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In 1981, Alexei Borisov, a history student at the Moscow State University, formed his first band "Prospekt (Avenue)", drawing inspiration from kitchen table talks and new wave music coming from the West. They broke up in 1984 and a year later Borisov joined forces with Ivan Sokolovsky, an electronic music enthusiast and a connaisseur of rare synthesizers, to introduce the new and "updated" version of the band. By becoming Notchnoi Prospekt (Night Avenue), Borisov and Sokolovsky started moving towards industrial music and viscous, psychedelic synth pop.

In 1986, after a few conceptual, revolutionary albums as Notchnoi Prospekt, various solo projects and collaborations, the duo reunited in the studio to record their only instrumental album "Kurorty Kavkaza" (Resorts of the Caucasus). Built around the hypnotic meshing of afro-caribbean drum machine percussion and vintage Soviet and Italian synthesizers' vivid sonic palette, the resulting record was something that was absolutely different from Borisov and Sokolovsky's dark signature sound and wasn't well received both by the public and underground scene.

Until now, these tracks were never released and Notchnoi Prospekt never performed them live. Shortly after the recording session the duo focused on a return to their industrial roots that resulted in a number of monumental albums including "Kisloty" that became an instant underground classic.

"Kurorty Kavkaza" lay dormant and forgotten decades, and thirty three years after its recording, it gets the deserved official release.

Over the years, Claremont 56 has played host to some memorable collaborative
projects, most notably Bison, an unlikely super-group whose members included
Holgar Czukay, Ursula Kloss, Liquid Liquid’s Sal Principato, Ben Smith and label
boss Paul ‘Mudd’ Murphy. Now Murphy is at the helm of another collaborative
outft, Hillside, whose seductive debut single contains two deliciously pie eyed
instrumental workouts.
Hillside is very much a family affair, with Murphy joining forces with two old
friends: bassist/guitarist Alex Searle and percussionist Patrick Dawes. The trio
has a collaborative history that stretches right back to Murphy’s time in Akwaaba
in the mid nineties. For their debut outing, Hillside has also welcomed a very
special guest musician: award-winning jazz violinist and long-time Bert Jasch
collaborator Mike Piggott.
As opening gambits go, “Hidden Port” is an emphatic statement of intent. The
audio equivalent of sailing slowly around a cluster of sun-baked islands in
search of shelter from an approaching storm, the track sees Searle wrap bluesy,
Peter Green style guitar passages around a shuffing, Latin-tinged groove rich
in Dawes’ distinctive percussion patterns and Murphy’s languid electric piano
and synthesizer lines. As the track progresses, Piggott steps up to make his
mark, with his undulating electric violin lines complimenting Hillside’s impeccable
instrumentation while adding extra emotional weight to proceedings. It’s a
stunning beginning to the Hillside story.
Piggott also makes a big impression on accompanying cut “The King’s Tun”,
delivering fuid and energy-packed solos that weave in and out of a bright
and breezy instrumental track rich in jangling acoustic guitars, subtly spacey
electronics, freside-warm bass and more sparse-but-intricate percussion
courtesy of the effervescent Dawes. Searle’s eyes-closed, rock style guitar solos
cap another memorable excursion from Claremont 56’s latest in-house band.

'Mallumo' is the introspective and therapeutic works of Nottingham born musician, producer and composer Neil Tolliday.
Known to most simply as Nail, on this his first solo LP under his given name, Tolliday releases four meditative dark ambient pieces recorded between 2010 and 2015 that explore the depths of his psyche.Made as a direct response to a period of clinical depression this self therapy gave birth to soundscapes that branch between hope, tranquility and torment as a man searched for solace through sound and his own creativity resulting in the listener being taken on a heady ride through their own subconscious mind. Limited to 300 copies, this 180 gram double vinyl LP comes with your own Utopia Project incense and a download code for the full hour long versions of each movement.
Cover photography shot and printed by Michael Bradley, Design and curation by Alexander Bradley for Utopia Records, London 2019.

'When you put on the first track on the album 'Antisocial Background 2017 - 2019 by Mythologen your likely to think: 'this is THAT kind of an album', and fell happy with that. But Mythologen aka Alexander Palmestal is not 'THAT' kind of an artist and this album reflects his broad musical background. It spans from Japan to USA, from the 70s to the 00s and from cold concrete floors to fluffy cotton clouds. Palmestal, with a background in bands such as Pistol Disco and Iberia now releases his second full-length album on Hoga Nord Rekords

The album is a play with emotions and genres, with unexpected meetings between major and minor keys and is a collection of tracks where Jungle, Electro, House, Synth and Big Beat are deconstructed and put together as relevant contemporary dance music. The production on 'Antisocial background' sometimes sound like a more electronic version of Boredoms but most of the time it puts the listener on the British isles and in the 90's. Palmestal pays respect to his masters but he is not in any way too careful with their legacy and let, just as on his debut album, influences from the 1970's and 80's Nigeria and Soweto.'

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.

Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.

When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).
Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Credits:

Keyboards: José Roberto Bertrami (Mini Moog Series One, Arp Omni, Arp 2600, Arp Solina Strings, Fender Rhodes 88, Hammond B3 with box speaker, Clavinet with Wah Wah)
Drums: Ivan ‘Mamão’ Conti
Bass: Alex Malheiros
Percussion: Ariovaldo Contesini
Produced by Azymuth and Jose Roberto Bertrami
Recorded at José Roberto Bertrami’s home studio in Laranjeiras, Rio De Janeiro, Brazil between 1973–1975.
Issue and project co-ordinator: Joe Davis
Tape transfers by Roc Hunter (thanks to Simon Hitner)
Mastered by Daniel Maunick at the Sugar Shack, Lanark, Scotland
Mastered by Frank at Carvery Cuts
All tracks published by Far Out Music Publishing/Westbury Music LTD

Thomas Lea Clarke returns to the wider Optimo Music family with his third offering as MR TC for us and his first on Against Fascism Trax. This collection of five tracks (4 on the vinyl release + 1 digital exclusive) were recorded over the past couple of years in Clarke’s home studio and sees him diving deeper into the psychedelic dance explorations that you heard on ‘Soundtrack For Strangers’ and ‘Surf & Destroy’.

AF Trax’s message is very simple. The far right ultimately wish for the destruction of our way of life and indeed the lives of many of the people we love. The message is love. The message is solidarity. The message is No Pasaran – They shall not pass. It is a call to stand together, it is a call to stand up, it is a call to ACT. Individually we may be powerless, but together we are strong.

If you’re not outraged, you’re not paying attention!

* Remix Records third new EP is an absolute banger. Alexander Norman faces off against rave legend Whizzkid and comes up with 4 stunningly beautiful, yet perfectly heavy hardcore classics. Leaning into the early years, 1991 and 1992, these full on anthems are guaranteed to do the deed. Not to be missed….

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Lapsus Records proudly presents the first solo material from Scottish artist 'Brick Reds, Black Mauves', and is due for release at the end of April. Behind the Brick Reds, Black Mauves pseudonym is producer Alex Ander, better known as part of the renowned duo, Dalhous, one of most interesting projects to emerge from London label Blackest Ever Black.

Together with cohort Marc Dall, the Edinburgh pairing immediately achieved international recognition thanks to releases including "An Ambassador For Laing" (2013) and "Visibility Is A Trap" (2014), which subsequently led to their participation at the first Lapsus Festival in 2014.

It is not the first time that Alex Ander has collaborated with Lapsus Records. In 2016 Dalhous formed part of a dual release with Pye Corner Audio entitled "Run For The Shadows", demonstrating the strong sound connection shared by both projects. Alex Ander returns in 2019 to present his new adventure Brick Reds, Black Mauves.

His debut release for Lapsus Records is a four-track homonymous EP that could be considered as a soundtrack to a post-apocalyptic feature film, full of exuberant ambient and melodies in constant motion, somewhat reminiscent of names like Demdike Stare or even Scottish band Boards Of Canada. On the EP's excellent fifth track, remix duties are expertly performed by Dalhous, giving "Cabochon" an even more introspective and experimental atmosphere, if that were deemed possible...

The "Brick Reds, Black Mauves EP" is, without a doubt, one of Lapsus Records' most exciting debuts to date and will be released at the end of April. Once again, the Basora studio has been vgiven the task of designing the artwork for this EP, which will be released on both vinyl and digital formats.

AKMÊ is now called RODMIN, nothing else is changing.
We’re delighted to present the first full artist-ep release of our resident. With good reason, of course, it could be asserted that this is a great, deep and timeless techno record, which never loses sight of the dancefloor but still is sophisticated enough to listen it outside the clubs.
The first track love has a good acid drive, which—because of it’s echo chamber—will feel more at home at larger floors. The second track of the A-side reflect is a rather introvert and very hypnotic one and according to really lives to its name.
Coins opens the B-side with a heavy peak time breaker, which gives and demands everything! With his riot version, ALEX.DO puts the pressure even higher.
Rave on, ravers!

Hard Fist comes back stronger than ever with a sixth release, this time from Pletnev with a remix from Sascha Funke.

Extra prolific Russian born Alex Pletnev has been making music under various aliases and in a number of live bands. Now settled in Vilnius he explores stellar chugging rhythms, afro and oriental vibes for labels like Media Fury and Bahnsteig23 and more atmospheric, dark and industrial EPs on Le Temps Perdu records. This new one is “the tale of an imaginary world, a babel myth of when human beings were together as one because they spoke a single language. It is an allusion of No Border movement supporting freedom of mobility and fighting human immigration control.”

This fantastic release is the most club focussed music Pletnev has ever produced with instrumental, heady opener ‘Guest from Bangkok’ really locking you in a groove. Loose percussion and churning drums make for dark disco of the highest order. Then comes ‘Peep of Dawn,’ an almost frightening, long and slow ceremony of menacing electronic music. A voice resonates while powerful bass sends shivers down your spine and the whole atmospheric and absorbing affair really casts a spell.

Excellent punchy guitar riffs and shamanic rhythms on ‘Red Shoes’ reminds you of a run to catch the setting sun. It’s another spellbinding and rock-laced disco track that oozes grit and rawness. With the closing track, BPitch Control man Sascha Funke remixes ‘My Word Against Yours' into a cosmic and jerky affair that alludes to a journey into outer space. It’s sparse and creepy and brilliantly evocative.

Once again here, the Hard Fist label—which has its own residency at Paris’s mighty Rex Club—tells its unique story with forward thinking club music full of a wide array of influences.

Toulouse-based trio Blind Delon like distorted basslines, dirty beats and cold synths. On that new post-punk-ebm-techno 4-tracks EP, “Drugs”, they invite french industrial veteran HIV+ for his harsh lyrics and his smashed voice under the influence of psychotropic substances. Including a post-apocalytic remix from russian producer Alexey Volkov !

Written by Chris Franck and Davide Giovaninni, Oba Lata draws on traditional Yoruban chant blending it with a live afro-beat groove. Edgy, rhythmical analogue synths, vocals, guitars and percussion tied together by the clave and driving afro bassline make this a credible dance floor contender. The vocals honour "Obatala", one of the main Orishas in Yoruban culture. He is seen as the creator of earth and a lover of peace and harmony.



NameBrandSound are IG Culture and Alex Phountzi. The duo were part of the original West London broken beat scene and are known for their involvement with New Sector Movements and Bugz in the Attic. This remix draws on some of the modern African rhythms like Gqom (Durban - South Africa) and Coupé-Décalé (Ivory Coast via Paris) and combines them with their own "bruk" sound. Stripped back vocals and instrumentation make this a remix focused heavily on groove.



This instrumental track 'Dakar' is the result of a recent trip to Senegal during the period of Ramadan. It features an 8 piece woodwind/horn section recorded in Belo Horizonte (Brazil) which has been beautifully arranged by Rafael Martini. A mid tempo groove leaning heavily towards North Africa combining acoustic and electronic elements to create a deep modal feel and mood.

Deep-frozen for many decades, something is on the verge of being released from obscurity. Dark Star is the project of Wolfgang Reffert (Ger). In the late '80s through the early '90s he released a couple of albums that invoke the darkness of infinite space. Clearly influenced by '60s and '70s sci-fi, the mechanical grooves and spiraling synths bring to mind the worlds of Alien, The Forbidden Planet and Solaris.

Utilizing a less is more aesthetic, Dark Star breathtakingly soundtracked space travel to far away galaxies like no other. Rhythmic postpunk drums lay the foundation for slow, down-tuned spacerock that goes deep into industrial proto-techno-like territory, while always maintaining a sense of groove.

Resurrected from the days of yesteryear, Dark Star once again re-imagines the eternal harshness and emptiness surrounding spaceship Earth. Cyborgs, extraterrestrials and genetically modified creatures rejoice on the dancefoor!

This is a collection of Dark Star’s best material. Originally released on two cassettes and one CD. Mastered by Wouter Brandenburg. Photography by Rogier Houwen. Poetry by Alex Deforce.

Back in 2014 when we first released the self-titled Chupame El Dedo we weren't sure if people could hold their mojitos while banging to their music. In 2019 we seriously advise to keep your hands free while listening to their second album. Formed by psych cumbia master Eblis Alvarez (Meridian Brothers) and Pedro Ojeda (Romperayo), the man that found the perfect cocktail mix for acid + folk + tropical beats, Chupame El Dedo are ready to mess around with Satan. 'No Te Metas Con Satan' it's a humorous title for music that expels cartoonish metal-vibes mixed with tropical rhythms. It's a pitch perfect title for a record that's never at the right pitch. The humour makes way for the funny stories that Eblis and Pedro explore in their lyrics. Souk's fourth release is a daring adventure in global beats. Frequently it comes to mind the universe of Quasimoto, Madlib's abstract hip hop that sounded delicious in the early 2000s. Chupame El Dedo lives in the same kind of power trip, fuelled by intense salsa rhythms dressed with heavy metal images.
That's where Satan comes into place. The Devil wears many clothes, but none are as multi-coloured and trendy as the ones we see in 'No Te Metas Con Satan'. We are advised of that during the first side of the LP. Each song dares the listener, with a multitude of ideas, sometimes dissonant ones, that find their way to make sense. An example The first song 'No Te Metas Con Satan' sounds like a perverted version of 'Da Ya Think I'm Sexy' and when you think it's over, it starts again, repeating ideas and leaving you extremely confused. What the fuck just happened Chupame El Dedo happened.
And it goes on. Flip to the other side and 'Alexandra Candelaria' says hi. A 7:43 minute long sinful & hilarious soup opera. No-one is ready for this. Laughter mixes with intense head banging, while we listen to what would happen if Jodorowsky made a Cartoon Network show. A damn good one. Maybe it's a good idea to not mess around with Satan, but you'll be in serious trouble if you don't listen to this. Seriously.

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

Two Sided Agency's third release delivers four rolling techno and acid work outs for sweaty basements and concrete dance floors. The full sleeve artwork expertly executed by New York artist Alex Heir completes the release after a one year hiatus. Two Sided Agency consistently maintains the quality of it's nuanced output. Direct and full of energy, acid lines and pure groove instantly captured the listeners attention. We are excited to present you our most recent four track EP and hope you enjoy the fruits of our hard labour. Thank you for listening!

Sechs Jahre Nach Seiner Letzten Lp "busted With A Bag Of Bliss" (my Favourite Robot) Kehrt Der Kanadische Indie-elektronica-meister Sid Le Rock (aka Pan/tone, Gringo Grinder) Mit Seinem Fünften Studioalbum "scenic Route" Zurück. Die Neue Lp Ist Ein Musikalischer Trip Durch Eine Breite Klangpalette, Die Von Dancefloor-tracks (kismet, Morgenfrisk) Bis Zu Electro-meisterwerken (speak Sweetly, Hiraeth) Reicht. Das Artwork Wurde Von Alex Solman Erstellt, "dem Mann Hinter Den Unverwechselbaren Zeichnungen Für Den Golden Pudel Club Und Einem Der Besten Bildenden Künstler, Der Heute In Der Musik Arbeitet" (resident Advisor). Die Lp Enthält 6 Tracks, Der Download-code Insgesamt 11 Tracks.

Amazing and unique private soul/jazz-funk fusion LP, 'New York To L.A.: Coasting' is the first release (1980) on Andrew Scott Potter and David Eric Tillman's PO/ET label. Sublime from the beginning to the end, it has become, just like their second and final release '...Space...Rapture...', a sought-after collector's item.

Andrew and Eric both come from Chicago. They met in the early 70's, shortly after Eric's discharge from the U.S. Air Force. They played together on the local jazz scene for several years (among others, with Maulawi). During that period, Andrew also toured with Minnie Riperton and Eric toured with The Dells, Linda Clifford and others. In the late 70's Eric left Chicago for Los Angeles, when he began touring with The Temptations. Since moving to California Eric has played and/or recorded with a variety of artists, including, Willie Bobo, Justo Almario, Alex Acuna, Norman Connors, Billy Paul, GAP Band, Linda Hopkins, Billy Higgins, O.C. Smith, and many others.

Info We Release Jazz is ecstatic to present its fifth release (following Ryo Fukui's Scenery and Mellow Dream, Le Cercle Rouge's soundtrack by Eric Demarsan and Stuff Combe 5 + Percussion), the first ever live performance and recording by Marc Moulin's sought-after jazz-funk band Placebo, captured at Casino Kursaal during the Montreux Jazz Festival in 1971 and never released before. Placebo's Live 1971 is available in a limited edition 180g vinyl mastered at half speed, housed in a 350gsm sleeve with UV coating and an obi strip. June 17th, 1971, the Montreux Riviera, its delightful microclimate and postcard scenery, its fabled music history and the luscious wines of the region. A dream setting for Marc Moulin to lead his ensemble on a 26 minutes+ jazz adventure - Nick Kletchkovsky on bass, Freddy Rottier on drums, Johnny Dover on bass clarinet, Alex Scorier on soprano saxophone, and Richard Rousselet on flugelhorn. The magic of that night is dripping through Placebo's sumptuous 'Showbiz Suite", a soulful piece in two parts in which every instrument gets enough room to shine, smoothly navigating between cozy cognac-by-the-fireplace funk and heartfelt grittiness, served with a pinch of Soft Machine vibes. It's the night Placebo was born, when foundations were laid for three classic albums: Ball of Eyes (on which you can hear a shorter studio version of 'Showbiz Suite"), 1973, and their final self-titled album. Born in 1942 in Ixell