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Charlemagne Palestine's majestic 1976 work The Golden Mean, originally performed by Palestine on two pianos, is revisited here as The Goldennn Meeenn + Sheeenn, a new collaboration between Palestine and enigmatic musician Rrose.

March 2018: the Festival Variations in Nantes commissions Charlemagne Palestine to reinvent The Golden Mean for two pianists. Palestine chose Rrose to join him in this new rendition of the work. Together, they performed The Goldennn Meeenn + Sheeenn onstage at the main opera house in Nantes -- the sumptuous Théâtre Graslin – with extraordinary results.

The concept of the 'golden mean' goes back to the roots of mathematics, and ancient Greek philosophy. It is an important work in the Palestine mythos, embodying his total immersion in the power of the interval. "It's probably his most systematic work . . . a step-by-step journey through the intervals of the octave," says Rrose. "When we rehearsed it, we were noticing how each interval is like a universe of its own -- with its own history, emotions, and sonic qualities all mixed up together. Every time you move from one interval to the next, it feels like moving into another world."

"I love the interval," Palestine told me in a recent interview. "I love when it plays with itself. That's what I learned from organ musics too. You can just do an interval, and if they're just slightly out of tune with each other, then they shimmer . . . they play themselves. And it sounds like somebody's playing lots of notes. In your ear, it's like an aural phenomenon . . . that's my whole concept. I make something that then does itself somehow. It continues by itself. So I don't have to always be there. And that makes my music a little less egocentric. So there's more space. Also for the listener — the ear plays with these things, and you're not always being given orders. Your ear isn't given orders all the time of what to listen for."

Beautifully recorded, with mastering by Rashad Becker of Dubplates and Mastering, The Golden Mean + Sheeenn feels expansive, radiant and hypnotic, opening new ears to its enduring mystery.

Rrose adds this note to listeners: "Do not focus your attention on the notes being played, but on the ocean of overtones swimming, suspended, overhead, brushing against one another, kissing one another, melting into one another."

Eagerly awaited debut album from oft-cited UK's most out-there band, features in the works with The Quietus and Wire already.

180GM PRESSING - 500 COPIES ONLY.

Difficult times required difficult music, my Yarns, that's why we had Guttersnipe; with its own sort of energy-kind there then.Reiner: A singular yield, a singular yield now.Barns: A whot
Reiner: A singular yield mate! Rich guitar strang, flow motive pounding underneath.Vox like Death come winding through the fields. Barns:  Hell of a way to describe a vocal style.
Me: Nah but for real my Donny, Have you read a presser 1 sheet lately It's the most

They say the PR era, circa late 80's killed the golden age of music journalism:
They say Guttersnipe have continuously melted all the forms that they come up against. They are right.  Because Guttersnipe is not part of a tradition we know well. You will identify the departure from it though, immediately, upon hearing My Mother The Vent. This LP, the promotional version of which, likely sits in your hands (disk, whatever). The innovation here is a FIRM commitment to the flowmotive polyrhythm underwriting the seared, nay fried, tonal rainbow and de-reasoned vox.

Not Nate Nelson, nor John the masseuse dude from Sightings but TIPULA CONFUSA.  Don't want to put the captain obvious pants on so tight I can't jump around the yard because why waste a good yard hang. I'll put on my blighty nighty instead. UROCERAS GIGAS has bridged so many gaps, finally unlocked the AxeWeld CODE and is really playing the thing. Not to mention bringing forth a world-view so utterly unique.  Good luck finding anything like it.

Finally some REAL disjunction in the music; clear and intended. In an age when most computer music composers use stochastic systems and still manage to drop some linear pathground shit, the brawler drums and slanky guitar constructions on My Mother The Vent are a genuine treat.  I've spent too much of my adult life so far hearing too much of this shit to not recognize REAL GAME. And here it crawls out of the grey shadows of ol' BLIGHTY.

Our post-music age: after the fine human endeavour known as music, the result of letting the cybernetic run ITS horrible game on us. I'm not waxing confusingly in a rarefied tone here. Nor running the boring sci-fi script. I really think that is were we is.  We left the human-music-on-a-human-scale behind and much to our detriment. Here we sit in our crumbling reality. But Guttersnipe come paleo, like the rhapsodes with long ass memories rattling off Homeric verse well into the age of manuscript culture, but here, with future tones.  Luckily. Otherwise, me and the record label here wouldn't be wasting our time and yours with a 1 sheet for My Mother The Vent.

So a proper first time on wax for these amazing creatures is a welcome addition to the world of things.  These drums and these guit-lines are so cranké, as they say here in my odd neighborhood.  These voices are so utterly expressive without even the damn language at hand ; like the great horns. We'll rinse this record out, I'll put on my old blighty nighty and go dance in the street.  Alex Moskos, Montreal, August 2018Guttersnipe is:UROCERAS GIGAS - Guitar, Analog Synth, VoxTIPULA CONFUSA - Drums, Drum Synth, Vox

After a gap of a few years in between his latest releases (on Terminal M among others) Mar io focuses his attention on his own productions rather than sticking to remixes. He unveils a wonderful EP on Form & Terra Records which kicks off with the title track "Through The Night", a very special acid house smasher which will put every dance floor to a test. Then comes Max Cavalerra who puts the track through some secret alchemical processing and turns it into a dark and more techno-driven tune which is sure to make mind and body move even at 6 am in the morning. In addition, techno legend Patrick Lindsey celebrates his brilliant vinyl comeback with an irresistibly grooving remix which demands your attention with unprecedented drive and gets to the heart of Mar io´s original message "This Is What We're Living For". Last but not least, Mar io himself tops off this extraordinarily versatile EP with a grooving vinyl-only remix.

The first release on a new label: Pura Vida Sounds founded by Guts, in conjunction with Heavenly Sweetness. El Tipo Este is a pioneer of Hip Hop in Cuba and Al Quetz, a leading French beat maker.

This canny combo have drawn from the local musical currents, absorbing Afro-Cuban sounds, adding the freedom of jazz, the metronome of hip hop and a healthy bass shake of neighbouring island Jamaica.

For Cubans, El Tipo Este is the pioneer of all things hip-hop. As founding member of Obsesion, one of the nation's most notable hip hop exports. Early champions of his music included Gilles Peterson, who selected a track

to include in his 'Havana Cultura; New Cuba Sounds' compilation. Hot off the heels of this, El Tipo Este was enlisted to assemble the full band of musicians for the Havana Cultura tour. This unit played stages across Europe, USA and

closer to home in Latin America, and in turn this led to collaborations with The Roots and Mos Def For this long player, El Tipo Este he has enlisted beat maker France's Al Quetz to carry his rhymes. Originally known as Quetzal, Al Quetz is a crucial figure in

the world of beat making. A sound scientist whose cut, loop, program, paste compositions has seen him collaborate with the likes of Onra, Guts, La Fine Equipe and Milk Coffee & Sugar.




b1 Regla Sound System
[|] b2 Tu Vera
[] b3 Dicen
[~] c1 Usame
[] c2 Interludio En El 106
[€] c3 Inflowencias
[] d1 Ya No Me Pertenezco
[‚] d2 Revolucion Vivencial
[ƒ] d3 Tierra, Semillas Y Frutas




[{] b1 Regla Sound System
[|] b2 Tu Vera
[}] b3 Dicen
[~] c1 Usame
[] c2 Interludio En El 106
[€] c3 Inflowencias
[] d1 Ya No Me Pertenezco
[‚] d2 Revolucion Vivencial
[ƒ] d3 Tierra, Semillas Y Frutas




[{] b1 Regla Sound System
[|] b2 Tu Vera
[}] b3 Dicen
[~] c1 Usame
[] c2 Interludio En El 106
[€] c3 Inflowencias
[] d1 Ya No Me Pertenezco
[‚] d2 Revolucion Vivencial
[ƒ] d3 Tierra, Semillas Y Frutas

'New Kind', one of the more direct moments of dancefloor pleasure throughout Gabe Gurnsey's acclaimed debut album, 'Physical', is expanded on for this digital package. The 'Extended Dub' stretches out the original's tight groove in a pleasingly baggy fashion that recalls the experimental club dubs pioneered by Trevor Horn, Martin Rushent and Shep Pettibone.

Back to the future, and enigmatic new producer Fall Forward delivers a smooth, rave tinted rework that is guaranteed to thrill the strobe-lit, sweat-drenched club crowd that inspired the original LP. An additional dub of the remix places the focus squarely on it's clean, irresistible acid bassline.

Next on Berlin's Renate Schallplatten is Longhair, a project formed by Marko Pelaic and Benedikt Bogenberger, two residents of Berlin's Wilde Renate. Mangostine, a four-tracker, follows last year's 12' on Dutch label Bordello A Parigi and a track contribution on House Is OK. It lands with an Axel Boman remix. The EP opens with the title track, its name drawn from the exotic fruit. Over a brooding bassline we hear light, fluttering melodies and uplifting keys, creating a peak-time roller that'll put smiles on faces across the dancefloor. 'Pans & Pots,' the A2, starts as a darker affair with trippy vocal samples and fluttering drum patterns, before warm keys and intricate instrumentation lift the mood to make for a fun-filled jam peak-hours feel-good jam. On the flip, Studio Barnhus head Axel Boman reworks the title track into a more subtle, deeper cut; the melodies remain but in the background, replaced at the forefront by tribal drums and abstract vocals. Closer 'Aquamen,' meanwhile, opens as a straight-edged techno cut with a heavy bassline and fluttering snares, before playful keys and intermittent sci-fi samples add some texture. It's another late-night jam that'll lift the energy without ever being too forceful. The release is Renate Schallplatten's first since 2017's various artist compilations. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

French producer Erell Ranson's affinity for the deeper shades of Detroit sound is well known, but his ability to absorb those influences and create beautiful music with his own signature is the reason we're so excited to welcome him into our family. Having previously released on labels such as Kalahari Oyster Cult, aDepth audio, Nice & Nasty Records and his own MySelf Recordings, amongst others, Erell's became quite skilled in crafting sophisticated and emotional tracks which still seem to feel perfectly at home in a crowded 3 AM club situation. EP for Barba, titled "Dreams Of Nila", is a 4-tracker consisting of "Dreams Of Nila", "Reminiscence 0f The Past", and "Far Away Of Your Side", with the latter receiving an additional remix treatment by a Rotterdam-based project Duplex. "Dreams Of Nila" is a somewhat more leaning towards Chicago-ish side of things, with its huge bassline enveloped by shuffling 707 drums. Soft-sounding synth pad sequences work as an emotion injection and appear perfectly timed, without removing the edge of this, essentially, club track. "Reminiscence Of The Past" is the most direct of the bunch. Syncopated bass drum, forward-leaning groove and those classic techno snare roll fills make this track hard to ignore as it is, without mentioning complex interaction of synth lines, chords and beautiful detroit-reminiscent string stabs. Wonderfully executed counterpoint of hard edge and soft touch is what makes this cut a truly special one. Techno in its fullest form. "Far Away Of Your Side" is somewhat closer to the energy level of "Dreams Of Nila", and is a well-paced deep cut perfect for later moments in the night when subtle approach is everything. Slow synth pads give your mind some time to relax while the groove keeps your body occupied. Duplex remix of "Far Away Of Your Side" takes the track another notch down but in a more sideways manner. Broken electro groove is what keeps the foundation of the track while Chris Aarse & John Matze (aka Duplex) masterfully work their synths and pads to keep the tension for the whole duration of the track. Melancholy mood is tangible here, and at its best, ready for the dancefloor.

See Through is a new collaboration between Aidan Baker (Nadja), Faith Coloccia (Mamiffer, Mara, Sige Records) and renowned percussionist Jon Mueller.

The project was brought to life through Baker exploring textural rhythms created by sampling small, sharp and abrupt sounds on the electric guitar and then sequencing them in a drum machine to form the bedrock of the tracks. Mueller then added his particular, signature brand of intricate, hypnotic percussion to the mix and the compositions began to grow and take shape. The pair agreed that the pieces needed a more human touch and Coloccia was invited onboard, contributing processed vocals via looping, tape manipulation and microphone feedback.

The result is an other-worldly record that seamlessly flows from beginning to end, immersing the listener in waves of ambient movements and soporific beats. There is a trance-inducing aspect to this work, deserving to be consumed in one sitting and allowed to manifest itself for the duration. The trio have crafted a piece of work that stands up to the quality and integrity of their combined back catalogues and indeed adds something completely new for fans to discover and devour.

"Vintage killer addictive electronic reggae & dub selection by UK pioneers Alpha & Omega! These are dub-plate mixes of tracks from various Alpha & Omega albums. Volume 2 was originally released on CD in 1997. "We have always done alternative mixes for sound systems. This is Alpha & Omega's second volume of dub-plate mixes, normally only available to soundsystem operators."

Considering He Was A Self Taught Pianist, Brian Auger's Progress Into The Heart Of The British Modern Jazz Scene Of The Late 1950's And Early 60's Was Particularly Impressive. He Gained Invaluable Experience The Hard Way, Paying His Dues At The Cottage Club, And The Original Ronnie Scotts On Gerrard Street, Working With Renowned Saxophonists Tommy Whittle, Dick Morrisey And Jimmy Skidmore - And Sessions In Smoky East End Pubs With His Friend, Arguably Britain's Greatest Jazz Saxophonist Tubby Hayes.

The Inclusion Of Several Of His Rare, Early 60's Piano Trio Tracks On Both Volumes Of 'back To The Beginning - The Brian Auger Anthology' Brought Long Overdue Attention To Brian's Early Jazz Career, Which Many Were Simply Unaware Of Prior To Their Release. The Enthusiastic Reaction To Those Tracks That Stuck In Brian's Mind, And Later, Fate Intervened, As He Himself Explains, "a Couple Of Years Later, Ken Greene, The Music Director Of Bogie's, Called And Told Me That He Was Starting A Project, To Whit, A Week At Bogie's With A Different Jazz Piano Trio Each Night".

The Material Brian Decided To Play Features Tracks From A Selection Of His Musical Influences, Heroes And Friends Including 'chelsea Bridge' By One Of His Favourite Composers, The Great Billy Strayhorn, Freddie Hubbard's Ever Green 'little Sunflower', The Much Loved Standard 'there Is No Greater Love' Which Brian Used To Play In His Original Early 60's Piano Trio, And His Own Composition Victor's Delight He Wrote A Tribute To The Great English Jazz Musician Victor Feldman Who He First Discovered Via His Tenure With The Cannonball Adderley Quintet.

Surprisingly, This Is Brian's Very First Jazz Piano Album Of His Illustrious And Award Winning Career, And Marks A Return To The Instrument And The Music That First Entranced And Enthralled Him As A Young Boy. His Musical Journey, Which Began In Austere Post War London, And On Which He Absorbed So Many Varied Styles Of Music, And Literally Took Him Around The World, Enrapturing Audiences Worldwide, Has Indeed Come Full Circle.

Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2018
Mastering: Mathias Durand

Translations: Valérie Vivancos
Layout: Stephen O'Malley
Photos: Stéphane Ouzounoff, Bernard Bruges-Renard

Coordination GRM: François Bonnet
Executive Production: Peter Rehberg

SIDE A
Contrée (2013), 20'

SIDE B
Allégeance volatile (2002), 8'46
Esquive (2010), 10'10

The mastering of these tracks was done by Mathias Durand at François Lê Xuân's Studio 101, in Paris. I would like to warmly thank him for this.

Allégeance volatile and Esquive each tackle the same issue in their own way. Overcoming time: whether it be successive, additional, enumerative, or repetitive. However, there is nothing here about the ensuing nature of so-called "repetitive" music. These are types of high-end music. And it is more about insistence, the obstinacy of an individual who keeps knocking on a door that will never open.

Allégeance's rustic drumming, talkative, acidulous, colourful and overarticulated, with almost clownish desinences, eventually dies out in this very respite. The iterative and puffy shimmering of Esquive with its dull, thin and precise sounds, shifts and is engulfed into another sonic world — which appears as a gaping and collapsed response to this prime insistency.

This is, indeed, a 'volatile allegiance' and 'avoidance' from the sonic to the musical elements: the musical phenomenon anticipated and pursued as the non-sound of sound — or, in other words, the void of sound. This seems to be the lesson of the concrete attitude in music. Such is the kind of questioning that stirs the composer.

He returns with another title: Contrée, which, once again, speaks of a counter-event. Here, the movement is broader, more generous, more confident. Time spreads and stretches out. What seems to be a landscape of entanglements, trajectories, influx, masses and points emerges. "Something" rises and presents itself out of the sounds - these escaping beings, these "relatively short combustion flames " (Schaeffer).

The piece consists of five consecutive and uninterrupted parts: Entrée and Stance I — Véhémence de l'air and Stance II — Grande Allure. It is the central section of an electroacoustic triptych with Sables (2011) as the first and Nil (2017) as the last.

What kind of band would choose a double vinyl, gatefold LP for their first release The Hare and Hoofe. Their eponymous first release consists of two discs. Disc One rounds up their 'hits' so far - 2018's smash hit White Blindness, the space gregorian
chant that is Voyager, and the pastoral tale of Appledore Fayre. The second consists of their rock opera, The Terror of Melton. Time-travelling scientists. Giant laser-eyed robots. A rock opera to end all rock operas...

Pitched somewhere between The Who, The Stooges, ELO, Sparks, Pink Floyd, Voivod, Pete Townshend, Brainiac, Bowie and Judas Priest, The Terror of Melton is a headspinning,
ambitious journey. In turns stomping, tear-jerking, full-on rocking and dreamlike, it will transport you. Prog Magazine's Dom Lawson described it as 'absurdly entertaining and deliciously weird... An unmissable trip for fans of the fuzzy and farout'.
2018 saw the band recording a BBC6Music Marc Riley session before even releasing a physical record. In addition, they've had plays on Stuart Maconie's Freak Zone. The band have also gained a monstrously good live reputation, playing an instantly
legendary set at Hastings' Beatwave festival, as well as headlining Tannerfest, Pitch Fest, playing with Focus and The Fierce and The Dead, and the John Snow Society's annual celebration of the eminent epidemiologist.
Some describe them as 'educational psych', others prefer 'polytechnic beat', still more as 'a seventies garage band'. There's certainly primeval drums, fuzz bass, lashings of guitar and synth noises from another planet.
Formed from a gang of friends from Folkestone, Hoofe members have played in groups including The Heliocentrics, The Priscillas, Ye Nuns, Jail Cell Recipes, The Frank Sidebottom Oh Blimey Big Band, Chalet and Hyperglo.

Dubplate’s Don Persian has repressed this Hardcore Breaks Techno Riddim, seeing there were only 100 in existence before going for crazy prices, now including a mix from S.Bell capturing a shimmering soundscape vibe, adding perfection to his unsung abilities. This E.P. has some speaker destroyer’s on there, introducing the MixMaster Max into the pot alongside the Persian doing what can only be called world dub music. Sterling breaks shuffling at a downtempo 8 bit vibe with a really heavy bass! MixMaster Max’s history is interesting to say the least...

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named The Back Street Warriors, busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with The Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genre’s of music, he first played on RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90’s he played on Weekend Rush & then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early day’s, MixMaster Max was one of the Innovator’s of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping other’s to produce, fuse & gain idea’s in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the Famous Hacienda Club in Manchester.

He was the first DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC World Championships in the early 90’s.

He played at some of the Biggest Rave’s back in the day, Pirate club 93, Fantazia 92, Dungeon’s 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People’s Choice, which were legal Radio Station’s, not forgetting Kool FM & Centreforce.

He performed on stage with the We Papa Girl Rapper’s in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchucker’s & TurnTable’s!

His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult figure that inspired us all, giving us the freshest musical styles that had never been heard before!

He can still be heard on Radio today...What an inspiration this Unsung Hero has been to us All!

Born out of a chance encounter in 2012 that led to a lasting friendship, Rhythm Section Int'l & producer, DJ, label boss, radio host, and record store owner Ruf Dug join forces to present 'The Committee'. Sitting somewhere between fictional band and studio collaboration, the record is the first fully in-house production for Rhythm Section, recorded start to finish at their own South East London studio and featuring vocals from label founder Bradley Zero and label mate FYI Chris's Chris Watson.

Right from the studio's initial creation, Ruf Dug felt inspired by the space's unique musical identity, jumping at the opportunity to create a collaborative record there over a two week studio residency. And between his DJ residencies at Pikes, Gottwood and NTS radio the Manchester-via-Ibiza computer game freak and renowned vinyl digger found the time to meld his wide range of influences. Having been a key driving force behind Be With's Holy Grail reissue of Bô'vel's - Check 4 U , Ruffy has more than earned his stripes as a boss level Street Soul collector, pre-empting the resurgent interest in the genre, which began in the mid 80s and is still a popular sound in Manchester today. This new release draws parallels between the DIY attitude of Street Soul labels like TSR, Intrigue, Jam Today & Elite and the modus operandi of the RS studio.

A wholly synergetic work, the project's title 'The Committee' reflects the collaborative nature of this release, as Ruf Dug states: 'Authorship is a strange concept at the best of times but this genuinely is a group effort and I very much enjoyed feeling like just one piece of a larger entity - the complete opposite to my usual production experience of being all alone in my room for days at a time.' The EP also features additional production from Rhythm Section's own Mali Baden-Powell, who DJ's and produces as Z Lovecraft and comes from a background in Street Soul music, his father was also in legendary UK acid jazz collective D'Influence. In addition, the record features a dynamic range of vocalists: sultry deliveries from Natalie Wildgoose and Sienna Mustafa, a rap from her sister Nadina, and the vocal debuts of FYI Chris's Chris Watson and Bradley Zero. 'I had been joking with Bradley that he needed to be on the record somehow and he did appear, playing an egg shaker at one point, but his singing wasn't in the least bit planned... I got back from lunch, and the next thing you know he just starts singing...So I dragged him reluctantly down the corridor to the studio and that's it- now he's a pop star!'

Also playfully melding digidub, soul, chicago house and acid jazz, the release not only marks a new chapter in the development of the Rhythm Section sound, but also catalogues a crucial turning Point in Ruf Dug's musical development. Still oozing with the cheeky DIY approach that won his own label, RUF KUTZ an army of fans, this latest Collab steps things up and opens a whole new realm of possibilities for one of Manchester's favourite sons.

Innershades presents a heavy and vibrant trip through electro, techno and acid on Ocular Unity, the 12th release on Berlin's Mechatronica.

Following up on his "Aalst To Charlois" rave weapon released on the label last year, the Belgian producer continues to push his signature sound in new directions, maintaining harmony and once again underlining his undeniable strength in producing hypnotizing electronic music for the floor.

From the A-side's fast paced force in "Ocular Design" and "Cycle of Life", to the introspective journey "Zuiderpark" and all-powerful slow drive of "End Life", Innershades comes full circle on Ocular Unity and adds another stellar record to his already impressive discography.

The latest addition to the James Holden archive is an album of solo synth work originally written to accompany the critically-acclaimed documentary 'A Cambodian Spring': fourteen tracks of pulsing melancholy, foreboding drone and even the occasional burst of beatless trance in the form of the uplifting arpeggios of surefire album highlight 'Solidarity Theme'.

Picking up where his classic 2013 album 'The Inheritors' left off (and giving album closer 'Self-Playing Schmaltz' a new cinematic airing) Holden's debut soundtrack project combines the sound palette of his beloved Prophet 600 with a cranky old Hammond organ to showcase the full breadth of his musical tastes across the epic documentary format.

Includes download code and sleeve notes by 'Imaginary Cities' author Darran Anderson.

"Vintage killer addictive electronic reggae & dub selection by UK pioneers Alpha & Omega!These are dub-plate mixes (normally only available to sound system operators) of tracks from various Alpha & Omega albums. Originally released on CD in 1995, now for the first time on a limited & numbered 500 copies LP incl download. ""We have always done alternative mixes for sound systems. We had enough good ones to make an album so that's why we released Dubplate Selection Vol. 1"" "

- Released on vinyl for the first time
- Download included
- Numbered, strictly limited, 500 copies worldwide

Following on from his immense debut for Integral with Dutch partner in crime Djah and their gem of a tune “Fragile” from GLOW/3, we are pleased to announce Edlan’s swift follow up to the label. Coming in the form of three molten liquid dancefloor jams laden with beauteous future soul vibes including a superb collaboration with UK’s latest talent Monrroe, the fourth and final title track Tree Of Life is an absolute smasher!

Edlan’s Tree Of Life EP will drop this April across all formats. Make sure you reserve your limited vinyl copy now to avoid disappointment!

As a musical act, Xeno & Oaklander (Sean McBride and Liz Wendelbo) conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo's immediate kiss and crush, there's a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo's artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they've recorded in their Brooklyn studio, they've both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.

On their latest album Hypnos and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It's a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.

'Musically, Hypnos is a return to polyphony after several years of using strictly monophonic synthesizers,' McBride says about the album's ethos. 'This has brought dense harmonies and a more complex counterpoint to the composition. Staying with the same equipment and processes without the inveterate compulsion to update and refashion allows for a clearly perceivable genealogy with our previous work.'

'I felt the desire to tell mythical stories, I also wanted my voice to sit strongly in the mix,' Wendelbo explains. 'I channeled the spirits of 60s French Pop chanteuse Françoise Hardy and 80s New Wave New York icon Tina Weymouth.' Her intentions are best evidenced on the tracks 'Angelique,'and 'Insomnia,' the former a spry track sung in French, against a springy rhythm. Laden with expanding and contrasting frequency and a penchant for strategic rhythm, Hypnos juxtaposes dance with distance, creating an immersive oeuvre that exudes contrast and control.









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After The First Wave Of Artists That Have Broken The Ice With Their Way Of Combining Contemporary Symphonic Music With Electronica And Jazz On The European Side (olafur Arnalds, Nils Frahm, Max Richter) - Now There Is A New Generation Of Young Musician Breaking Boundaries On A New Level. Especially In Germany There Is A New Wave Of Artists That Bring The Thing On A Whole New Level. These 20 - 25 Year Old People Don't Just Imitate What The Bigger Names In The Scene (the Fathers) Have Done But Develop The Style To A Totally Different Level And Add New Ideas Instead Of Just Copying What The Older Guys Did. This New Wave Of Artists Have A Huge Musical Knowledge, Have Studied At The Best Music Academies, Learned To Play "classical" Instruments And Know How To Improvise On A Very High Level. They Have Been Raised In 2 Different World: Studied The History Of (contemporary) Classical Music And Also Been Influenced By What's Happening In Electronica Evolution Of The Last 25 Years. Ralph Heidel Is One Of These New Kids In The German Scene. Coming From Munich, The 25 Year Old Extremely Talented Musician Studied Saxophone And Composition At The Munich Academy Of Music (known For Being The Best Music School In Germany. Think Julliard Or Berklee). He Graduated In 2018.leering Everything About The Music Of 20th Century Composers (charles Ives, Alfred Schnittke, Giöyrgi Ligeti Etc). At The Same Time He Grow Up With The Music Of Electronic Producers Like Alvo Noto, Boards Of Canada, Jon Hopkins, Jan Jelinek, Four Tet Since Early Days. And: He Comes From A Jazz Musicians Family And Has Grown Up By Listening To The Jazz Collection Of His Father. Studied Saxophone Since Age Of 12 With A Big Passion For The More Advanced Jazz. In His Own Music All This Comes Together. "moments Of Resonance" Are Seven Compositions Full Of Brilliant Little Ideas, Harmonic Complexity, Unheard Music Surprises, Clever Citations, Dramatic Evolutions, Big Explosive Moments, Meditative Moments And Euphoric High Points. This Album Is An Extremely Emotional Work Of Art For Strings, Saxophone, Drums, Bass And Electronics. Ralph Heidel And His 7 Piece Ensemble Homo Ludens Connect Contemporary Chamber Music With Electronica, Ambient, Post Rock And Avant-garde Jazz. On A Highest Possible Musical Level - Without Getting Too Abstract And Incomprehensible. Everything Is Composed And Improvised. Nothing Is Sampled. You Find Wild Punk-jazz Parts That Recall John Zorn Or Mahavishnu Orchestra And Romantic Passages That Make You Think About European Impressionistic Composers Like Ravel Or Debussy. But Nothing Is Imitated, Everything Gets Broken Up Through An Expressive New Way Of Using Harmonization And Melodic Composing. Sometimes The Band Flies Through An Ambient And Drone Universe But One Moment Later The Music Evolves Into An Explosive, Impossible To Describe Musical Moment. One Of Heidel's Biggest Ability Is To Melt Electronic And Organic Elements Into A New Unheard Sound.