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PGS 011 comes to us from Gustav Brovold, an essential player in Detroit's latest wave of underground electronic music. His début EP, "Hyperbolic Space" is the first release solely dedicated to the local legend, with influences ranging from 90s UK rave, apocalyptic techno, and bright, post-Drexciyan electro. Since the late-aughts, Brovold has been a fixture of Detroit's dance community; first as a member of Randy Chabot's Deastro project, and then a pillar of the after-hours scene through raves with the ADULT Contemporary collective, all the while sprinkling in rare, must-see all-hardware-based live shows around the city. Moments of brilliance have boiled over the surface globally, with appearances on Don't Be Afraid as Radio Brovold in 2015, the Detroit Electronic Quarterly's "DEQ Vol. 7" in 2016, and on the punishing opener of PGS 009's with "Temple of the Circuit" earlier this year.

Following a live show at Detroit's Donovan's Pub in late 2018, Zach (Shigeto) came to the obvious realization–this music is the reason why we started PGS, and needed to release the music to a wider audience. Brovold handed PGS a flash drive with hours of completed music, a gold mine in bits and bites. "Hyperbolic Space" represents a cohesive sampling of the mountain of tracks from Brovold's vaults, propelling PGS into the next decade. Play it in your car, or at unauthorized raves, and dance to the airwaves of Radio Brovold.

"Oakland Ave"
The vibes of forgotten 90s raves: UK techno made with digital synths, resampled as a low-bitrate soundtrack for the night time level of a PlayStation racing game. Building, dancing hi-hats, slow building chord stabs, dubby techno feels. A triumphant finish, 1st place in fifth gear. (*If you play this at 45rpm, you can Jit).

In a turn of events, Startree finds itself wading into the slower, more sensual side of things for its third release, courtesy of relative newcomer and super-talent Nelson Bishop. “Alice et les Aloes“ is a heart-rending, melancholic-yet-propulsive piece which impels the dancer in lovely and unforseen directions. The bass guitar holds the bottom down with a easy-yet-mighty, low-slung sleaze, and the ascending electric piano and keyboard figures joyfully take it to the stars. Soulful with modern-rock edges, this is music which endears itself to the listener on more than one level and for longer than one season.

“Still Life Noix de Coco” is rooted in a stomping Linndrum pattern, vaguely post-punk chorus-y bass and wistful, descending organ timbres. Driving and somewhat mysterious, you would do well to time the release of fog onto your dancefloor to coincide with the airing of this jam. Shoring up the other side is Darshan Jesrani’s take on “Alice et les Aloes.” In this version, Darshan takes the track around the corner, through the unmarked door, past the video arcade and straight to the ideal dancefloor, heaving and smiling, warm with bodies emoting to each instrument as it is given space, by the arrangement, to shine. Startree is proud to present this release as a continuing statement of its musical intentions and its simple desire to inspire and have a good time.

Following the Stardancer EP and his remix for All I Need To Get High by Damian Lazarus & The Ancient Moons, Ae:ther unveils his most accomplished and daring work yet on the highly anticipated debut album Me released on Crosstown Rebels. Blazing a trail with his natural aptitude for crafting emotive, captivating compositions that have landed him releases on Crosstown Rebels Afterlife and Fabric, Ae:ther presents his debut LP. The album is a painstakingly produced collection of haunting melodies and narcotic rhythms that display his love and inspiration for ambient electronica, deep underground music and introspective atmospheres, culminating in dreamlike soundscapes programmed with taut percussion. The album begins on Stardancer, setting the tone with gentle keys and space influenced licks that portray a cosmonaut ascending into the stratosphere. This moves into the glistening, atmospheric Finferli, where synths depict aliens conversing in a distant, just-discovered world. Sub-aquatic ambient fills We’ll be Together, boosts of energy and intricate melodies weave in and out of the vocal, locked to the dubby groove. Ice cold subtlety and the otherworldly electronics of Costes drip slowly like water down a pane of glass. A mood of relaxation and weightlessness continues on Tina, a tender beat combined with pattering echoed chimes. N.62, a special ethereal piece, features warm chords and reduced percussion, gradually developing like the morning sun rising. Mysterious, playful charm unfurls on Elf, progressive harmony teases towards a crescendo before dropping back into the hypnotic beat. Clark is light and airy, funky melody constructing an interplanetary anthem. Stimulating a brooding mood, fuzzy clicks and glitches dance on the deep bass of Spektre II, conveying dust spraying off the surface of a moon landing. The shimmering ripples of electronica on title track Me fuse with delicate human vocals creating a heart-warming, personal account of Ae:ther’s relationship with his instruments. Trademark bleeps and blips wash over natural broken beats in one last final call to his utopia in the album outro.

Made up of Dave Harrington (Darkside/Dave Harrington Group) and Benjamin Jay (NDF/Benoit & Sergio), Lights Fluorescent is, as the two describe it, an ‘experiment in the spaces between song and texture, idea and reference, past and present.’ On their debut album, The Oldest Sons Of The Oldest Sons, the duo develops an atmospheric, slant-pop sensibility that lists toward the experimental tendencies of improvisational and ambient music.
The result is a set of songs meant to be lived with. Entirely percussion-less, recordings drift on a tenderness of guitar, revenant feedback and vocals of autumnal intimation. Space Metal and July 9th process layers of bespoke noise and washed out chords to tarry with integral depth, light, and shadow, while Hotels distills country-western longing into its nth dimensional essence always unrequited.
From within these sonic panoramas, vocals emerge more as watercolor traces than coarse etchings. They aim to capture evocative, lyrical intensities, eschewing the solace of the literal. As such, the album favors 'the gestural, the implicit, and the miniature over the more adolescent urges of grand narratives and epic.’ These preferences map onto the album in all of its moves. J Girls reveals a hint of story buried, like its context, deep in whorls of feedback. Fleeting images of monuments, cathedrals, or epitaphs on tracks like Palace Walls or Small Sacrifices speak to a sense of memory and community paradoxically ungrounded by the material instantiations meant to keep things in place.

TXLAX is Dave Aju’s first album in five years, and we couldn’t be more pleased to present it.

As always there is plenty of fresh genre-defying ideas in the music, but this time wrapped in a much more relaxed and focussed aesthetic - a fitting personal soundtrack for the homecom-ing theme of his move back to Los Angeles from Berlin, as the combined airport letters in the title suggest.

There is a sonic stylistic bridge of sorts between the sister cities on display as well, all im-bued with that inimitable combination of raw playfulness and warm refined soul as only Dave Aju does.

From the soaring West Coast future funk opener “Bird’s Eye”, the nautical disco-not-disco of tomorrow in “Out To C” and the bugged-out broken beat flavor of “Silverfish” to the slick me-lodic electro vibes of the title track, and gorgeous shuffling deep house closer “Yulia”, TXLAX is a masterwork filled with beauty, character, and detail that will reward many repeat listens. We hope you enjoy it as much as we do!

‘Green & Gold’ is the second collaborative release from Mr Key & Greenwood Sharps, the long awaited follow up to their
critically acclaimed 2015 album ‘Yesterday’s Futures’. The record was written and recorded between Greenwood Sharps’
cottage in the verdant English countryside and the off grid Finca in the foothills of the Andalusian Sierra Nevada, Spain where
Key is based.
The title has multiple meanings none of which are anything to do with weed or money. First and foremost, green and gold are
the colours which synesthete (a person who sees sound) Greenwood Sharps, composed the record in. It also alludes to the
dialogue between the green of the UK and the dusty gold of Andalucia which created the project. Finally green and gold speaks
of the dynamic between the sun and photosynthesising organisms, the driving force of life on earth.
‘Yesterday’s Futures’ took the listener on a meandering journey through a vast landscape of moods, sounds and ideas,
leading ultimately to redemption and the possibility of resolution. Thematically, ‘Green & Gold’ picks up where ‘Yesterday’s
Futures’ left off, but structurally it takes the opposite tack; an extended exploration of a single ubiquitous idea: universal love for
all things and all people and the challenge of maintaining these shiny ideals in day to day life, as our cynical side reasserts itself.
Key’s first output after an extended hiatus from releasing music makes it obvious that during this time he continued honing his
craft. The unique perspectives and disarming honesty which set him apart from his peers remain, but his technical prowess and
capacity to convey sentiment are notably enhanced. The same applies to Greenwood Sharps, who’s masterful production has
risen to new heights yet still maintains the rich and subtle sonic palette he has become known for.
Dropping alongside the EP is a short film featuring the works of long time collaborator Jamie Johnson, the man behind the
artwork for both ‘Green & Gold’ & ‘Yesterday’s Futures’. The short film is the visual counterpart to the EP and serves as the
perfect introduction to the world of ‘Green & Gold’ as it visually explores all the themes present in the music & provides a snap
shot of the incredible tracks on offer.
In a troubled and busy world, marred with anxieties and uncertainties, ‘Green & Gold’ comes as a breath of fresh air and offers some valuable food for thought for those searching for real heart felt substance rather than the sanitised, individualised &
commodified norm we have all become accustomed to.

Planning the imminent arrival of the 50th release on Touchin’ Bass, label boss Andrea Parker was digging through the warehouse during a stock take and it became apparent that there was something missing. There was a gap in the catalogue numbers. Where was TB036? Searching the archives it transpired that, for one reason or another (not least Parker’s inability to count), there actually wasn’t one.

So what better way to backfill this now documented gap than to welcome the multitalented guitarist and drummer, mathematician and multidisciplinary improviser Maria Gamboa Perez into the Touchin’ Bass fold with an updated focus for 2019.

Perez combines elements of rage, chaos, tension and anguish to form a visceral style. Her musical terrain and talent is shaped by dissonance and NO art. Under the moniker NonZero!, Perez brings Matrix Equation to the fore; a heavy 8 track EP with electro aesthetics from none other than Carl Finlow Scarletron/Silicon Scally/Voice Stealer.

Beginning her artistic career as a teenager playing as a bassist and guitarist in groups with influences from Noise, Avant Garde and the No-Wave, Perez was introduced into several areas of electronic music during the club culture years in Madrid and opted for styles such as Electro or Industrial, at which point she began to be interested in the introduction of rhythm boxes together with traditional drums.

Her passion for sound synthesis and musical exploration led Perez to introduce electronics into a solo project under the pseudonym NonZero!. Under this name she aims to make electronic music her field of sound research and for years has been continuously searching for existing relationships between sound and mathematics, focusing on the perceptual limit between music and noise.

Matrix Equation indulges in an evidential brooding angst, shifting between abstraction and the kind of elevated introspection carefully harvested over the years. With dramatic frontage in parts, blasts of boisterous energy and machine mayhem, its deployment of surprise, shifting focus and spontaneity operate in an assured statement.

Splintered beats and a foreboding sense of tension give way to a more DJ friendly logic of instinctive introductions and codas of gradual builds and breakdowns as Finlow further reworks the results to great effect.

Disco Bits are back with 4 more essential edits aimed at late night dancefloors...

Our imprint marks its five years anniversary this year and to celebrate it’s offering up five special various artist packages across 2019 limited to 250 copies each, featuring material from the likes of Vid, The Mole, Cinthie, Shinichiro Yokota, San Proper, Akiko Kiyama, Com Sin aka Cosmin TRG, Subb-an and more..
Here though we see the focus on the core family as well as some new additions, celebrating the artists involved over the past five years and looking towards the future with some fresh, hotly tipped acts.

For the fourth installment in the series the label welcome’s Berlin’s queen of House Cinthie onto its roster with ‘6am’, as the name would suggest a heads down, emotive slice of House aimed at those special moments in the early hours of the dance floor, fusing a robust analogue drum workout with bright strings, jazzy piano lines and driving low-end.

Akiko Kiyama’s ‘Dirt Specks’ follows, a typically unique offering from the Tokyo based experimentalist, built around swirling bass notes, hypnotising processed vocals and glitched out percussion before label co-founder Red Pig Flower’s ‘Mental Adventure’ brings eastern-tinged plucked strings and vacillating atmospherics into the limelight alongside rounded subs and a bumpy rhythmic drive to create a smooth, hypnotic trip.

Handnumbered and limited to 299 copies. Early feedback from Luke Slater, Dj Bone, Black Madonna, Ø Phase, Cassegrain, etc..

Indigo Aera is proud to present a new release by none other than Sterac. This two tracker consists of two timeless Detroit rooted techno masterclasses which are a perfect fit for the Indigo philosophy: classic melodic techno music aimed at dancefloors.

Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Andrew Ashong, Pie Eye Collective and Alexa Harley.

After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at ‘Sounds Of The Universe’ Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record ‘Sunshine’.

'Sunshine' was met with rapturous acclaim. The record went on to be awarded Gilles Peterson’s album of the week on his BBC 6 Music show and was championed by both Lauren Laverne and Tom Ravenscroft on the station as well as Jamie Cullum on BBC Radio 2. Its success on the airwaves transcended to streaming with the inclusion in the top 50 viral US chart on Spotify.

"This album has been a real labour of love. I spent the most part of a year trying to make music I thought would be fitting to follow my last album, whilst not actually knowing what that might sound like. 'Sunshine' had been received way more positively than I had anticipated and although praise is a lovely thing, it was the cause of much anxiety when the time came to start on this record. I put a lot of pressure on myself to produce music and kept going down routes that felt forced or just didn’t click for me, in hindsight I realise this was me making music not for myself, but for what I imagined other people might want to hear. In a way 'Next to Nothing' is my first real album, 'Sunshine' was more like a collection of four to five years worth of music compiled into the shape of one. This is my first dedicated attempt at creating a cohesive project, something that shows who I am right now and what got me here."
- Hector Plimmer

As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz.

The larynx or voice box is a small organ located towards the top of the neck in humans and some other animals. Constructed largely of cartilage, it houses the vocal folds that allow for the manipulation of pitch and volume, which are essential for the phonation of spoken speech. It is also involved in bringing air to the lungs when we breathe and it protects the windpipe when we swallow. However, those unfortunate to experience the potentially fatal malignant tumours of laryngeal cancer will have their larynx removed, resulting in a traumatic loss of speech; thankfully, as this rare record issued by Smithsonian Folkways in 1964 demonstrates, removal of the larynx does not necessarily spell the end of speech for such blighted individuals. Instead, through developments in artificial voice creation, patients could learn to employ modes of vocal communication again. The album was recorded by physician Harm A. Drost at the Phonetic Laboratory of the Ear, Nose and Throat Dept of the University Hospital, Leiden, in the Netherlands, working under the direction of Professor H. A. E. van Dishoeck. As the advances were fairly new and surprisingly varied, Drost felt a phonograph album demonstrating the techniques would be useful for those in the field. The album thus features a narrator explaining aspects of several different techniques, followed by examples of patients employing them. Buccal speech (limited to certain consonants), parabuccal speech (collecting air in a space between the upper jaw and the cheek), glosso-pharyngeal speech (a method deemed obsolete where air is forced between the tongue and the palate), esophageal voice (made by reconditioning one’s esophagus via swallowing, suction or injection), various injection techniques and devices such as the larynxophone, pipa di tichioni and “western electric” are all explored here, along with other aspects of the larynx and its absence. Speech After The Removal Of The Larynx is definitely one of the strangest albums ever given a commercial release!

Mit ihrem sechsten Album kehren die Casady-Schwestern Bianca und Sierra zum bewährten Erfolgsrezept
ihrer früheren Releases zurück. Im Gegensatz zu den mehr psychedelisch-elektronischen Erkundungen der
beiden letzten Veröffentlichungen "Tales Of A Grass Widow" (2013) und "Grey Oceans" (2010), streift
"Heartache City" wieder durch staubig-poetische Gefühlswelten längst vergangener Tage. Ihren Anfang
nahmen die zehn Tracks von "Heartache City" wie gehabt im südfranzösischen Landgut der Casadys, wo
sich die beiden Geschwister ein lauschiges Studio eingerichtet haben. Dort sammelten sie Ideen und
schrieben Songs, die sie bei Gelegenheit mit minimalem Equipment, antiken Instrumenten und Vintage-
Spielzeug vertonten und ganz nostalgisch mit einem alten 4-Spurgerät aufnahmen, nur zu zweit, rein
akustisch und ohne digitalen Firlefanz. So entstanden relativ reduzierte Songs, die ihren Weg letztlich in
Argentinien in die Händen ihres Produzenten Nicolas Kalwillwith, und um eine Prise Buenos Aires
angereichert, ihren krönenden Abschluss fanden.

“This album will be part of the everlasting impact the Tribe collective had on our culture, on our hope and possibilities.” - Herb Boyd

Strut and Art Yard present the first compilation bringing together the modern era recordings of Tribe, Detroit’s acclaimed independent jazz collective.

Tribe began as a musical ensemble in 1971 co-founded by Saxophonist Wendell Harrison and trombonist Phil Ranelin that soon expanded into a broad amalgam including a live collective and independent record label. Ignored by the mainstream, many African American jazz artists in Detroit and across the US began creating their own small imprints and Tribe emerged alongside other cultural entities to express selfdetermination goals in the city: saxophonist Ernie Rodgers with his sessions at Rapa House; John and Leni Sinclair’s Artist Workshop; Bruce Millan’s Repertory Theater; the Hastings Jazz Experience and the Strata Corporation led by Kenny Cox. Harrison’s ideas of independence, self-determination and education were central to the Tribe ethos: “I might be possessed with a drive to get the knowledge out,” explained Harrison, “because I see this as sustaining the future of the jazz diaspora, the jazz tradition.” Tribe album releases like Harrison’s ‘An Evening With The Devil’ (1972) and Harrison and Ranelin’s ‘A Message From The Tribe’ (1973) became early ‘70s milestones in Detroit jazz.

In 1977, Harrison teamed up with pianist/composer Harold McKinney to form Rebirth Inc., aided by Detroit cultural warrior John Sinclair, a continuation of the Tribe community ethos. Musically, it formed a link with radio station WDET and began an outreach program to teach children and to publish Harrison’s jazz instruction books. Harrison continue to record extensively as a leader with his own labels, WenHa and Tribe, documenting the collective through sessions led by Phil Ranelin, Harold McKinney, Pamela Wise and more.

The ‘Hometown’ compilation places the spotlight on this later era of Tribe and Rebirth Inc., with rare and previously unreleased recordings from Harrison’s WenHa / Rebirth Studios and the SereNgeti Gallery And Cultural Center. Among many highlights, Harold McKinney and his “McKinfolk” family of musicians contribute the pulsing ‘Wide And Blue’ and dance celebration ‘Juba’; Phil Ranelin re-works his classic ‘He The One We All Knew’; Poet Mbiyu Chui (Williams Moore), pianist Pamela Wise and percussionist Djallo Djakate spark on the uncompromising ‘Ode To Black Mothers’ and the rallying cry of ‘Marcus Garvey’: “If we ever get together we will astound the world.” Harrison himself evokes the power and majesty of juju on ‘Conjure Man’.

‘Hometown’ comes as a 2LP gatefold and 1CD digipak fully remastered by Technology Works from the original session recordings. Both formats include exclusive sleeve notes by journalist Herb Boyd with rare photos from Wendell Harrison’s personal archive.

2 track vinyl compilation featuring the roots of modern dance music, on 180g heavyweight double LP. P&P was producer and Harlem hustler Peter Brown’s production company. He created some of the greatest moments in underground African American dance music, across a handful of labels in the 70s and 80s.

Due to his independent ethos his releases on imprints such as Heavenly Star, Sound Of New York, La Shawn, P&P and others would often disappear after a single low numbered pressing making them incredible hard to find on original pressing.

Tracks such as Mary Clarke’s ‘Take Me I’m Yours’, and the Fosters Jackson Group’s ‘Feel The Spirit’ have been championed by DJs such as Floating Points and Dimitri from Paris. Whilst the sheer rarity of some singles such as Clyde Alexander and Sanction’s ‘Got To Get Your Love’ and Louise Murray’s ‘Let’s Just Stay Away’ would set you back multiple hundreds of pounds to buy on original copies.

Selvamancer proudly presents its first release by Finnish producer Boneless One. The Barcelona-based label with Dutch roots is aiming to release pounding dancefloor mantras. Selvamancer is heavily influenced by mysticism as well as futurism, trying desperately to maintain its balance on a psychedelic tightrope throughout the multiverse. Its first release results in an exciting melting pot of vintage synthesizer jams and modern acid bleeps, the perfect playground of Helsinki based Boneless One. After releasing on Snuff Trax and Tabernacle Records sublabel Ride The Gyroscope he joins the Selvamancer family and cooks up four tracks of acid, rave, distorted techno and industrial-tinged dancefloor burners on his Woofers EP.

Yoshi Wada's Lament For The Rise And Fall Of The Elephantine Crocodile, originally released in 1982 on India Navigation, remains one of the most remarkable flowers to grow in the rarefied air of American minimalism – akin to Terry Riley's Reed Streams and Pauline Oliveros' Accordion & Voice, yet with a wild, liberated energy all of its own.

After graduating from Kyoto University of Fine Arts with a degree in sculpture, Wada moved to New York City in 1967 and quickly fell in with the community of artists known as Fluxus. In the early '70s, he began building his own instruments and writing musical compositions, studying with La Monte Young and Hindustani singer Pandit Pran Nath.

Recorded during an epic three-day session in an empty swimming pool in upstate New York, Wada's first album brings together two of the oldest drone instruments – the human voice and bagpipes – to simple and glorious effect. A visit to the Scottish Highlands spurred Wada's interest in bagpipes, which the composer integrated into these sparse, otherworldly sounds heard on Lament.

"That swimming pool was quite hallucinatory," recalls Wada. “It was another world. I felt it in terms of resonance. I slept in the pool, and whenever I moved, I woke up because of the reverberations.... The piece itself is an experiment with reeds and improvisational singing within the modal structure."

This first-time vinyl reissue is limited to 750 numbered copies. Comes with poster.

Soul Jazz Records’ Nigeria Soul Power 70 album showcases the influence of funk, rock and disco on Nigerian music during the 1970s. Originally released as a now-long-out-of-print collectors’ 7” RSD box, this fully expanded album release now also includes extra tracks from Sonny Okosuns, Wings, Chief Kollington Ayinla and more. While for many people the fusion of funk and jazz music with Nigerian rhythms and aesthetics began with Fela Kuti and his afro-beat sound, in fact this can be traced further back to the phenomena of the 1960s Nigerian artists and house bands in nightclubs and hotels who interpreted US soul and pop music with a local flavour and none more so than Geraldo Pino, the ‘African James Brown’ who features heavily in this collection. Other similarly inspired Nigerian funk and soul artists featured here included Tony Grey and his Ozimba Messengers and Don Bruce and The Angels. Nigeria Soul Power 70 includes a number of tracks from the group Wings originally known as BAF (Biafran
Air Force) Wings, an army band formed during the Biafran civil war in Nigeria. The groups’ heavy mixture of funk, rock and African styles was popular among many Nigerian groups at the time.
Beneath the shadow of the few Nigerian artists who signed international recording deals in the 1970s – Fela Kuti, King Sunny Ade, Chief Ebenezer Obey – lies of vast wealth of largely undiscovered musical transmutation and cultural cross-pollination, and included here are heavy afro-funk/rock and disco tracks
from artists such as the legendary Sonny Okosuns as well as rare cuts from little-known outside of Nigeria - groups such as Colomach and MFB. Most of these obscure artists signed to major labels in Nigeria in the commercial slipstream that opened up as Philips, Decca and EMI tried to emulate the international
success of the big three international Nigerian artists. Finally featured here is Kollington Ayinla, one of the co-founders of Nigerian Fuji music, who gives us perhaps the heaviest of all tracks on this album. Ayinla is the great moderniser of the Fuji sound and in the late 1970s began adding Bata drums and synthesizers to his authentic music to create a powerful and heavy new fusion of traditional and modernist aesthetics, embracing both new technology and experimentation while rooted firmly in Nigerian historical lineage. Nigeria Soul Power 70 is released as a heavyweight gatefold double vinyl LP (+ free download code),
deluxe slipcase CD and digital album.

It’s the unexpected that fascinates us, letting our curiosity grow stronger than the urge for safety and control. The magic of new encounters and unplanned turnarounds helps us switch
off the autopilot of everyday life and grants us an unbiased, curious glimpse at ourselves and the world around us. In these brief moments we accept the chaos surrounding us, allow
ourselves to embrace it and see the beauty of it.
This delightful chaos is the vibrant fabric woven into “Pleasant Clutter”, the debut album of Vienna-based DJ and producer B.Visible. With an endless love for detail, he masterfully
condenses familiar and strange sounds into a fascinating collection of moments, each one in itself as beautiful as volatile – again and again you find yourself wanting to hold on to something
you’ve only just grown fond of, yearning to stay just a little longer. Leaving space for the unexpected, the album bit by bit reveals the beauty that lies in the harmony of the whole.
Using playful little melodies and decontextualized fragments of sounds, B.Visible conjures up a wide range of moods and emotions: he tells mesmerizing instrumental stories full of
unexpected twists and turns, evoking lively images within the mind. In constant flux between weightlessness and dead-aim beats, structures are being broken up and put back together on
the fly – always changing, always evolving.
Change as a constant and the symbiosis of contrasting elements are omnipresent on “Pleasant Clutter”, and beyond that. Running through the entire work of B.Visible, these stylistic devices have shaped the musician’s creative output over the years, and this distinctive sound has long become his trademark. Colorful Illustrations by Viennese artist Daniel Triendl complement the
music and add a visual dimension to the album, making the project’s intentions visually accessible.

Idealist, Patrick Zigon, El Choop and Van Bonn took their hands on Insect O.’s full length album ‘Atacama’. Zurich based Idealist turns the epic ‘New Dawn’ track into a raw techno mover with acidic chords and an air cutting hihat. For his remix of ‘Resonance’ Biotop label head Patrick Zigon spices up the melodies with some disharmonic sounds and embeds it on top of a shuffling groove foundation. El Choop got on remix duties for ‘Atacama’ and hit the ground running. Using multiband saturation and a granular software to create a pad, he’s turned it into an entirely new exploding techno track. Van Bonn rounds up the remix edition. Using some trippy fx, he lays the chords and field recordings on top of a very deep dub beat in his mystic remix for ‘Forest Of The Monkeys’.

Influential Spanish artist Coyu is stepping out on his own Suara label with a long overdue debut album entitled ‘You Don’t Know’ that is going to shatter all conceptions about him. Due for release this September 23rd, the 16 track affair showcases his broad range and takes in collaborators like Moby, Lazarusman, The Horrorist, Thomas Gandey and many more.

Coyu quickly rose through the ranks to become one of the most prominent names in underground dance music. The Spanish man famous for his love of cats has established his Suara label as a go-to outlet for the most essential house and tech tracks, as well as releasing his own expressive grooves on Cocoon Recordings, Diynamic, Bedrock Records, Turbo Recordings and MORE. Now he really stretches his legs across a fantastic full length album that goes way beyond the dance floor and shows many new sides to his sound. The artist has been working on it since 2012 and aims to show people that whatever they think about him is wrong.

Says the artist himself, “the album is named ‘You Don't Know’ because many people have a preconceived idea of who I am. Until now, maybe I wasn't smart enough to show them my roots, what I love and what I can offer to the music. I'm not just a DJ or a producer who can play or make grooves – I love many different genres and many different kinds of music. With this album I want to change that preconception.”

The album kicks off with a dramatic spoken word from legendary vocalist Lazarusman before exploring low slung and sleazy grooves on ‘The Three Chimney’, floaty light melodic and dreamy house on ‘Out of The Pain’ and more club focussed but just as dreamy fair on ‘We All Try’ with Mike Leary.

Proving he can do everything from poolside gems to peak time techno, ‘Fear Is Gunna Be A Player In Your Life’ is one to get you in a trance with its sonar like synths and rolling deep space drums. Thomas Gandey aka Cagedbaby then steps up to guest on ‘1+1’ which is a hands in the air piano anthem to pump the party, and ‘Wanna Do Right, Wanna Do Wrong’ is a techno cut with brilliantly energetic drum programming and a big, perfectly placed vocal sample.

Switching up the vibe is ‘I May Be Dead, But One Day The World Will Be Beautiful Again’ with none other than dance legend Moby. It is a heavenly track with break beats, angelic melodies and a celestial feel that leaves you refreshed. The second half touches on raved-up drum & bass, gurgling minimal techno and harder techno with mind melting acid synths. The Horrorist contributes to the banging ‘My First Pill’, while the techno journey continues with ‘Unite’ featuring Gabriella Vergilov before the album finishes on the fluttering ambient track ‘Insania’, with mad church bells and manic percussion all bringing things to a close in style.

This is a broad, adventurous album that covers plenty of music ground and takes you on a true electronic trip from one of dance music’s most accomplished names.

A dogfight, or dog fight, is an aerial battle between fighter aircraft, conducted at close range.

Nicz Records label boss Myztical is joined by JK Flesh, Surit and Headless Horseman for an EP of rabid machine techno.

Fresh from releasing his first artist album for Deep Medi (‘Dark 365’) and overseeing a prolific year in charge of his Navy Cut imprint, J. Sparrow debuts on Coyote Records with two tracks of abstract, excursive pressure. Although long revered as one of dubstep’s core UK innovators, Sparrow has also spent time experimenting with different sounds, palettes and rhythms over the last two years. ‘Single Time’ and ‘VHS’, both written during this period, not only spotlight Sparrow’s willingness to aim for the outer reaches, but also embed themselves neatly within a Coyotediscography defined by the new-gen grime of producers like Last Japan, SilkRoad Assassins and Utah?. Still cut with a rolling dubstep lean, A-side ‘Single Time’ is heavy on the hollowed-out, dubby weight and scything bass jabs, while B-side ‘VHS’ – referred to by Sparrow himself as ‘Egyptian grime in the 1980s’ – is a bleepy, filmic, widescreen stepper that draws from the past as much as it does Sparrow’s take on shiny, sci-fi grime of the future.

The “Under Frustration” project takes stock of the contemporary Arab electronic scene, and highlights its astonishing diversity, by deconstructing Western clichés that are still fantasizing about a culturally homogenous Arab world.
In a context of post-revolutionary disillusion, this ambitious trilogy sets itself as a manifesto of a new, futuristic, underground wave that aims to uplift the Arab voice, once again. With this new release, Arabstazy allows the listener to walk among Shiite, Shaabi or Stambali lands - revealing new mystical sounds, reserved for trance ceremonies and ancestral rituals; all vivid in the eyes of the collective members, musicians, producers, videographers and photographers, nowadays, scattered between the United States, Tunisia, Germany, France, Sweden, Irak, Lebanon and Poland.
Vol2 includes unreleased tracks of Dj Haram, Praed, Hello Psychaleppo, Okydoki and many more.
Curated by Arabstazy, produced by Shouka, published by InFiné.

We love pop music. You’ve probably noticed. Witness our vinyl love-ins with Kylie, Róisín and Cassie if this has somehow passed you by. So when Lou Hayter (London-based musician, style-DJ to the stars, one of our besties) asked us to put her sumptuous funk-lite hit “Cherry On Top” on vinyl it felt like a neat fit. But this isn’t just any old Be With record. We decided such a monumental track would make the perfect inaugural release on Be Pop, our new, most likely sporadically active, side-label.

For those not paying attention in 2005, Lou Hayter was the keyboardist in Mercury nominated electro-pop outfit New Young Pony Club (who were a really good band, beyond the hype, and arguably a little ahead of their time) and she is currently one half of electronic duo Tomorrow’s World, a project with Air’s Jean-Benoît Dunckel. Her comeback single “Cherry On Top” originally appeared in late October 2018, but as a digital only concern. Unsurprisingly it caused a blog stir (Gorilla vs Bear correctly gushed) and what seemed like 6 Music’s entire roster of DJs had it on repeat.

But it’s not a proper single unless you can buy it in a record shop. So accordingly we’ve issued it as a full picture sleeve 12", pressed on white vinyl. And just to make certain, the instrumental and a cappella are on the flip. This is our homage to the classic dance/pop 12" singles of the late 80s and early 90s.

Riding an infectious sample of Marc Jordan’s yacht-rock classic “Generalities”, it’s a glistening, sun-soaked daydreamy jam, perfect for convertibles, pool parties, and roller-discos. It’s quite delicious. Whilst it’s pop without question, it wouldn’t be a Lou Hayter track without ice-cool nods to other magical genres; with Italo flecks and dream-pop vocals, this is cherry coloured funk indeed.

“Cherry On Top” screams “Mighty Summer Pop Radio Anthem”. We might have just missed the end of Summer 2019, but this 12" comes out just in time for every summer from now until the end of time.

One of Italy's most revered producers on the global scene, Bottin is always ready with an invigorating palette of sounds and rhythms that stem from his endless thirst for invention. This new release continues that diverse legacy with Balearic-infused pair of Italo cuts. "Waterland," is a buoyant disco number. Its bass ebbs and flows with wave-like consistency, polyrhythmic drums percolate beneath, creating a type of suspended animation that propels motion with a tempered energy. The slow-burning crescendo of Respirare' begins with an airtight blend of tick-tock rhythm and minimal then the pace picks up and the synths pile on. Bottin takes the blissed-out enchantment of the Balearic and infuses it with the kinesis of Italo without the music losing its easy-breeze stride.

The re-launched Secretsundaze label continues to spread it's wings with the signing of Lisbon born, London based Silvestre.The push and pull of influences from his own and adopted countries have combined to find him a unique sound that embraces rap, R&B, reggaeton as well as breaks and woozy pads from UK hardcore and house. Mixing samples, his own voice and continuing the fusion of reggaeton and breakbeat/techno from previous releases, the Silvestre Is Boss EP aims for a hazy vibe.AAAs Silvestre explains: The pad and synth choices on this EP are picked specifically to sound dreamy, a dream where you arrive at the club but the party is already finished, which sucks." Silvestre began making his name in 2015 with his first release on the Diskotopia label from Tokyo and followed that up with appearances on Creme Organization and Paraiso. He then dropped the killer 'All The Things' EP of mid-tempo party bangers on his own Padre Himalaya label which reached the top 30 of Phonica's illustrious Singles of the Year list. The Silvestre Is Boss EP is his strongest work to date with 5 tracks of quality floor and headphone directed material that perfectly balances the need for playful melody and harmony with tough grooves and synthetic ambience. Drafted in on remix duty is Secretsundaze fave D.K. (Antinote records) who takes EP heater 'Fuego', dialling down the breakbeats for a smoother trip.

The new sub-label from WNCL Recordings features 12 short “tools” per release, for use on discotheque sound systems and home stereos alike. Released on 10” vinyl with digital to follow at a later date.

Denham Audio – the next generation of breakbeat scientists from the land of bleep and clonk – take some time out from their world domination plans to grace the Library Tool Kit series with an essential collection of heavy duty miniatures.

Following on from the excellent 'Le personnage principal est un peuple isolée' compilation - a four track EP of deeply psychedelic jams from the early 80's. TIP!

Chicago footwork legend and co-founder of the Teklife producers crew (alongside his musical collaborator DJ Rashad), DJ Spinn makes his long awaited return to Hyperdubwith ‘Da Life’ EP, and we couldn’t be happier to have himback. Featuring four brand new offerings, ‘Da Life’ EP is energetic, fast paced and classic footwork. First up is the high energy ‘Knock A Patch Out’, a frantic and cascading key melody contained in crisp claps, with Spinn’s vocal flowing in half way through the track. Next up is ‘Make Her Hot’, which starts out in half time blossoming into a full blown footwork slow jam. ‘Sky Way’, featuring Teklife member DJ Manny, has a moody G Funk melody that starts slowly in half time,with rolling snares and organic kicks. Closing track ‘U Ain’t Really Bout Dat Life’ is an ode to Teklife. Icey synths rise and shimmer with an auto tuned vocal from Spinn spelling out ''T-E-K-L-I-F-E”. Alongside Rashad, Spinn united the footwork genre's producers and took it global. 'Da Life' represents his re-entry back into the scene, four years after 2015's 'Off That Loud' EP, and he’s coming back as strong as ever.

"Coconut Grove started as a secret. I wrote & recorded it in deliberate solitude over the course of a year, in long sessions when I was alone at home or after everyone else had gone to sleep. I had the uncanny sense of discovering something quite old rather than of making something new.

Every album I've made revealed itself over time - Coconut Grove snaked its way through my psyche, going back to my beginnings. While working on it, I found some notes I had jotted down back in 2006, when I was 22 & first inching away from punk towards electronic music. I wrote that I had been dreaming of something humid and menacing, melting but also alluring. I heard some of that in the haunting, dubby minimal techno of the time, and imagined it crossed with the slashing urgency of my favorite no wave & post punk bands. I imagined the catharsis I experienced as a performer rerouted through techno's mercurial endlessness. Those visions never left me, and I've been dreaming of them in one way or another ever since. Coconut Grove folded that time back onto the present, letting me start again from the beginning.

A lot can happen in a year, and, at the risk of sounding coy, a lot happened to me in 2018. Coconut Grove was an exorcism, or maybe a rebirth, but whatever it was it moved with a little extra fluidity. You can hear it for yourself, but I will say the album's softer touch is no accident. Living in that secret space, it felt good to let some air in."

-Daniel Martin-McCormick aka Relaxer

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.

Kanot is Jesper Jarold and Anton Kolbe. With their wide open ears and sharp sense of adaptation they have been involved in some of the last year’s most interesting Swedish musical acts - Fontän, Tross, Uran Gbg, Ultra Satan among others. With the help of Lindha Kallerdahl’s expressive vocals, Jarold and Kolbe weave an eclectic yet durable sonic textile. Call it music for psychadelic hiking, primitive dance beats or speculative folk music - most of all, it is unrestrained music, for the smartest and the dumbest kid in the classroom. In the dense, and at the same time airy production, some drums anchor themselves steadily into the ground while others lash out like reverberating rhythmic gunshots. The tones from Jesper’s guitar and fretless bass float like leaves on the Drangme Chhu River, at times almost drowning in effects only to resurface in surprising and skillfully chiseled melodies that could play forever. This Höga Nord Rekords 7” is just a teaser of an exciting collaboration of which we have yet only seen the opening credits!

Kompakt welcomes veteran contemporary experimental producer Marcus Schmickler with the release of his spectacular noise/techno fused medallion entitled “Particle/Matter-Wave/Energy”. Marcus Schmickler’s fifty plus release discography is one of the most fascinating in his field. From his studies under Cologne based Stockhausen collaborator Johannes Fritsch to his releases through legendary imprints a-Musik, editionsMego and Mille Plateaux, over the years Schmickler has been behind innumerable collaborations and sonic explorations. Be it through his ground-breaking indie/electronic band Pluramon or through his releases that have included collaborations with musicians such as John Tilbury, Thomas Lehn, Julee Cruise or MIMEO he has even had his works being performed by ensemble recherche, musikFabrik or Paragon Ensemble. Beyond continuing to perform on the world stages, he authors theatre and film and currently teaches at Institut für Musik und Medien in Dusseldorf. This brings us to the release of "Particle/Matter-Wave/Energy" - a 37 minute long piece (split into 2 parts on the LP version) that explores the borders of a scientific universality of sonification towards something that becomes a singular experience – sound. The pieces’ foundational aim was to create an acoustic rendering of what it sounds like when two galaxies collide by gravitational forces. To avoid this one sheet getting lost in theory, the audible result of “Particle/Matter-Wave/Energy” is an incredibly, immersive work that is required listening from start to end. Contemporary experimental music and modern techno collide as waves of synths caress the listener through intense waves of frequency variables. The orchestral enormity of the piece is both discomforting yet embracing as the listener feels engulfed with it’s robotic caress.

Secretsundaze return with a second volume of their new mixtape series. After the success of the Joe Claussell tape they turn to Carista for another introspective mix aimed at a relaxed home-listening session.

In May 2018, Carista performed one of her first international gigs at Secretsundaze in London and went on to play 2 other shows for them that year. A year later, she has become a mainstay on the European club & festival circuit, playing to an ever growing, passionate and loyal fanbase week in week out, already playing shows that most DJs would only dream of, including closing a stage at Lowlands festival to an audience of 10000. No wonder a recent Mixmag article crowned her as "A DJ star in the making".

Her residencies on NTS and Red Light Radio showcase her love of house, boogie, broken beat, disco, funk and beyond. Her DJ gigs can also see her explore further into house and techno but this mixtape showcases a different, softer side of Carista blending ambient soundscapes, jazz, dub and soul as well as some poignant words from Nina Simone.

The Edwards Generation are a family group that was lead by the legendary Duke Record's Chuck 'Bullfight' Edwards. The group originated in Pittsburgh before moving to San Francisco in the mid 1970s. They self released a number of singles and an album called 'The Street Thang' during the '70s on Tight Records, which have all become highly sort after items. The Edwards Generation were a hard working band that recorded a number of self composed compositions that all remained unreleased until Cordial Recordings partnered the family to release the songs on vinyl, CD & digital. The album is a collection of uptempo dancefloor gems alongside the slower downtempo songs 'Dynasty' confirms that the The Edwards Family are highly talented songwriters and that the time is right for the songs to be heard.

The DJs Pareja have been flagging they’re a DJ duo in love long before the recent trend. ‘Pareja’ literally translates as ‘couple’, and that is just how Diego and Mariano do life; in tandem. It may not seem so radical these days, but the Pareja’s have been unapologetically queer trailblazers in their hometown of Buenos Aires, Argentina - throwing raves and putting out pop dance records for decades. It took us years to get these boys to come play for us in San Francisco, but when they finally did, minutes off the plane we were hugging and shedding a little tear in front of the Castro theatre sign. I always knew that one day we would get them on the label, and this EP is a product of how far this new gay techno underground has come. So it is with great pleasure we present 4 tracks produced south of the Equator, mixed for the gods, with some signature vocals and some sounds we’ve never heard from these Argy boys sleeping in a Queen bed.