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Lumberjacks in Hell boss Marcel Vogel and Berlin based Singer Khalil Anthony team up for 2 EP's for the label, exploring together their version of Soul, Disco and House. Dance The Blues Away get's remixes by BB BOOGIE and Julien Dyne from New Zealand.

Third release for London based duo Konstress on their omonimous label.

Finale Sessions launch a new series entitled Unreleased, and their kicking things off with label boss Michael Zucker sparring with Jonno & Tommo (more commonly found lurking around labels like Ornate). As you would expect from Finale, it's a deep house masterclass, with Jonno & Tommo leading the proceedings with the deft piano licks and hard grooving sub bass of "Dirty Nylons" before Zucker steps in with the pattering rhythms and swooning pads of "Just Believe". On the flip Zucker embraces a gentle strain of electro for "Narrow Is The Gate" before Jonno & Tommo round the record off with the immersive tones of "Shark City".

Outstrip are Denis Borisov & Anton Severinenko; with their debut EP on Dogmatik they deliver 4 subterranean dance floor cuts. Their stripped back, bass heavy productions, are guaranteed to rock any dance floor. Solid kicks, crisp claps, evocative chords and atmospherics. Peak time dubbed out beats, true to the Dogmatik sound.

Just as magnified record grooves reveal dust constellations and lunar landscapes, so too does Godblesscomputers' third album. 'Solchi' is a deep search into previous moments in Lorenzo Nada's lifetime, influenced by the presence and power of music. His process began with the recovery of some old cassettes, mixtapes nearly forgotten, audio recording of voices from his childhood, and lots of dusty jazz, soul, and hip-hop records. As the starting point of this travel merge with its end, past and present combine to form GBC's current sound. Warm electronic production rooted by grooving bass lines form the core of a kaleidoscope of sixteen tracks, colored by synthesizers, guitar echoes, scratches, samples, fading voices and kalimba. The album is a collection of sixteen stories, sixteen soundscapes; each of them GBC's tribute to the path taken thus far, an homage to his love for music. The recording and studio work took place over a year, with the adding and subtracting of many elements.

First release of five in the Kavalanic Languages series by label founder Gunnar Haslam. Four cuts of vibrant, psychedelic techno.

It's already been two years since Leonardo Martelli's debut with the four-tracker Menti Singole. He has since been following the direction he took with this first release, at a rather slow path, releasing a lone and haunted mini-album, Previsto, in the meantime. With Menti Singole Vol.2, Martelli establishes a picture of his music, an update of his aspirations in the feminine.
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Sparse, clear-cut and slightly nerve-racking, Micaella opens the record with the precision of a neurosurgeon. The song can be seen in many ways as a good introduction to the music of the Italian musician - past and probably future. Ethereal string machines balance the nagging acid leitmotiv: as often with Martelli's music, there's something going on in the background, some anonymous forces operating off-screen.

We can make the same assessment with Alice, the most obviously desperate tune on the record: the sad synth melody comes in as if it was trying to fill an emotional void, but the supposedly reassuring sentence is not complete, notes are missing. On Laura - just like with Alice - Martelli keeps on playing with the potential of abstraction of rap samples, a process we're familiar with since Previsto.

Sofia gives a particularly striking example of this weird game he likes to play as Biggie Smalls' words get progressively eviscerated from their meaning. Backed by bare percussive samples (a numerical metronome, copyright-free digital ersatz of percussions), Sofia depicts - without any artifice - despair in a post-industrial world, where everything has lost any sense of materiality - while Previsto was still set in a industrial world of steaming factories. Disarmingly simple, Menti Singole Vol.2 offers electronic mourning music at its most elegant.

Dr. Dundiff releases Muneybeats' as part of the Beats from Jakarta' series & continues what Ta-ku and Shuko started years ago.

Dr. Dundiff (done different) is a Hip-Hop/Neo-Soul producer based out of Louisville, KY. Dundiff has gotten into producing around 2010 and has been a busy bee ever since with a huge number of projects under his belt, from producing as well as him rapping.
Those who follow Jakarta Records might know the name from his ongoing collaboration with Otis Junior. They released their debut EP 1moment2another' on Jakarta Records receiving wide daytime airplay and recognition from French tastemaker Radio NOVA, as well as 1.500.000 Mio. Streams for their debut EP 1Moment to Antother' through Spotify & a placement on Radio Nova's le grand Mix 2016' compilation.

Muneybeats is Dr. Dundiff revisiting his roots in an all instrumental experience. Put the most attractive beats on top. The ones that make you pull the car over and go, 'Wow, I need this be a right now.' Those are the Muneybeats. Compact little tasty treats spanning a wide range of sounds while always sounding like Dundiff made them. He is currently also working on a new project with Otis Junior which will drop sometime in 2018 as well as their first Europe tour in summer 2018.

- Beats from Jakarta is a series Jakarta Records kicked off some years ago with contributions from Shuko and Ta-ku, heavyweights in their own right, and we felt it would be nice to bring that series back when Dundiff sent us his new album. So here we go. - Beats from Jakarta part 3....

Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself his first syths and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released Green Ray in 1976. It is a work made with minimal equipment if compared to other French sythetists, not to mention their German peers, he worked on the EMS VCS3 synth and used a 4-track Teac and a Revox A77 Mk IV reel to reel tape recorders obtaining huge sound results. You can appreciate an influence from the Berlin school, Green Ray walks the same path of what artists like Tangerine Dream and the likes were producing at the time, Zanov had felt under the spell of Ricochet, but his head was boiling with ideas which gave the recordings a very personal, unique touch.

Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself an EMS VCS3 and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. By the time of his second LP, Moebius 256 301, issued also on Polydor in 1977, Zanov had already gathered a small collection of gear, including an ARP 2600 and an ARP sequencer, his old VCS3, an RMI Harmonic and a PS 3300. Again under the influence of both first and second generation of Berlin school musicians the LP will appeal to fans of Klaus Schulze or Tangerine Dream, but they will also find a big deal of Zanov's own personal sound on it, since as the musician himself reckons he had little contact with other peers of his generation, so besides a general love for the electronic gear used and the sounds you could make out of them the creative ideas behind his works were all his own. On his second album a richer sound is found, not only due to the use of the new gear, since some of its tracks where recorded using only his old EMS, but also due to his won experience after having taken his works to the life stages in the Golf Drouot boite, the Lase Olympia venue (on the basement of the famous Olympia), the Paris Planetarium or those for planned one month tour (of which in the end only four dates were accomplished).

Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

Re-issue by Mr Bongo as part of its 'Classic African Recordings' series.

Insulin is proud to introduces its breathtaking second release 'Obnoxious/Shame'. A 4 tracks EP made by Draugr, a young French producer.
2 strong original songs, sophisticated and perfectly designed that will put the audience into madness and chaotic lands.
Side B is the remix version from Lucindo and the duo Ontal. 2 different versions from exceptional artists. 2 unique visions resulting in powerful and stunning edits.
Insulin - Oppressing loops for deppressed minds.
Agonizing sounds for suffocating bodies.

A sadistic God: He doesn't exist until he touches your body, and when he manifests himself he kills you without hesitation, leaving you on the ground, humiliated and stunned by the letal power of a breath that didn't even seem to exist until you inhaled it.

In Silent Series pools together four innovative tracks of deep, textural and explorative Techno Music from four of this era's most inventive Artists: Sigha, SNTS, Dadub and Positive Centre.

Mastered by Daniele Antezza @ Dadub Studios - Artwork by Maria Mendes
Positive Centre / In Silent Series Bio:
Positive Centre is the Experimental Techno alias of British born Artist Mike Jefford. Currently located in Lisbon after a long period of living and producing music in Berlin. Positive Centre combines analog machines with tape and effects processing to create hypnotic and textural techno music, with releases on Our Circula Sound, Stroboscopic Artefacts, SNTS, Pole Group and Leyla.
The first of three Positive Centre releases came in 2013 on Sigha's Our Circula Sound label concluding with his debut album In Silent Series, of which his label takes its name. Positive Centre established the In Silent Series label in 2017 to promote and cultivate releases that develop the potential of textural sounds that reflect sonic landscapes.
The First Release was Positive Centre's Reassembly EP - A Record made of reconstructed tracks from his Our Circula Sound back catalog that featured a remix of 'Hiding Knives' from SHXCXCHCXSH. This was followed by the 'Myths' EP by Mastering Engineer and one half of Techno Duo Dadub: Daniele Antezza under his Inner8 moniker.
With ISS003, Positive Centre draws on the Artists that have played a hand in his previous releases by bringing Sigha, SNTS and Dadub together onto this Various Artists EP.

The band project Drums Off Chaos was one of the central and on-going projects of the recently deceased drummer Jaki Liebezeit (who is normally associated first and foremost with the Cologne-based band CAN). In the early 1980s he had initiated an - at first - loose collective of drummers, who created a rhythmic concept on the basis of simple, strictly binding codes that enabled expansive improvisations.

Over the years the ensemble became smaller and refined its collaboration marked by repetitive patterns and their variation. You have to play monotonous,' a membr of the audience had already told Liebezeit in the 1960s. He took this to heart and there was hardly any other formation where he could bring this concept to life as regularly and with as much inspiration as in Drums Off Chaos.
During a development spanning more than three decades, this extra-ordinary band, which never saw itself as such, made numerous recordings but rarely any releases. However, in the last few months of his life Jaki Liebezeit, with colleagues Reiner Linke, Maf Retter and Manos Tsangaris, earmarked some tracks for imminent release on vinyl and CD - on different compilations. Liebezeit's death is all the more reason to go ahead with this plan.

(Disclaimer: release notes refer to the combined CD double-album release "Hot Flash: Best of The Voltags" on which all tracks appear together. "Electric Nightmare" and "Danger High Voltag" are released separately on vinyl format)

It does not happen that often any more that unreleased music from 40 years ago surfaces. Even more unlikely it is that the songs put on tape are such treasures. The Voltags were right at the forefront of the local Washington DC New Wave/Punk scene of the late 1970s. Influenced by Kraftwerk, Gary Numan, The Clash, and The B-52's, they have released only one 45rpm single during their existence. But during the time span of not even 18 months, they had recorded enough material for an entire album - but the songs remained in the can.

This is the story of The Voltags, a short-lived band which could have become famous and mentioned in the same breath as the aforementioned music legends of that era - if their songs had been released back in the day. Dive in and enjoy the sound of The Voltags, it is truly special. We here at Perfect Toy are thrilled to be label to finally release their work and we sincerely hope that they are finally getting the appreciation they so richly deserve.

Detailed information:
Dave Bennett and Hangnail Phillips grew up in Brookside Park, Newark, Delaware, USA, a small suburban college town nestled midway between Philadelphia and Baltimore. Their first band project evolved into Pump Productions (Pump) under which they released their only 45rpm single in 1970 (one of the two songs, "Pappy's Rug", can be heard on "Down & Wired 3", Perfect Toy Rec.). Soon after the recording of the single the two graduated from High School and disbanded Pump. Both moved on to form two new Newark bands. Dave was a founding member of "Snake Grinder & The Shredded Fieldmice" and Hangnail co-founded "Rudy Baker & The Vegetables".

In early 1979, two friends of Dave's, Nick Norris and Mike Fisher, became partners in a music production company, White Clay Productions. One of White Clay's first artists was Dave Bennett who had just written two excellent songs: "Electric Jungle" and "Son Of Sam". White Clay set up a recording session and Dave assembled a group of friends to record the songs. Before the recordings were even mixed, Dave asked Hangnail if he would join in a band to support the single and other songs he had written. When James Keesey (drums) and Rick Reid (bass) were added the line-up was complete. For a while they didn't have a name and then one day Nick Norris was looking at a photo of Dave standing next to a "Danger High Voltage" sign. Dave's head was in front of the E in Voltage and Nick laughed "Danger High Voltag" and so it was soon suggested that the band should be called "The Voltags" (pronounced Vol'-togs). After months of preparing a repertoire they were ready to play out. Their first gig was (October 20, 1979) at a gay disco in nearby Wilmington called The Backstage. On December 30, 1979, White Clay decided to put on a big show at the State Theater to celebrate the end of the Seventies ("The End Of The Decade Bash").

For the next year, with the help of White Clay, they recorded 19 songs, both studio and live recordings with White Clay's mobile unit. If not for these "off the board" recordings, many of their songs would have never been recorded. There was always talk of a second Voltags single but the strains of working so closely together were taking their toll on them and Dave decided to leave the group in December of 1980. The Voltags couldn't be The Voltags without Dave, and by the end of 1981, Hangnail, James and Rick, too, were ready to disband.


- all songs previously unreleased
- mastered from the original reel-to-reel tapes
- limited vinyl release

Soul Has No Tempo are proud to present 'The Self' - the new album from London-based drummer/producer Richard Spaven.

Richard Spaven is one of the most sought-after drummers in progressive and contemporary music. Drumming for the likes of José James, Gregory Porter, Guru's Jazzmatazz, Flying Lotus, The Cinematic Orchestra, TY and more, he has gained international recognition, both on stage and in the studio. Richard is an influential, genre-defying musician - the result of working closely with a diverse range of artists, combined with his own rich musical taste. Gilles Peterson said it best - "there's much more than just rhythm with this man".

His debut album 'Whole Other*' (2014) touched on many musical palettes and bridged the gap between jazz and electronica. With 'The Self', Richard introduces us to his personal journey. The moment in time where a jazz drummer affirms his love for club culture, delivering an album that travels from drum & bass to broken beat, dubstep and more, all seen through the lens of a drummer. The club culture influence is apparent in the way Richard wrote and produced this album - sampling his own drums on the Photek cover 'Hidden Camera' and collaborating with Metalheadz MC, Cleveland Watkiss to recreate the London sound system vibe so integral to his background.

Featuring guest artists from diverse backgrounds - Jordan Rakei, Jameszoo, Kris Bowers, MC Cleveland Watkiss and Richard's established partner in crime, guitarist and composer Stuart McCallum, 'The Self' is masterfully combined with Richard's unique production and showcases his trademark drumming style of precision, creativity and finesse.

Omar Di Bongo is an audio-visual project that melts video feedback from Hugo Saugier with two figures of french underground techno scene, Somaticae (In Paradisum, Tanzprocesz...) known for his dark cutting edge techno, and C_C (Small But Hard, Kvitnu...) master of no input mixer feedbacks, and savage analog industrial beats. Their music merges industrial music with tribal polyrythms, and makes us dive into a certain kind of psychedelia between hallucination and dementia. Reduced to the essence, their productions bring back techno to its core, the trance dimension, often fogotten in many modern musics of this genre.

Beyond being a quality mixture of unusual dance tracks and unique electronica, XYXX is a conceptual body of work whose themes of sex, race, unity and destruction reveal themselves to those listening closely. XYXX is the first collaborative album between Berlin based electronic producer NYMA (Nima Chatrsimab) and Toronto based, Detroit raised vocalist Noisy Vibration. Sitting somewhere in between house, techno and electro, but with honest pop sensibilities, the record is a push-and-pull of ideas, highlighting each artist in distinctive and mesmerizing ways. The Berlin-via-Tehran musician, DJ and sound engineers melting-pot influences and wealth of experience are the perfect vehicle for Noisy Vibrations piercing lyrical style. He lets her do the talking, while delivering a powerful message of his own through more subconscious means. From the opening refrain the dialogue begins, angelic tones embrace you with open arms. Noisys lyrics speak to NYMAs colourful beats and masterful sound design, connecting to the moment and full of unexpected turns. XYXX is an album that is both spontaneous and carefully considered. With XYXX, the ride is completethe DNA whole.

Andy Vaz returns on CHIWAX with "Zwei Im Tee" EP. It's almost the 3rd release for the Yore Records Mastermind.
For us the best release from Andy so far & we think not the end of the story!

Fernando Pulichino is no stranger to Leng Records. The bass guitar-wielding Argentine made his first appearance on the label five years ago via the cosmic disco/psychedelic rock fusion of Blue Impala, returning two years later with the similarly inclined brilliance of Giant Desert. Pulichino then resurfaced on Leng late last year with a superb, digital-only three-tracker called Natural 77.

Now he's back on wax, buoyed by the success of the acclaimed Shining EP on Is It Balearic
Recordings. This time round he's in Search of Indigo, shaping hazy, sun-baked soundscapes around his distinctive basslines, echo-laden synthesizers, meandering Fender Rhodes solos,
gentle dub vibrations and glistening, early morning jazz guitars. This is music for the heads, hips and feet, soaked in Fernet and left in the afternoon sun to slowly ripen.

Arguably the most arresting of the four cuts is the title track, a head-in-the-clouds vocal number rich in bubbly electronic riffs, laidback electro beats, ricocheting percussion hits, swirling wind
effects and rubbery funk-rock bass.

Pulichino's penchant for intergalactic disco shufflers once again comes to the fore on killer Sundown Visions', a saucer-eyed chugger that simultaneously throbs, pulses and sparkles
thanks to sparring synthesizer motifs and eyes-closed space rock guitars. We suspect Daniele Baldelli and Andrew Weatherall would approve.

Elsewhere, Pulichino indulges his passion for sofa-surfing jazz-funk on solo-laden EP closer Frontera', a relaxed and undulating jam rich in cascading electric guitars, fluid electric piano, delay-laden flourishes and deep space synthesizers. You won't know whether to lie down, dance enthusiastically or wearily shuffle, either way, play at sunrise or sundown for maximum
enjoyment.

The EP also boasts a first vinyl outing for the title track of last year's digital-only EP, Natural '77'. Seemingly partly inspired by legendary West Coast funkateers Steely Dan, it's a lazy, low-
slung affair full of languid guitar solos, freestyle vocal improvisations, bongo-laden drums and one of his most inspired and elastic basslines to date.

If you're familiar with Public Release's sibling, FACE, a series of parties, you'll already know that Jee Day, né Dennis McNany, has been in the Bay Area label's orbit for some time; as half of the DFA act Museum of Love, he joined the inner circle years ago. Here, with Amot Herga Laxy, he makes his bold debut on Public Release itself.
The single begins with 'Crocodile Tears,' an abstract, impressionistic tapestry of African rhythms, meditative synth washes, Vangelis-esque horns and pads. It recedes and Jee Day plunges deeper into the jungle with 'Communication Masterbation,' a propulsive number built around a psychedelic, droney bass that's wrapped with gritty, distorted effects and layers of topline keyboard licks stacked high. A raw club track cut from transcendentalist cloth that'll lift you off the dance floor.
The B-side is a dub of 'Communication Masterbation,' with an emphasis being placed on pulling out, unraveling, extending the rhythmic elements and emphasizing the electronic veil the piece is shrouded in. A trancey, menacing sprawl that could be an extended Sonic Youth live jam if they swapped their stringed instruments for Roland and Korg gear—and dusted the whole thing in an unknown psychoactive slime.

KUF create emotion-laden dialogues across layers of time and dimensions of sound. Voices recorded in private are chopped up and brought out center-stage to sing with beats hammered out right here and now. Glowing synths push forward. Basslines rise to grab the melodic role of a track while a vowel is truncated and locked into a grid, driving the rhythm. Voices move within the frame of a sample, performed by hands pushing keys, guided by the ear, immersed in a trio session's deep flow... A vortex of quirky hands, responsive ears and glowing circuits. Since Thomas A. Edison first recorded the human voice in 1877, the recording arts have changed music forever. Musicians have explored the endless possibilities of bouncing their input onto layers of tape, off the walls of an echo chamber or the circuitry of electronic helpers - technology that modulates, spatializes, shifts, divides or multiplies the work of human hands and mouths. An era of sampling offered a cubistic analysis of the recorded past and DJs took dancers onto intricately fractured time travels. This is the historic foundation that KUF keep probing. Just like the sampler and the DJ before them, they found new ways to re-allocate where machine and man stand when making music together. Most importantly, they turn the resulting friction into sparkling bursts of energy. 'Universe' digs deeper into the android vocal chords. The album offers sweeping melodies, different beats and persistent bass. Immerse in the intimacy of the voices, probably recorded in trains, backstage areas and at late night private parties during Berlin Lichtenberg warehouse rehearsals. By striking the keys, KUF squeeze out and serve up all

Hidden Orchestra's 'Dawn Chorus Remixes' follows the illuminating 'Dawn Chorus' album, reworking producer and composer Joe Acheson's latest album of immersive field recordings and expansive soundscapes into an journey through electronica, deep house and ambient psychedelia. Fronted by Wingbeats (Max Cooper Remix)', 'Dawn Chorus Remixes' features reworkings from Max Cooper, Matthew Herbert, Throwing Snow, The Physics House Band, Nuage, Floex, Nostalgia 77, Wrongtom and Skalpel.

Built around a collection of birdsong and other field recordings captured over many years across diverse locations around the UK and abroad, the snapshots within 'Dawn Chorus' intertwine for a transporting listen. The 'Dawn Chorus Remixes' album revisits this vast source material, reinterpreting the structure of the tracks and uncovering new layers of hidden sounds and instruments for the listeners, sometimes unearthing entire musical progressions that bring the tracks into clearer focus.

Max Cooper provides his take on Wingbeats, focussing on the synchronised recordings of birds beating their wings, to reveal a beautiful chord structure hidden amongst the rhythms. Matthew Herbert applies intricate electronic components with a purist house beat on Stone' which follows into The Lizard', remixed by Polish duo Skalpel who were an early influence of Acheson's. Electronic producer Floex transforms 'Still' with layers of oscillating synths, while Wrongtom provides a dub remix and The Physics House Band deliver ambient and progressive sounds for their rework of Long Orchard'.

Key Marketing Points:
- Remixes from high profile acts such as Max Cooper, Matthew Herbert, Floex, Throwing Snow, The Physics House Band, Skalpel and more.
- Available on 2x LP, housed in reverse board sleeve with silver embossed foil title and printed inner-sleeves. Cover art comes from acclaimed artist and printmaker, Norman Ackroyd.
- European AV 'Dawn Chorus' Tour starts November 20th 2017.
- Radio support for 'Dawn Chorus' from Lauren Laverne (BBC 6Music), Nemone (6Music), Huey Morgan (BBC 6Music), Gideon Coe (BBC 6Music), Jamie Cullum (BBC R2) + more
- Previous press support from The Arts Desk, Clash, The Independent, The Guardian, Line Of Best Fit, Blues & Soul, Record Collector, DJ Mag

Praise for the original Dawn Chorus album
You could just listen to that forevermore, couldn't you' MARY ANNE HOBBS (BBC 6MUSIC)
Such a beautiful project' - LAUREN LAVERNE
Out of this world' - THE LINE OF BEST FIT
Gorgeous' - NEMONE (BBC 6MUSIC)

DOMINA TRXXX welcomes two legends to the Family. Mr Neil Landtsrumm and The Horrorist.
Both don't need any introdution. Their great collaboration comes around with an additional remix by Tobias Schmidt!

Les Shadoks (50th Anniversary Edition) - Collector's VINYL Edition (LP + 7"): High glossy gatefold sleeve, French + English liner notes / poster inlay with Shadok drawing by Robert Cohen-Solal, hype sticker

- Les Shadoks soundtrack by Robert Cohen-Solal available for the first time ever in its entirety, cut and mastered from the original reels, made in cooperation with the artist.
- For fans of musique concrète, electro-acoustic, psychedelic, early electronics, experimental, soundtrack, library, oddities, cartoons, 60s and 70s music, Prospective 21ème Siècle series, Bernard Parmegiani, Jean-Jacques Perrey, Luc Ferrari, Pierre Schaeffer, Pierre Henry, Bruno Spoerri, Groupe de recherches musicales (GRM).

WRWTFWW Records is delighted to announce the release of the complete soundtrack of cult French animated TV series Les Shadoks (1968-1974) by Robert Cohen-Solal, available for the first time ever in its entirety. Right in time to celebrate the 50th anniversary of Jacques Rouxel and René Borg's legendary television cartoon, this collector's item comes in two versions: a limited edition 12" + 7" vinyl album housed in a high glossy gatefold and with an exclusive Shadok drawing by Robert Cohen-Solal, and a digipack CD. Both versions are cut and mastered from the original reels under the supervision of the artist, and contain liner notes in French and English.

Electro-acoustic pioneer and eminent member of the illustrious GRM (Groupe de recherches musicales, the French equivalent of the BBC Radiophonic Workshop), Robert Cohen-Solal has explored music and sound alongside luminaries such as Bernard Parmegiani, Pierre Henry, Luc Ferrari, and Iannis Xenakis, and is responsible for numerous projects in the field of applied music, soundtracks (documentaries, shorts etc.), and experimental recordings. His work on Les Shadoks is simply extraordinary - a fascinating and bizarre collage of wacky electro pop (à la Jean-Jacques Perrey), drones, musique concrète, classical, and dadaist sound experiments seamlessly mixing into a cohesive and cinematic listening experience. The ideal soundtrack for what will remain one of the weirdest animated TV series ever created!

A true literary, cultural and philosophical phenomenon in France, Les Shadoks caused a sensation while airing between 1968 and 1974. Its unique combination of Alfred Jarry-style surrealism, off-centered British humor, and US comic strip inspiration, all brought to life by illustrated bird-like creatures (reminiscent of Paul Klee's La machine à gazouiller), left a lasting mark, making the term Shadok an often-used satirical expression to describe policies and attitudes considered to be absurd.

Inspired by a longstanding respect for the pioneering sounds of Cluster, Neu!, Harmonia & John Foxx, the legendary K. Leimer fuses tape loops, Moog tones and a variety of real and imagined instruments into an immersive journey brimming with electronic emotion throughout this homage, 'Mitteltöner.'

A key figure in America's musical avant garde, Leimer's experiments with tape manipulation, fractal loops and textured ambience have been well documented in recent times, with RVNG and VOD both offering excellent and exhaustive retrospectives of the artist's seventies and eighties output. Tracing Leimer's discography from 1979's 'Translucent: / Memory' to 1983's 'Installation View', via the dislocated rhythms of the Savant project, these archival releases detail a move from the pastoral synthesis of kosmische into more angular, experimental territories. Simultaneously looking to the past and the future, this Origin Peoples release is both a return to Leimer's earliest stylistic explorations, and his first vinyl release of original work in twenty five years.

Oddly for such a sonic outlier, 'Mitteltöner' (midrange to non teutophones) takes its conceptual cues from the idea that the midrange contains all the core information. Over ten tracks, Leimer employs subtlety and skill to navigate the emotional depth of the kosmische genre while maintaining the focus and detail which has remained constant in his work.

Opener 'Dunne Luft' owes as much to post rock as krautrock, evolving from chiming harmonics and understated rhythms into an optimistic roar of motorik percussion and towering guitars. From there, 'Webermelodie' dives into crystalline calm, tracing delicate arps around a processed groove before 'Anode' sends us skywards, drifting through glistening piano refrains and hypnotic sequences. Te dramatic 'As Long Ago As This' glides through a deserted city of metal and glass leaving the measured ambience of 'Entferntemusik ' to close out the side in a swell of static.

Leimer shifts tone as we move onto the flip, segueing the stomping, cybernetic Sturm Und Drang of 'German Defaults' into the propulsive electronics of 'London Interiors', a dynamic sample-topped suite in the tradition of Bill Nelson. The addition of graceful piano motifs and swathes of hazy synthesis lends a tranquillity to the pulsating bass of 'Auf Einem Fahrrad', while 'SHM' marries soothing melody and crunching rhythm into a thoroughly medicated experience. Finally, 'Café Florian' pays homage to Schneider or Fricke with a euphoric fusion of metallic percussion and esoteric energies.

Far from a simple homage to the electronic idols of his youth, 'Mitteltöner' finds K. Leimer reimagining their nuanced sonic framework through a lifetime of musical experience and experimentation.

All that changed when Morrison received an email from Spacetalk Records two years ago, asking about the possibility of reissuing 'To See One Eagle Fly', the B-side to one of their 7' singles that has long been a favourite of label co-founder Danny McLewin. Once a deal had been done, Morrison mentioned that he had hours of unissued recordings in his loft; a treasure trove of ultra-rare multi-track master tapes that could be freshly mixed and mastered for release. When the Spacetalk Records' team finally got a chance to listen, they were astonished by the timeless quality of the songs. Put simply, they just had to be released.

The resultant album is a stunning set: an intoxicating glimpse into the world of two previously unheralded master songwriters whose musical vision encapsulates all that was good about Californian music during the late '60s and early '70s. Rooted in the American folk revival and folk-rock movement of the late '60s, the album's 15 thoughtful, heartfelt songs are laden with sly nods to the likes of Crosby, Stills, Nash & Young, Ned Doheny, Michael Deacon, Cy Timmons, Gene Clark and Buffalo Springfield. The tracks were recorded at various times between 1970 and '82 and gives a small glimpse of the duo's total body of unissued work. The release comes with extensive liner notes telling the remarkable story of two lifelong friends and musical collaborators who thought their moment had passed.

Releasing an album into the world is a special moment for any artist but when you're an artist who grew up in remote northern Ghana with no schooling, spending a life herding cows and goats, building your own instruments and teaching yourself to sing, then there's a particular sense of occasion and celebration in finding recognition and an audience for that music.

This is the case for Guy One, an utterly unique artist who is writing and performing Frafra music, a style that originates from a small area in the north of Ghana. Whilst Guy One is already loved and adored locally by now - building up a fervent following in local villages in which no funeral or wedding would take place without his soaring voice and deeply rhythmic playing, before then transforming into an award-winning, TV appearing artist in Ghana - his music is now to find a much wider audience through Max Weissenfeldt's Philophon label (Jimi Tenor, Hailu Mergia, Alemayehu Eshete) on this Berlin meets Bolgatanga release.

Guy One's international debut #1 is an album rooted in tradition as much as it is the contemporary ("Frafra music Made in Germany" says drummer producer Max Weissenfeldt if he's forced to put a label on it) but given the fact that the traditionalism of Frafra music itself is a largely unknown force, the results are more even more potent and stirring in their creations. Choirs, trumpet, organ, bass, drums, synthesiser, vibraphone, saxophone and piano, the album is as bursting with instrumentation as it is ideas and innovation.

The album's perfect positioning between the old and the new and in taking that middle ground and launching it into completely new territory is enough to completely unglue the definitions of what music can be.

'The Layered Effect' by US rapper/producer Andy Cooper offers a punchy reminder of the creative fun to be had in digging for breaks, stringing up loops and layering up stratas of sound. Brimming full of delightful inflexions from the world of jazz, easy listening, film soundtracks and Hollywood voices, it's a perfectly stitched sound patchwork that pays loving hommage to the classic, funky days of early rap. A touching testimony to the joys of Hip-Hop then and now.

More than just the skinny white dude who's into old school beats, Andy Cooper has won his stripes after a twenty year stint with Hip-Hop trio Ugly Duckling, then a couple more hanging out with The Allergies, not to mention the recent release of eight 7" singles, an EP and now his second solo LP.What is utterly charming is how enamoured and respectful he is of how it was at the beginning AND of how it still should be.Far from being the "old timer/delusional revivalist" he describes in 'Last of the Dying Breed', Cooper cares not about colour or age, but that rap stays fresh, exciting, competitive, similar to a precious martial art.

For Andy, rap is a noble form. He's a wordsmith extraordinaire, snappy and audacious, tipping his hat "to all the microphoners who still bring that dedication and expertise to their craft" and choosing to work with equally rapid sparring partners like Blabbermouf and MC Abdominal. Ownership of the genre is a constant theme throughout the LP. Like a contact sport, you punch and fight your way to the mic and once there "no one can take it from me". Reverance is constantly being paid to the dons that went before, overtly Rick Rubin & the Def Jam crew, but covertly the reggae sound systems and jazzers of old.

Not a sloppy note or shabby rhyme here.It's an album that pops and fizzes with quirky beats and funky rhythms from start to finish. With production lines neater and sharper than a pair of sta press trousers, it's impossible not to be seduced by the sheer bouyancy of the lyrics, beats and intention. A refreshingly entire body of work with no low points, only head-nodding highs. It's good to stumble across a hip hop album that has you giggling, thinking, singing and wearing out the soles of your shoes all at once.

FaltyDL flexes his rave muscle on the 'Three Rooms' EP, out on Hypercolour in January 2018. Big, medium and small breakbeat flavours in each of the three rooms.

As music continuously evolves, times change and new ideas and movements come & go. All of this functions in tandem with scientific, technological, social and political advancements in our society. The biggest component to that evolution is the people. There are creators and consumers. One cannot exist without the other. Throughout art, the audience defines quality, but artist has the power to introduce change and shift perception. Execution is key. The masses are always hungry for something fresh. Sometimes we're at the forefront of new trends and sometimes we find comfort innovating the past. No matter what, musicians have a responsibility to bridge the gap. Raw Poetic and Damu the Fudgemunk meet all of the above. Produced entirely by the artists, the new album "The Reflecting Sea" revisits sonic textures of yesteryear and combined with their own distinct ears for music, have created something uniquely foreign for the music world in our time. Speaking of the times, Raw Poetic's lyrical subject matter is nothing short of relevancy. Speaking from an observatory perspective in addition to his own personal experiences, the album's content is infinitely relatable. Although known primarily as hip hop acts, both Damu and Raw P stretched out to expand what the genre is known for. The combination of elements from the mix of live instrumentation, improvisation and sampling to the range of styles including jazz, fusion, rock, electronic and soul make The Reflecting Sea unlike anything else. Captured and recorded in it's rawest form, the album is honest expression. Masterminding the festival sounds is Damu the Fudgemunk. His voice is absent from the recordings, but his presence is immediately noticed throughout the 40 minute exhibition. Packed with tons of beats, tons of scratching, original compositions, upbeat and signature atmosphere, there's no question who's behind the boards. With the average tempo of over 100bpm, this is one of the most energetic releases in Redefinition's catalog. Raw P and the Fudgemunk aim to revitalize listeners of all types with their original sound. They call it "The Reflecting Sea: Welcome to a New Philosophy." Raw Poetic (MC), hails from the DMV area by way of Philadelphia. In addition to several collaborations with Damu the Fudgemunk, he's recorded 6 albums as a member of Panacea, 1 album with K-def, 1 album with Kev Brown and recent features with Brous One in which all have been met with critical acclaim. Damu the Fudgemunk (producer/DJ) is a DC native who co-owns and operates Redefinition Records. With several successful releases as a solo artist, his music has garnered a reputation in the last decade for it's consistent quality and conceptual structure.

**INITIAL 400 LPs CONTAIN A BONUS 7" BY MEL-O-MADNEZZ**

IT'S TIME TO PAAAARTY! Why The Universe knows that Tramp is celebrating their 40th trip around the sun in 2018. And what about planet Earth Well... it is as blind as it is in so many other situations. Therefore, it is time to shine the light on Tramp for all of its unremitting efforts. As musical diversity is vanishing, especially in the field of African American music from the 1960s/70s, it is our duty to stop the extinction of threatened species of music in the same way an animal welfare activist would do anything to save a gorilla's life. Tramp Records keeps this beautiful heritage alive, every single day, again and again and again. So we are here wondering why Earth people and especially to those from our beloved home country, why why are you just sitting there, going about your life unaware of this historic event What a pity!

The announcement is especially striking when it comes to the prestigious "Movements" series. Like all its predecessors, this ninth volume contains Rare Groove nuggets recorded between the early 1960s and the late 1970s. The fact that only one of the songs appear anywhere else is a jaw-dropping phenomenon! The chronological track listing starts with two amazing cover versions: "Fever" by Gee Gee Shinn & the Boogie Kings and "I'm A Woman" by Connie Kaye Trio. Bus Brown, Earl Demus and Chuck Finney remain in the same direction although their contributions are slightly jazzier. Chick Willis' gut-wrenching "Sometime Soon" easily rivals James Brown's "It's A Man's World" and the recordings by Australia, J.R. and Joe Akens are beautiful examples of privately produced soul from the 1970s. The latin-soul of "Cho Cho San" by Hummingbird 4 heads the sound in another direction for the next three tunes, highlighted by one more stunning cover version, Oscar Brown Jr.'s "Brother, Where Are You". The album closes with some pre-disco tracks from the mid-to-late 1970s. Funk 7" collectors will freak out to finally get a chance to listen to Mel-O-Madnezz' superheavy "What You Getting High On" but will certainly also enjoy The Counts, Reunion and Hot Cakes' dance floor bomb cover of "Harlem Shuffle".

Over a hundred great unknown songs have been re-released on the first eight volumes in the "Movements" series, the majority of which can not be found elsewhere, and Vol. 9 is no exception. The work of Germany's tiniest but grooviest record label is still incomprehensibly underestimated. We know you diggers, collectors, mavens, aficionados, fanatics, completists, enthusiasts, and just plain record geeks know what's up and we heartily salute you! Without your support there would be no Tramp Records. But now it's time for a broader cultural shift for good music and a sweeping move to uphold the legacy of the unsung heroes of funk and soul. Therefore, we humbly petition you: in 2018, Don't keep all this glory to yourself! Turn your friends and neighbors on! Thank you!

- initial 400 LPs contain a bonus 7" by Mel-O-Madnezz ("What You Getting High On")

- the double vinyl LP comes with a full album download code

- deluxe double-gatefold LP with detailed liner notes, label scans & unseen photographs

- all but one song appear on vinyl-LP for the very first-time

Hot on the heels of the critically acclaimed 2017 LP Windswept - which soundtracked David Lynch's Twin Peaks, Digital Rain is Johnny Jewel's latest album. Jewel is known for his extensive collaborations with film makers David Lynch, Nicolas Winding Refn, and Ryan Gosling, as well as for his work with groundbreaking musical groups such as Chromatics, Glass Candy, and Desire.

The 19 movements of Digital Rain are three dimensional beds of analogue warmth encompassed in raw electronic moisture. The result is an expansive pallet of soft color amid canyons of jagged oscillations. According to Jewel, "Digital Rain is a mirror image of itself designed to play as a singular liquid movement."

"After living a few years in a desert climate, I realized I was nostalgic for the constant presence of precipitation from every city I once called home. The sound of hail ricocheting off my roof in Houston...The floods crashing in from the Gulf of Mexico that would destroy my mother's house three times...The constant kiss of drizzle on the streets of Portland, and the morning rain against the windshield of Trimet city bus number 15 that I would ride home after recording all night...The snow buried row houses of Montreal where my daughter was born, and the rhythmic feel of ice cracking under my boots for six months straight."

"The desert is constant, and I love this repetitious ritual of Los Angeles so much. As moisture and humid weather seem more and more like a dream I once had or a fading memory of the places I fell in love with...I wanted to make a record without drums, without lyrics, vague in form. Each track morphing and eclipsing the next like the ever-changing movement of clouds obscuring the moon."

Cut By The Legendary Bernie Grundman In Hollywood. Recorded in Joshua Tree / Mixed in Los Angeles.

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Following on from the critically acclaimed Penya Investigations cassettes and the 12' Acelere EP, Afro-Latin-electronic collective Penya conclude an intensely creative period with a Long Player collection of tracks Super Liminal. 'Liminal' - an in-between state -references the transitional process the four - piece band entered during a series of self-produced recording sessions held at Penya's multi-instrumentalist Magnus P.I's home studio between March 2016 and May 2017. Penya's percussive and futuristic Afro-Latin sound also owes its genesis to the concept of 'liminality': the threshold of disorientation occurring during ritual practices. Penya's hypnotic groovescapes, led by Jim LeM's bata drumming,ancient chants, sung by Lilli Elina, dubbed-out improvisations on trombone by Viva Msimangand lo-fi electronic production by Magnus P.I create a sound that has garnered significant support on BBC 6 Music via Tom Ravenscroft, Worldwide FM via Gilles Peterson, on BBC Radio 3's Late Junction, as well as being praised by a host of producers including DJ Khalab, Will LV, DJ Jose Marquez and Dengue Dengue Dengue. Penya's energised and engaging live show has also toured across UK festivals this summer, including Brainchild, Wilderness, Farmfest and Big Love.