album
Happening For Love (2003), followed by Willow She Weeps (2006) and finally
Stormbreaker (2008)
• This boxset houses all 3 albums on 180gm heavyweight white coloured vinyl with a
signed image by the artist himself
• Happening for Love and Stormbreaker are released on vinyl for the first time

Sigma acts as the sequel to 2018’s critically acclaimed Equals release and features musical contributions from original Alarm guitarist Dave Sharp and

Billy Duffy from The Cult. The album includes the single “Brighter Than The Sun” and as Mike Peters articulates “is a lyric that tries to encapsulate how it feels when someone you

love has survived an immense ordeal and come through to the other side brighter, stronger and more capable than before”. To find strength through adversity

is a capability we all have inside of us should we choose to call upon it. The accompanying video tries to reflect this kind of stimulus and to try and

capture the kind of solar power that emanates from within, the blinding force that stimulates life and everything positive that revolves around it.

Early in 2019 Mike Peters from The Alarm was awarded with an MBE by His Royal Highness Prince Charles Prince of Wales at Buckingham Palace for his

services to charity having raised thousands for cancer care projects in the UK and abroad and dedicating his life to giving hope for families affected by cancer

The Alarm will be heading out on their Sigma LXXXV Tour this summer, taking in 30+ North American dates through July and August, with support from

Modern English and Jay Aston’s Gene Loves Jezebel. Throughout the Sigma LXXXV Tour, Love Hope Strength (co-founded by Mike Peters), will be hosting

bone marrow drives at each concert aimed at finding donors for people suffering from Blood Cancer who need a transplant for a second chance at life

Previous support for Equals from Billboard, Classic Rock, Classic Pop, Uncut, MOJO and more Classic tracks Strength and The Stand were used on the closing

tracks on two episodes of the hit Netflix series 13 Reasons Why, combining for 3M+ streams.

Drittes Album des norwegischen Produzenten Andre Bratten nach den Vorgängern "Be A Man You Ant" (2013) und "Gode" (2015). Inspiriert von Boards Of Canada, Autechre und den Drexciya-Projekten The Other People Place und Transllusion, zaubert Bratten mit 808, Sequenzer, Reel-To-Reel-Tape und einem 1980er Mischpult aus den ABBA-Studios sechs bezaubernd-melodische Techno-Tunes, von denen einige bereits 2018 in einer limitierten 12"-Miniserie erschienen waren.

Kate Tempest returns with her third studio album, The Book of Traps and Lessons.

The highly anticipated album was crafted with Rick Rubin and Dan Carey over the course of the past five years. It follows Tempest’s previous releases, 2014’s Everybody Down and 2017’s Let Them Eat Chaos, both of which were shortlisted for Mercury Prize in 2014 and 2017, respectively. Last year, Kate Tempest was nominated at The BRIT Awards for Best Female Solo Performer.

A handful of words often tell you everything you need to know. When asked, who is Kate Tempest? She gives a brief, albeit telling answer. “Kate Tempest is the words,” she responds. You haven’t ever seen, heard, or experienced anyone quite like her. Tempest uncovers the missing link between the Golden Ages of literature and hip-hop. The London-born BRIT Award-nominated spoken word artist, rapper, poet, novelist, and playwright rhymes with a century-turning fury. Since her emergence in 2011, she has redefined what it means to be a wordsmith in the Modern Age. To date, she has published three poetry collections, staged three plays, and released two studio albums. Along the way, she entranced audiences on The Tonight Show Starring Jimmy Fallon, NPR’s “Tiny Desk,” and more. Not to mention, she garnered widespread critical acclaim from The New York Times, The New Yorker, Forbes, and more, to name a few. In the midst of this whirlwind journey, she performed a passage of her popular 75-minute narrative poem, Brand New Ancients, on Charlie Rose. Legendary producer and American Recordings Founder Rick Rubin caught the show, tracked down her phone number, and made a call. This set a series of events in motion that led to her 2019 debut album for American Recordings, The Book of Traps and Lessons, set for release on June 14th.

All of the music featured here on this new Soul Jazz Records collection was created by Brazilian
artists in the USA in the 1970s.
In the early 1970s North American jazz musicians were eager to work with upcoming Brazilian
musicians. Miles Davis invited Airto Moreira to join his new ‘electric’ band, Dom Um Romao (part of
Sérgio Mendes’ legen
dary Brazil ‘66 in the 1960s) joined the fusion group Weather Report, Flora
Purim and Airto both became a part of Chick Corea’s new project Light As A Feather, Wayne Shorter
collaborated with Milton Nascimento, George Duke recorded Brazilian Love Affair, and so on.
With all the attention placed on them from these important jazz artists, North America became the
new musical playground for a large number of these Brazilian artists – Airto Moreira, Flora Purim,
Sérgio Mendes, Luiz Bonfá, Eumir Deodato, João Donato and many others.
Most of these musicians had already experienced success through the earlier popularity of bossa
nova in the 1960s, either at home in Brazil or in the USA. But by the end of the 1960s many
Brazilian artists had left their own country, as the military dictatorship became progressively more
authoritarian and repressive. In the USA, through their critically acclaimed work for Miles Davis,
Weather Report, Lightj As A Feather etc., all of these artists were now given reign to explore new
musical terrains away from the restrictions of both a musical genre and a state censor back in Brazil.
This collection brings together some of these finest works and comes complete with extensive notes
that explains the path these musicians took from Brazil to the USA and shows the political and
musical links between Brazil and the USA that created the conditions for this unique fusion of these
two distinct cultures, North American Jazz and Brazilian music, that occurred in the 1970s.
The album comes as a deluxe gatefold double vinyl LP, complete with download code, full sleeve
notes, exclusive photography, double inner sleeves.

Kapitan is Dori Sadovnik, half of the groundbreaking dancefloor-scorching duo Red Axes.

In his debut solo LP Alaska, Kapitan takes us on a journey into the deepest realms of his inner psyche. Through his modular synth experimentations, his analogue approach for synthesis and organic instruments he created an lp that is both personal and outgoing, fresh and nostalgic at the same time.

Weaving samples from his non-stop traveling schedule as half of one of todays top dance acts, playing guitars, drum machines and synthesizers, the album feels contem- porary and timeless, like it could have been written at anytime in the past 30 years and still feel relevant than ever, echoing Mort Garcon’s modular experimentations as well as early Air music.

Dutch producers Mindmapper & Fre4knc team up to deliver the 'Martial Manners' EP in celebration of Translation Recordings' tenth vinyl release, which comes on a visually stunning piece of crystal & transparent white vinyl! Up first is 'Collessius,' whose heavy-rolling bassline rushes in with the
force of a tsunami, leaving a wake of dancefloor destruction in its path. 'Shutter Angel' is a futuristic track where tight, snappy breakbeats slingshot back and forth between an electrifying bassline that surges across the airwaves like a beam of focused energy. Mindmapper & Fre4knc
delve into darker territories on 'Fenryr,' whose gritty atmospherics and subterranean low
frequencies deliver a unique and immersive listening experience. They close the EP on a deep, meditative note with 'Mind of Steel' (digital only) where drum edits slice through growling bass riffs with blade-like precision. The 'Martial Manners' EP strikes the perfect balance between dancefloor and experimental to carry on Translation Recordings' ongoing mission to bridge audiences with quality music that can be enjoyed in all listening environments.
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Translation Recordings is proud to unveil its summer 2012 project capturing all moods sublime with the 'Universal Grooves LP'. A limited press on transparent blue vinyl, this special edition 12inch showcases a diverse sampling of Translation's full album that will not disappoint. The A-side brings the thunder showcasing the heavy hitting, rolling and dubby sounds of Loxy and Resound's 'Civil War' and Theory's calculated genius behind the ragga and amen tear-out, 'Final Confrontation.' Flip to a switch in vibe as DBR

Sample based housey numbers influenced by 70’s NYC and the movies of that time.

La Danza del Agua" (The Dance of Water) is an eclectic musical journey through Latin American experimentalism - a sort of unofficial companion to the Anthologies of Atypical Portuguese Music volumes but focussing on South American music themes instead.
Originally released as two volumes on digital and tape versions on Papaki Records (2017, Argentina), this new concise edition presents 12 of the original 38 artists. Not to be seen as exhaustive document representing the wide styles of the even wider continent, it hopes to showcase some of its more marginal music with artists from a variety of countries such as Argentina, Mexico, Peru, Bolivia & Venezuela.

As such, this compilation shines a wider light on new and exciting sounds from the vast continent with a wide range of styles such as digital cumbias, sound experimentation, freak folk, noise, exotica, danceable beats and much more, mixed together to give life to the continuing strange world of contemporary South American experimental music.

A logical continuation of our New Weird South American explorations after releasing works from Meridian Brothers, Romperayo, Chupame El Dedo and a tape batch on Sucata sister label featuring Panchasila, Los Siquicos Litoraleños, Bardo Todol, Tomás Tello and more.

This Ltd edition vinyl release see’s a 50 track digital album whittled down to an 8 track sampler encompassing what label bosses Vinyl Junkie and Rachael E.C have determined to be the tracks that represent them best. The selection is predominantly on the junglist tip with a sprinkling of Drum & Bass here and there, which is basically what their label Ghetto Dub is all about.

The proceedings are kicked off by Birmingham born but Bristol based jungle overlord, the man they call Aries, who comes in with a real deep and bass heavy roller called Pre-Rolled, guaranteed to get everyone on their feet and feelin’ the vibes. This is followed by a rising star of the UK jungle scene; Java, who brings in the amens with a ragga style vocal lick for his track Screwface, which has been slaying dancefloors on dub for the last couple of months. Another artist that is really making a BIG name for himself lately is Veak. He comes in HARD with his first offering Lawd A Mercy which is a definite pull up track with a filthy bassline that will nail your head to the dancefloor. X-E-Dos concludes the first vinyl with Feel For Me which is a hard hitting but atmospheric drum fuelled workout, keeping the vibes rolling and maintaining the energy levels perfectly.

Enter the second vinyl and Veak is back, this time teaming up with another UK jungle don; Kumarachi. The combination of these two production masterminds has manifested something quite special in this awesome track Chrome Siren. Punchy in your face amens laced with more killer bass riffs and a mesmerising female vocal make this a definite for the front of your box. Sypmtom steps up next and adds that dark techy vibe like only he knows how; Come Mash Up maintains the jungle vibe but goes on a journey into the realms of drum & bass. Galvatrons track, Buss Up Shot is pure jungle, no doubt about that. Chopped up amens and a deep rumbling bassline are complemented with a beautifully melodic piano section. Last but by no means least, the man like SR takes the limelight with another wicked amen workout. Special Ops VIP gives a nod to the mid 90’s for sure… Wicked oldskool vibes and a sure fire hit with all the junglists that remember those times.

George & Glen Miller’s 1979 hit “Easing” - encapsulating late 70s New York in its blend of disco, soul and Caribbean soca... BIG tune! Version on the flip..

The Miller brothers’ musical journey began in Trinidad and Tobago in the early 70s. During their teenage years they formed The Groovy Millers - a five piece band made up of George, Glen and their three siblings. After a chance meeting with Lord Shorty, they went on to collaborate with one of the Soca stars of the time and firmly plant their feet in the Soca scene of the musically rich Caribbean island.

Of the five siblings it was George and Glen that pursued a career in music, and in the late 70s the two brothers made the move to North America to develop their music style. Disco dominated the airwaves at the time and a studio session with the prolific Frankie McIntosh resulted in the masterpiece that is Easing. Drawing influence from the blossoming disco and soul scene, George and Glen added Caribbean flavour to the New York sound to startling effect. Soft, subtle keys and guitars are punctuated with layered trumpet and violin riffs, complimenting George’s silken, restrained vocal. Frankie McIntosh’s arrangement shines through with what might be his finest work, placing this track on the mantle with other New York classics of the time.

WE R THE ALIENS is a fresh new label based out of Hamburg and Berlin. The label marks the start of a new chapter for Wareika’s beat machine Jakob Seidensticker, former Square Room Hero Boronas, and American house import Snad. Together, they are Mothership. The maiden voyage begins with this clubby three-track trip. Groovy technoid cut “Dubby White” sets the course, evolving into the spooky yet driving minimal house track “Melting” feat. Zhiqi Song.
Finally, Smallpeople round up the release with an uplifting House Remix of “Dubby White” perfect for warmer days.
Join us in welcoming the Mothership; the alien invasion has begun.

New LP from French beat-makers La Fine Equipe featuring Illa J, T3, 20Syl, Mr J Medeiros, Georgia Anne Muldrow, Fakear ...

Let's be clear: La Fine Equipe is a band. The numerous hats wore by its four members are so various that it could mislead one's. Indeed, surrounding Blanka, oOgo, Chomsky and Mr. Gib, there are recording studios, collaborations, lives, side-projects... There is also and especially a whole universe built during the past ten years around their passion for beatmaking, embodied by the release of « 5th Season », new album.
So yes, La Fine Equipe is a band, but it's also much more than that.

Since their creation in 2006 and their first album « La Boulangerie » two years later, the four producers became inevitable when you think about a new scene breaking the barriers between musical genders. Hip Hop is at the heart of their craft, corner stone of their musical background and inspirations where the paths of J Dilla, Madlib, Flying Lotus, Kaytranada and the turntablists A-Trak, C2C and Birdy Nam Nam are crossing ways. Two things gather La Fine Equipe and those big names, the constant need of collaboration with other artists, and this thirst of discovery, main feature of the digger.

From 2008 to 2014, La Fine Equipe mastered its craft with the « Boulangerie », compilation gathering 34 beatmakers on 113 tracks. They also work on the creation of the label Nowadays Records (Fakear, Skence, Unno, Clément Bazin, Leska, Douchka...) and released more than 75 EPs and LPs in five years.
With an outrageous number of shows across the world, tour in Asia, South America, collaborations with several international artists... Their success changed the game: Whereas many producers coming from this environment where isolated, La Fine Equipe federated a growing scene and became its reference.
After years spent paving the way for other artists and creating a structure that could support the growth of a musical scene, they decided to go further and launch a new era with « 5th Season ».

Because the band works with eight hands and four brains, there's nothing surprising in the fact that the album sounds like a condensed of each and everyone inspirations and experiences, from hip hop and sampling, to electronica, jazz and Latinas inspirations. If homogeneity is the new trend, La Fine Equipe isn't ready to sacrifice its wishes to fit the mould.

« 5th Season » is also a glance at the world looking over our planet's current state, the cosmos, the vegetal and these things that are greater and stronger than us, and the things and behaviour that could led to our loss.
It's an almost apocalyptic vision of our future, but full of optimism at the same time. There is something solar and cinematographic in this album, a format that goes beyond the one chosen before, closer to playlist and compilations such as the three Boulangerie opuses remind us.

Loyal to their status of ambassadors, the four beatmakers keep on inviting other artists to complete their universe. Illa J and T3, respectively brother and partner (Slum Village) of the late J. Dilla, make the connection between a glorious past and the future embodied by La Fine Equipe on the track « The Source ». With « Aurora », it's the solemn and mystical voice of Madjo that take this electro-pop track to another level. The American rapper Mr. J. Medeiros on the boom bap anthem « What Eva », the Montrealer ZeFire on « Typical », each and every artists brings its stone to the edifice of « 5th Season », giving to the album a limitless and freed musical richness.

But to release an album isn't enough. In parallel, each member of La Fine Equipe continues to fulfil its multiples tasks and work on a new concept live show bringing a scenic and visual show in addition to their music. It is what the artists looking toward the future do, and La Fine Equipe is looking straight ahead.

_________________________________________________________________________

TRACK BY TRACK

AURORA (Ft. Madjo)
Already remixed by the quatuor on the beautiful track « Choose The Heart », it's Madjo's turn to be invited by La Fine Equipe for a collaboration. Her mystical voice, which fragility paradoxically seems to strengthen its power, turns the track into an epic pop anthem.

NOBU (Ft. Grems & 20syl)
The association of these three names seems obvious, like a family reunion. Grems did the visual of the anniversary box of La Boulangerie, 20syl (C2C, Hocus Pocus) was one of the beatmakers who took part in the project.
This time, the two big brothers are side by side behind the mic, for the first French speaking collaboration of La Fine Equipe.
On this trapy/footwork beat, the two rappers ring the alarm before it's too late to save our house, the earth.

THE SOURCE (Ft. T3 & Illa J)
In the family of Hip Hop jewels of 5th Season, here is one coming from the USA. Fans of J Dilla and Slum Village since the first hour, La Fine Equipe pays its respects to its influences by inviting T3 and Illa J. Respectively member of Slum Village and brother of the legendary Detroit producer, these two MCs build a bridge between the eras and let their sharpened flows confuse our perception of time.

5TH SEASON (Ft. Fakear)
A second collaboration with their little brother from the Nowadays Family, Fakear. Eponymous title, it represents the universe of both entities, true road trip through Fakearians melodies and La Fine Equipe's funk declined in five seasons.

TYPICAL BOY (Ft. ZeFire)
With « Typical Boy », La Fine Equipe express its love for House music with chopped rhythms and a heavy but swaying bass line. The freed track oscillate between power and lightness. A beat that quickly becomes ZeFire's playground. The Montreal singer, already heard on Her's tracks, brings a missing r'n'b touch to create the perfect chemistry.

"I love it. SO beautiful"
Josh Rosenthal [Tompkins Square]

Songs For A One-String Guitar is the debut instrumental acoustic guitar LP from Jonny Dillon. Better known for his analogue electronic music productions and all-hardware live sets under the ‘Automatic Tasty’ moniker [Lunar Disko, CPU, Wrong Island], Jonny’s records (bearing heavy acid and electro influences), along with live appearances at venues like Berlin’s Panorama Bar and Kiev’s Closer belie the fact that he has been quietly exploring the musical landscape of the guitar for nearly twenty years.

Recorded as a series of sketches over the last 10 years, Songs For A One-String Guitar represents a snapshot taken over a long exposure; one individual’s private response to a variety of currents and inspirations both musical and emotional. While informed in large measure by the world of Irish traditional music and song (of Sweeney’s Men, Planxty and Seán Garvey) along with that of primitivism and the American Spiritual (of John Fahey, Hank Williams and Mississippi John Hurt) these songs are equally a personal attempt to give expression to an inner landscape, from the experience of sorrow and loss to the promise of redemption and renewal.

The LP opens with ‘Turning Invisible In An Imaginary Rose Garden One-Evening’ a contemplative piece played in free-time; “I’ve been playing this piece for years, and it’s gone by so many different names in that time. It’s a sort of shoe-staring daydream, to my mind at least. I want people to disappear when they hear it, and think it suits the LP to open up slowly and reflectively”. While a contemplative strain underpins some of these songs, others are informed more directly by the experience of grief; “I wrote ‘A Requiem For Joe Dillon’ at the death of my uncle. He used play lots of wonderful songs of his own at family gatherings when I was a child, and while a very gifted and sensitive soul, was also troubled by his own demons. The last time I saw him alive was at my family home with my father; I was going out to see some friends and Joe called me back, gave me a hug and made the sign of the cross with his thumb on my forehead, to bless me. It still chokes me up when I think about it. A song of his ‘Light A Penny Candle’ I included to finish the piece in his honour.” A sense of longing and hope is present in other pieces; “Songs like ‘Again But With Feeling This Time’ and ‘Start Again (Carry On)’ come from a sort of hopeful yearning feeling which is always within me; a melancholic sort of joy in search of redemption. For me, music has the strange capacity to express contrary positions simultaneously; to console, redeem and offer transcendence while also expressing suffering and pain. I don’t know what any of this means, but feel as though I’m trying to find my way home by writing the same song over and over again.”

Songs For A One-String Guitar may seem to represent a departure for those who know Dillon for his electronic productions alone, though the reality is that these songs merely represent a new opening onto an old landscape; they are an invitation to more fully share in one individual’s yearning to find meaning through creative expression. “These songs are very personal to me, so there’s a certain nervousness in my seeing them released. I hope that they prove of some use, and that they do some small good to those who hear them.”

* 180 gram audiophile vinyl
* Insert
* Limited Edition of 1000 numbered copies on Clear & Solid Yellow mixed coloured vinyl

Dead Serious is the debut studio album of American hip hop duo Das EFX, originally released in 1992. Recording sessions for the album took place at Firehouse Studios in Brooklyn, New York and at Charlie Marotta's North Shore Soundworks studio in Long Island, New York.

Dead Serious caused an immediate sensation upon its release. The album was a certified hit, peaking at 16 on the U.S. Billboard 200 chart, topping the Top R&B/Hip-Hop Albums chart for five weeks. Dead Serious went platinum on the strength of the singles "Mic Checka" and the Top 40 pop hit "They Want EFX", by 1993.

Well-received upon its release, Dead Serious has since been regarded by music writers as a significant and influential album in hip hop. Giving it a 4 out of 5-mic rating, The Source's Matty C compared the duo's lyrical style to that of Busta Rhymes, Treach, and EPMD.

Some 3 years ago, Abyss was responsible for one of Myor Massiv's most popular releases. Now he finally makes his long awaited return to the label for a split 12” with Tommy The Cat.

Both tracks are heavy Amen rollers. On the a-side Abyss goes in for some serious hardcore business with “Journey Of A Crackhead” whereas Cat In The Bag head honcho Tommy The Cat opts for a dirty dubwise approach on the flip.